Diamonds in the rough

AG: Mexico has been working towards something truly interesting for over a decade. There have been significant social changes, with widespread dissatisfaction towards the government and current events. What we are experiencing now is the result of a long struggle across many areas, social, economic, and even educational. All of these factors are merging with our cultural heritage, which is an essential part of our identity. Whenever I do something, I always keep this in mind. What we are seeing now in terms of practices and actions is the outcome of this prolonged effort over recent years, the process of change and adaptation. There has also been resistance, particularly against certain rules and the influence of United States capitalism, which has pushed us to develop our own unique approach. The current results are evident in how our cities are growing.

EU: I recall an experience: I was in an Uber and passed a group of tourists on bicycles. It reminded me that Mexico City has always been a tourist destination, known for its rich cultural heritage. However, seeing these people cycling around the city reflects where we are now as a cultural hub. We are experiencing a creative boom, partly due to political and economic issues in the United States, which are drawing many people to Mexico City. I have noticed the emergence of new restaurants, retail stores, and various opportunities. People are rediscovering Mexico because it has become fashionable to be here. It's appealing to spend time here, especially during the summer, while paying much less than in the United States, where prices are skyrocketing. There are also connections being formed, with people bringing ideas from prestigious schools like Yale and NYU. They admire certain architectural styles, but when they come to Mexico, they discover many things that are entirely different. An architect from the United States once told me that Mexico is like a diamond. In the United States, there are strict regulations and many rules to follow, but here, you can design and build with much more freedom. For example, if a balcony without a handrail suits the concept, you can leave it out because it wouldn't look right with one. That would not be allowed in the United States due to building standards. In Mexico, we have the freedom to create and make things happen. 

Mexico’s legacy through architecture

AG: During the 1980s and 1990s, Mexican education and architecture were heavily influenced by trends from the United States and Europe, leading us to overlook our own history, including post-revolutionary education and indigenous traditions. After the Mexican Revolution, the focus shifted to nation-building, but for a long time, there was a belief that ideas from abroad were superior. Our generation, however, began turning inward, revisiting traditional Mexican craftsmanship and exploring how these methods could be integrated with modern technologies. We sought to create something unique, tailored to our climate, people, and social context.

AG: This is quite specific to our background, particularly as graduates of the Politécnico Nacional, a public university focused on strengthening social structures. It emphasises social projects and how to develop cities with more equality. Our education has greatly influenced the way we work today. Even though we often handle private projects, we always consider their impact on the community and how the architecture we create will affect the people around it. From the beginning, we wanted to focus on private projects, but in Mexico, navigating through corruption and other challenges can be difficult. The question became how to use private projects as a means to also create social projects. This way of thinking has led us to find a balance between our private work and the development of projects that contribute to society.

Rising above the barriers

AG: Many practices face similar struggles. This reflects a particular Mexican mindset, the idea that if something seems impossible, we still find a way to reach our goal, despite the obstacles. It's a resilient way of thinking, unique to Mexico, that helps drive these efforts. In Mexican architecture, there is often a large divide, with significant privilege concentrated in the biggest firms. These firms have been around for decades, often with close ties to the government. For the newer generations, many of us do not come from wealthy families or established practices, and we do not have the same financial resources. As a result, we have had to find our own ways to move forward and make things happen.

EU: As we discussed earlier about the growth of the profession and the role of the mayor in architecture, I am reminded of the influence of telenovelas and the image of a successful person. It was common to see characters portrayed as either doctors or architects, which became symbols of success. This image of success as an architect or doctor has influenced many people across the country, leading them to pursue architecture because it is associated with success. However, the reality in Mexico, especially in Mexico City, is that there is now a great deal of competition. There are many talented and innovative practices here. The concentration of architectural ideas and the number of architects push us all to improve and do better every day. Recently, we had a meeting where we discussed who else could do the work of an architect. We realised that a conceptual artist could design a retail store, for example. These artists could approach different brand owners and offer their creative services. This reflects a new way of thinking that emerged over the past few years, where independent architects and creative professionals are doing remarkable work. This challenges us to think differently about what we offer and how we apply our philosophy to stand out in the market.

Grassroots growth

AG: Our journey began in school, where we focused on research projects aimed at improving conditions for those in need in Mexico, addressing the country's significant social inequalities. As we transitioned to real projects, we continued to develop these ideas. During a presentation, we connected with an organisation creating sports spaces in communities, funded by private capital to avoid government involvement and political influence. Initially, they focused on restoring public spaces like football courts, with limited funds but a commitment to sustainable community programmes. Communities would eventually take over funding and maintaining these spaces. We suggested expanding the project beyond football courts to include spaces for meetings, parties, and other activities, creating more comprehensive projects like parks. Though they provided a limited budget, we partnered with suppliers of materials and lighting to form a network of support. We also involved the community in designing the spaces, holding meetings with elders, children, and even criminals, ensuring everyone contributed ideas. Outside trainers taught skills, enabling the community to generate profits, which were reinvested into the park for ongoing improvements.

EU: The private projects we started working on gave us the tools to improve the public projects we were passionate about, which were always our primary focus. While we enjoy designing restaurants and retail spaces, connecting our work with people and communities was a key reason for starting our practice. A major moment for us, aside from the CAMPOS Polanco parade, was winning an international competition in South Korea around 2012 or 2013, organised by skyscrapersnet. The challenge was to design a skyscraper, and we proposed reusing old skyscraper structures rather than demolishing them. We were already aware of the environmental impact of architecture and construction, particularly their role in pollution and global warming. With this understanding, we made sustainability the core premise of our project, arguing that a building should not be demolished just because its original purpose has ended. Instead, we suggested repurposing the structure, reducing demolition and pollution. This idea won us first place, leading to interviews with newspapers, institutions, and our school. It reinforced our belief that it's up to us to seize the opportunities we want to pursue.

Building trust, designing futures

AG: Eduardo may have mentioned that our design firm, All, grew from a maintenance company I started while still studying. It wasn’t very profitable, but it was valuable for understanding both design and construction. One day, a building owner contacted me about a leaking roof, and I was amazed by the beauty of the neglected building. I told Eduardo, as it was just the two of us, that I wanted to propose converting the building into apartments for sale. We prepared a preliminary facade design and ran financial numbers, with help from my brother, who was studying for an MBA, knowing the owner needed the project to make business sense. Unsure if she was interested, we still prepared a budget. At the next meeting, I presented the numbers and design sketches. She loved the proposal, asked about the cost, and agreed to our budget, even though I wasn’t sure it was accurate. It was a pivotal moment, as we were still in our fourth year of architecture. She became an incredible client, and we’ve since worked on many projects together.

AG: This project was crucial for us, not only because it was our first big opportunity but also because it allowed us to mature as architects. The project involved several phases: refurbishing the facade, redesigning the apartments, and transforming the building into a boutique hotel, along with constructing a new building at the back. It helped us grow our team and understand the importance of engineering alongside architecture. The client’s patience and belief in us pushed us to improve our processes and become better designers. It took 10 years to complete, but she always trusted us and gave us the chance to grow, which was invaluable.

A rising journey

EU: Another key moment was winning the skyscrapers contest, especially as we came from Politécnico Nacional, a school focused on construction, theory, and creativity in architecture. Building a concept and winning an international contest was an important milestone for us in starting the office and expanding our work. Having our first office outside of Alejandro’s apartment was another memorable step. We used to finish school around 2:30 or 3:00 p.m., then head to Alejandro's apartment to work on both school projects and professional work. Looking back, it’s amazing to think that we were just 23 years old, and it was a big step towards making our dream of having our own practice a reality. Hiring people and expanding the team was another significant milestone that I hold in high regard. Having only one project in a year, like in 2015, helped build character. It pushed us to improve the workspace, enhance the skills of our collaborators, and work on increasing salaries, despite having just that single project to support all of these efforts.

AG: A key project was Mercado de Flores-Camaiquita, a research initiative that took us to Poland. We were invited to the Krakow Biennial in 2015 due to this project, which also led to our first international commission, an apartment design for a Mexican-Polish couple. Casa Sexta was another important project for us. Being listed in Forbes' 100 Most Creative Mexicans in the World was also a significant recognition. They highlighted our work bridging private and public projects. As designers and as a company, we built this practice from the ground up. In the beginning, we worked with very little, using basic resources, and developed everything from scratch. Looking back over the past 10 years, it’s impressive to see what we've achieved, thanks to the support of various people and our clients. We are now at a point of restructuring. What sets our practice apart is our commitment to both design and construction. In Mexico, many firms focus on one or the other, but we’ve always done both. However, we now need to refine how we grow in both sectors. Our focus is on improving efficiency, reducing errors in design and construction, and streamlining our processes. We’ve also moved to a new office to create a better environment for our team, giving them more space and freedom to express themselves. This reflects our dedication to our team and the new ideas we plan to pursue in the coming years.

Seizing the spotlight

AG: The first retail store we worked on was IKAL Store, in Polanco, and has expanded to other locations. It started organically. We met the owner at a creative networking event while looking for someone to provide furniture for a project in campus. Although the building owner didn’t like the brand he was representing, the owner asked us to design an apartment for him. Later, he mentioned he owned several brands and wanted to see what we could do for him. This led to a series of projects, including retail, which was new to us at the time. After completing IKAL, we realised we had a talent for retail design. The ideas we developed, from concept to the finished store, felt right. It was a key moment for us, as the client gave us the chance to develop several brands and projects. IKAL, launched around 2017, was one of the first stores in Mexico City to focus on independent Mexican brands, gaining a lot of attention. This exposure attracted many clients interested in our work. Our journey has been very organic, and even after 10 years, we’ve never made a big effort to promote ourselves. Now, we feel it’s the right time to showcase what we’ve built over the years and seek new clients, opportunities, and connections. Alejandro often says we're always in a rush, but we’re at a great point in our practice. We now have more chances to expose our work. A memorable moment was when Forbes contacted us, asking if we’d like to appear in the magazine. It happened on a stressful day when we had just learned we hadn’t won a contest we’d invested a lot of time and effort in. We were feeling down, sitting in a Chinese restaurant near our office, when we got the call. At first, we couldn’t believe it, but when we realised it was real, it was an incredible milestone. Being featured alongside other creative people, like Tatiana Bilbao, gave us a new perspective on our work and what we’d accomplished so far.

Community-Focused Design

EG: One project that stands out is bringing the public into the private, inspired by our focus on social projects. You can see this clearly in IKAL, a luxury store featuring top designers from Mexico and Latin America, with items not easily accessible to the general public. It’s located on Masaryk Avenue, one of the busiest and most expensive streets, alongside brands like Prada, Louis Vuitton, and a Disney store. Masaryk’s sidewalks are full of different people, construction workers, service staff from nearby houses, executives heading to meetings, and families, including mothers pushing prams, all mingling together. This mix of people in such a luxury shopping area gave us an idea rooted in our school experience and social focus: to add something simple and accessible to everyone. We decided to place a public bench on the store’s facade. This bench invites anyone, whether they’re tired or just passing by, to sit and rest, which is a contrast to other luxury stores where security might discourage you from lingering if you’re not shopping. When we presented this idea to the client, they agreed, and we even added a speaker to play music, making the space more welcoming.

AG: We often organise workshops for people, including children, as small but impactful gestures. Across projects, similar public acts are common. For instance, on campus, we are collaborating with the government to restore the park’s front area, although maintenance remains insufficient. We encourage clients to benefit the wider community, not just a few. Despite finishing the project last year, we are still awaiting government approval to make public street changes, with continued client support. In public projects, we immerse ourselves in the community, listening closely to their needs and building strong relationships. Successful design stems from translating the community's desires, and careful listening helps avoid losing sight of what they truly need.

Brick by brick, community pride

AG: When we finished our first project, Cancha "LA DOCE", we attended the opening. There was dancing, and people of all ages were there. We had put up a fence with pictures showing the eight-month process from design to construction. This project was special because it was designed and entirely built by the community. Everyone who laid a brick or contributed was from the local area. As I watched the dancing and the football game, a child approached me and said, "My grandfather built this court." I was speechless. At that moment, I realised the power of the design and building process we had created with them. The community already felt proud and connected to the project, saying, "We did this." It made me feel that this project would last for many years because they had taken ownership of it. That was a truly rewarding moment, not because of recognition for our firm, but because it showed that this was good architecture, something meaningful. Even though it was a small project, its impact was huge. Years later, we returned and saw the statistics: how many children were using the space, how many had stayed out of trouble because of it, how school performance had improved, and how it had become a meeting place for elders. Despite being in an area with graffiti and other issues, the court was well-maintained without security simply because the people loved it. That project continues to be rewarding, even after many years.

EU: Cancha "LA DOCE" was the first of many spaces we developed with Love Football. When it was inaugurated, the first game held there was between two LGBTQ+ communities. In a place where there is often gender violence and discrimination, this felt like a powerful and positive statement about the work we were doing. It showed that the project was truly for the community and aimed at improving their lives. That moment, along with all the stories surrounding the construction and building of the project, was incredibly rewarding.

AG: I am personally very proud of both the mistakes and the successes we’ve had from the start of our practice, because they are all ours. Every result, whether it worked out or not, comes from our own efforts and vision. That’s a powerful and important aspect of our practice, and it speaks to how we approach our work.  Our success is not just ours, it belongs to our entire team. Our team has been incredibly patient, as have our clients. We’ve been fortunate to have a great team and supportive clients who have allowed us to grow as architects. Having the right people around you, building with them and learning from them, is truly rewarding.