Rancho MNG

This project stands out against the horizon as a subtle landmark—a delicate intervention that generates enough of a rupture to show human intervention without impinging on the surroundings or the views of the natural landscape.

Responding to the region’s vernacular architecture, the construction evolves the zone’s pitched-roof typology by the use of contemporary materials such as concrete, steel, and hot-dip galvanized materials. The roof is probably the most striking formal gesture of this building, which takes the form of a rectangular volume measuring 45 meters on its longest side. At the same time, it is also responsible for the sustainable credentials of the construction, which harvests the rainwater it collects for secondary uses.

The design’s uniqueness lies in its simplicity and the use of geometry as a structural tool for the composition. In this way, the program is distributed symmetrically with the bedrooms and bathrooms located at opposite ends. Between them, in the center, is the main living area over which a gallery runs in the manner of a Le Corbusier-style “architectural promenade.” This walkway establishes a kind of comparison between the bird’s-eye view of what takes place inside and the external corridors from which to contemplate the landscape.


Gulf of Mexico, 2014

970 sqm

Photographs: Ignacio Urquiza

Pabellón El Eco 2013

The courtyard of this museum, one of Mathias Goeritz’s greatest works, is an iconic space in Mexico City. Its emptiness helps it to stand out against the density of the urban fabric, and the significance of the walls and those who created them contextualize it in the city’s history.

Revealing this void was the decisive strategy of the intervention, which found its form by generating a structure that makes it possible to materialize the volume it occupies, marking out and drawing attention to its powerful and unique geometry. The intervention floats in the interior, separated from the perimeter in a way that always honors the original work.

The first step was the process of filling the void with a three-dimensional grid—a system of 1 m3 modules in metal rebar—followed by an excavation of the resulting construction, removing modules to make it a livable space. The binding system employed hand-worked wire ties, a trade-specific working method that reveals the laborers’ skill.

The resulting construction is an exercise that encourages users to reflect on the relationship between addition and subtraction, and between solid and void.


San Rafael, Mexico City, 2013

200 sqm


Casa Estudio Hill

The conservation of an ash tree guided each gesture of the project, and led to a composition of volumes designed to form a structure around the tree. In this way, two patios and three volumes intersect in the vertical circulations’ nucleus, and are differentiated by the distinct treatment of the window frames, altering the perception of lightness or solidity.

Designed for a music producer and artist, the house needed to double up as both a living space and a professional recording studio. The acoustic quality and layout of each space mean that every module operates as an extension of the studio. On the ground floor, the dense entrance volume houses the studio itself. This is succeeded by the light, open volume intended as the living area, which is connected at the rear with the main patio where the ash tree is located. Above both lower bodies, linked by the central staircase and courtyard, is the third volume, which contains the bedrooms and private areas, and also opens onto the large ash with its entire façade in a geometric composition of windows. The three volumes connect to the outside in different directions, increasing the entry of natural light and generating views that unite the program’s composition.

Blurring the boundaries between the solid volumes and the voids gives the sense of flow, integrating the interior and the exterior in a single space.


Florida, Mexico City, 2013.

220 sqm

Photographs: Onnis Luque