Andrés Manuel López Obrador, the president-elect of Mexico, recently announced that the fate of the new Mexico City airport designed by Foster + Partners will be decided by a public referendum to be held in October of this year. Mexican citizens will be able to decide in a vote whether or not the airport should be canceled. López Obrador, or AMLO as he is also known, led a fiery campaign for president. He trumpeted leftist and populists messages while attacking corruption that he said was endemic in the Mexican government. The New Mexico City International Airport (NAICM) was, he said, mismanaged and marked by excessive and wasteful spending, and he promised to shut down the project if elected. López Obrador has proposed that an existing military airbase be converted to civilian use instead of completing construction on the new airport. The vote is scheduled for the last week of October even though López Obrador will not formally take office until December 1 of this year. The project, which was won by Foster + Partners in 2014, is well under construction, and stopping it now would mean losing about US$5 billion already spent. The project is estimated to cost US$13 billion in total, and its first phase has been scheduled to open in 2020. Foster + Partners' design features a massive undulating canopy with an exposed space frame underneath. In renderings, the roof surface allows dappled light to come through large open spans between large footings where the canopy touches down to the ground. Arup is the project's structural engineer, Mexican firm fr-ee is the local collaborating architect, and Grupo de Diseno Urbano is the landscape architect. The airport is planned to handle 66 million passengers annually and cover an area of approximately eight million square feet.

ACADIA, or the Association for Computer Aided Design in Architecture, established the ACADIA Awards of Excellence to recognize outstanding individuals and practices that think critically about the impact and possibilities of computer-aided design. This year, the ACADIA Awards recipients, including Mónica Ponce de León and Oyler Wu Collaborative, will present their work at the conference titled Recalibration: On Imprecision and Infidelity at the Universidad Iberoamericana in Mexico City from October 18–20. Dean of Princeton University School of Architecture Mónica Ponce de León won the Teaching Award of Excellence. Ponce de León is a Venezuelan-American architect who is also a renowned educator. She is the founding principal of MPdL Studio, which has officesin New York, Boston, and Ann Arbor. Prior to her deanship at Princeton, she was dean of University of Michigan’s Taubman College and a professor at Harvard’s Graduate School of Design (GSD). The awards committee commended her for the “integration of digital technologies into architectural education.” Jenny Wu and Dwayne Oyler, partners at Oyler Wu Collaborative, were awarded with the Digital Practice Award of Excellence. The L.A.-based, award-winning firm is widely recognized for its expertise in material research and digital fabrication. The firm is known for projects such as The Exchange in Columbus, IN, the 2013 Beijing Biennale installation named The Cube, and their installations and pavilions with SCI-Arc. The partners are both currently teaching at SCI-Arc and Harvard GSD. Other awards included the Innovative Academic Program Award of Excellence, given to the Institute of Advanced Architecture Catalonia; the Innovative Research Award of Excellence bestowed upon NVIDIA robotics researcher Dr. Madeline Gannon; and the Society Award of Excellence won by Association for Robots in Architecture co-founders Sigrid Brell-Cokcan and Johannes Braumann. Check out the complete list of winners here.

The 2018 Serpentine Pavilion in Kensington Gardens, London, is now complete, and Mexico City-based Frida Escobedo’s open-air installation wears its references to residential Mexican architecture on its lattice. Escobedo, the youngest architect to take on the project and the first woman to do so since 2000, took cues from London’s historical materiality to reinterpret features more commonly found in Mexico’s domestic architecture. The pavilion uses a modern reinterpretation of the celosia (a perforated wall that lets in light and air) built from cement roofing tiles, to enclose a concrete courtyard. From the final photos, it appears that stacking the roof tiles have also given the walls a rolling, knit-like quality. The interplay between light and shadow and its use in denoting the passage of time, such as sunlight filtering through the darkly-tiled walls, had a major influence on Escobedo’s design. “The design for the Serpentine Pavilion 2018 is a meeting of material and historical inspirations inseparable from the city of London itself and an idea which has been central to our practice from the beginning: the expression of time in architecture through inventive use of everyday materials and simple forms,” said Escodebo in a statement. “For the Serpentine Pavilion, we have added the materials of light and shadow, reflection and refraction, turning the building into a timepiece that charts the passage of the day.” Inside, a curved canopy decked out in mirror panels hangs over the structure to both shade and reflect visitors, while a slice of shallow water on the ground reflects the scene overhead. Guests are invited to wade into the pool and cool off while their movements are echoed on the canopy above. Visitors can experience a “new” pavilion every day, as the sun’s daily movement should theoretically create a new lighting condition every day of the summer. The Serpentine Pavilion is located on the grounds of the Serpentine Gallery and will open to the public on June 15, then run through October 7, 2018. The pavilion will host a café for the duration, and will be used to stage Park Nights, the gallery's experimental and interdisciplinary art and architecture lectures and performances on certain Friday evenings.

Construction is set to begin on Reforma 432, a Foster + Partners-designed skyscraper in the heart of Mexico City that’s been snared by setbacks since 2011. According to a 2014 Foster + Partners description that pegged the tower at 866 feet tall, the Reforma 432 will dwarf the city’s current tallest building, the 807-foot-tall Torre Reforma. As first reported by Mexico News Daily, Mexican developer Abilia recently released a statement revealing that construction on Reforma 432 would begin soon and that the mixed-use tower would be split between luxury office space and commercial use. It’s certainly not an even split, with nearly 280,000 square feet set aside for offices and the remaining 20,000 square feet dedicated towards retail. Abilia’s owner, the billionaire businesswoman María Asunción Aramburuzabala, also announced that the updated scheme would be 57 stories tall, three more than Foster + Partners had originally described. Reforma 432 was first proposed in 2011 as the Sky Tower under developer Grupo Elipse, but seemed to have stalled out indefinitely until Aramburuzabala stepped in to take over the project. Located at the intersections between Paseo de La Reforma and Avenida Sevilla, Reforma 432 will sit on an L-shaped site directly opposite La Diana fountain, a city monument. Foster’s design for the tower is heavily striated, and two central vertical bands will run up the western and eastern sides of the facade. The building’s core will be set back towards the smaller portion of the L shaped-site, increasing the size of the floor plates in the larger section of the site. From the renderings, it also appears that the tower will carve out a story for communal outdoor space in the middle of the office floors. Covered, cantilevering terraces jutting from Reforma 432’s first four stories will hold retail components, restaurants, and cafes, while a bank, drop-off area, and entrances to both the offices and the commercial areas will be on the ground floor. This area will be intentionally left open as a publicly accessible plaza that bleeds into the surrounding streetscape. Foster + Partners is no stranger to building in Mexico City, as the British firm has teamed up with Mexican architect Fernando Romero to tackle the city’s new $9.2 billion airport, currently under construction. No start or completion dates for Reforma 432 have been announced as of yet.

How do you rebuild after a natural disaster? This question was the call to action at the fifth edition of the MEXTRÓPOLI Festival of Architecture and City that took place March 17 to 20. The four-day city-wide event was presented as an active reflection to rebuild since last September’s major earthquake that struck central Mexico. Coincidently marking the 32nd anniversary of the 1985 Mexico City earthquake, the natural disaster in September last year hit hard on the same day three decades prior–at least 40 buildings collapsed, wreaking havoc in the Mexican states of Puebla, Morelos, and in the Greater Mexico City area. At MEXTRÓPOLI, temporary built environments activated Mexico City’s public spaces to promote reflection of those events and fuel sustainable future building. Twenty pavilions designed by institutions such as UNAM, Ibero Puebla, Anahuac University, Querétaro, Sci-Arc, and Maristas took up at Alameda Central, the oldest public park in the Americas located downtown, adjacent to the Palacio de Bellas Artes. The goal? To inspire sustainable and preventative practices, and to demonstrate potential sustainable architectural futures. Architect Elias Kababie, Taller Paralelo Arquitectura, Michigan Architecture, and students from Colectivo Seis collaborated to design Pabellón ( ), a brick pavilion, with financial support from Masonite. The ephemeral structure is described by Kababie as a built testament to what local people felt in the aftermath of the quakes. “It creates an experience based on what we felt when everything was demolished,” explains Kababie. The structure itself was the very first built project for Colectivo Seis, who are only in their second year of college. As the story goes, on the first night of building the pavilion, the students and Kababie assembled the bricks made by a local factory and craftsman. The bricks themselves are made from locally-sourced clay, baked, and dried. Initially, they tried laying each brick one by one. Eventually, they made a rig that allowed them to stack eight bricks at a time. What took six hours to build on the first day took only one hour on the second. The trace of their handiwork lingers, with the red ochre-hued dust marking anyone who enters the pavilion. From the outside, the pavilion looks fortress-like, a cubic construction of six tiers of stacked brick on all four sides. Visitors were invited in by Kababie and the students through the periwinkle Masonite door into a narrow, tubular passageway. Once inside, onlookers are pleasantly surprised to find an undulating series of brick laid out to form the negative space of a circular sphere, or, if you will, an inverted oculus. The stacked formation encourages sitting and climbing, as well as spectacular views of the heart of Mexico City. Aptly dubbed, Pabellón ( ) is formally a parenthesis. Conceptually, it is a theoretical interpretation of the meaning of “collapse,” what students from Colectivo Seis described as the continuum of material and emotional rubble that was left behind after the quake. These experiences are collectively housed between the empty parentheses, the material manifestation of the symbolic namesake, the pavilion. “It’s a metaphor for the current situation. When you have this perfect brick wall that when you walk outside, you don't realize that there’s a greater structure, an emptiness that came about through the earthquakes. It’s still there and it hasn’t been fixed. We wanted this to be a point to talk about those aspects of our lives and that is still going on and many of us don’t realize it,” explained Alonso Varela of Collectivo Seis. This collective experience is not only expressed in concept, but also in practice. Kababie proudly reflects on their experience as completely collaborative, a project completed by a group from beginning to end as a group. “Having that extraordinary shared journey, the idea of idea of changing the conversation through bricks, through a situation, with a door that you go through, in a specific place as a specific project—it was an amazing idea.” You can find more videos of Mextropoli, Pabellón ( ), interviews, and other footage of the festival as a story highlight on AN's Instagram story highlights. 

Starting March 21, the Americas Society will host the exhibition The Metropolis in Latin America, 1830-1930. The exhibition is a leading feature of Pacific Standard Time: LA/LA, an exploration of Latino and Latin American art across 70 cultural institutions in Southern California. Pacific Standard Time: LA/LA is an initiative led by the Getty Research Institute, where The Metropolis in Latin America was previously on display. The exhibition presents a century-long narrative of six Latin American capitals: Buenos Aires, Havana, Lima, Mexico City, Rio de Janeiro, and Santiago de Chile. Within this arc of time, these cities transformed from provincial seats of power in the Spanish empire to full-fledged republican capitals. This shift from Iberian urban regulations to independent national authority was expressed through a diverse set of novel and imported models of architectural design and urban planning. The cities of Latin America maintained most of their colonial structures until the mid-nineteenth century. The gradual adoption of modern architectural repertoires, coupled with massive rural migration to the cities, encouraged the removal of colonial-era vestiges in favor of new civic buildings, burgeoning residential quarters and centers of industrial production. Cocurated by Maristella Casciato and Idurre Alonso, The Metropolis in Latin America will display the dramatic transformation of these six Latin American capitals in a number of mediums, including maps, plans, prints and photographs. The historical scope of featured pieces range from Hernan Cortes’ Map of Tenochtitlan (1524) to the modernist utopia depicted in Le Corbusier’s drawings of the City of Buenos Aires (1929).

Mexico City-based architect Frida Escodebo has been selected to design the 2018 Serpentine Pavilion in London, making her both the youngest architect selected for the commission, as well as the first solo woman to take on the project since Zaha Hadid in 2000. Escodebo, who AN profiled last year after her eponymous firm won the Architectural League’s Emerging Voices award, has designed a perforated pavilion that draws on the architecture and materials of both Britain and Mexico. The pavilion is based around a central interior courtyard, a common feature in domestic Mexican architecture, and is made up of two rectangular volumes, one inside the other. The volumes will be angled to reference the Prime Meridian line at London’s Royal Observatory in Greenwich, with the pavilion’s exterior walls aligned to the Serpentine Gallery’s eastern façade, while the interior courtyard will align to the north. The walls themselves resemble celosias, a traditional Mexican breeze wall that allows air to pass through, and will be built from dark cement roof tiles, interplaying the light streaming in against the color of the pavilion itself. A curved overhead canopy, clad in mirrored tiles, will dialogue with a triangular reflecting pool below, which will be sunk into the pavilion’s north end. As the sun moves across the sky throughout the summer, visitors will be able to track the shifting of the shadows within and the sunlight’s refraction, as each day should theoretically bring a unique lighting condition. “The design for the Serpentine Pavilion 2018 is a meeting of material and historical inspirations inseparable from the city of London itself and an idea which has been central to our practice from the beginning: the expression of time in architecture through inventive use of everyday materials and simple forms,” said Escodebo in a statement. “For the Serpentine Pavilion, we have added the materials of light and shadow, reflection and refraction, turning the building into a timepiece that charts the passage of the day.” The temporary Serpentine Pavilion has been commissioned by London’s prestigious Serpentine gallery since 2000, and has drawn big names in architecture since its conception. This year, the pavilion will be open to the public from June 15, 2018 through October 7, 2018, and will continue to host Park Nights, the Serpentine Gallery’s experimental and interdisciplinary showings on select Friday nights. Escodebo, born in 1979, has made a name for herself lately in the exhibition and temporary architecture world, having shown work at both the 2012 and 2014 Venice Architecture Biennale, the 2013 Lisbon Architecture Triennale, and the 2015 Chicago Architecture Biennial. For the Lisbon Architecture Triennale, Escobedo built an interactive, round rocking stage.

The Architectural League of New York’s Emerging Voices award and lecture series highlights individuals and firms with distinct design “voices”, singling out those with the potential to go on to even greater heights. 2018 saw two rounds of judging; first by a panel of past Emerging Voices winners, and a second to pick the winners. The first-round jury included Virginia San Fratello, Sebastian Schmaling, Wonne Ickx, Lola Sheppard, Marcelo Spina, Carlos Jimenez, and Marlon Blackwell, as well as members of the second-round jury, Sunil Bald, Lisa Gray, Stella Betts, Jing Liu, Paul Makovsky, Tom Phifer, Chris Reed, and Billie Tsien. AN profiled all of the emerging voices firms in our February print issue. Mexico City-based Fernanda Canales will deliver her lecture on March 8^th, 2018, at the SVA Theatre in Manhattan. After studying architecture at prestigious schools in Spain and Mexico, Fernanda Canales quickly discovered that the rigorous techniques she had learned had little relevance in the real world. Since starting her firm, in 2002, she has opted for a more flexible, thoughtful, personal approach. “Instead of relying on formal, definite solutions, I try to give informal, indeterminate strategies,” said Canales, who has no office, no employees, and spends most of her time on construction sites, morphing her projects through constant observation and feedback. “I realized that my preparations didn’t match the reality of what clients want, what workers can do, the limits of budgets, and the reality of everyday life,” she said. The Bruma House, located on a rural site about two hours from Mexico City, began as a fairly typical home for a couple and their two children. But once her construction team began work, Canales realized that the project needed to better adapt to its lush landscape and to a climate that swung dramatically from day to night. Now, no rooms are directly attached, so every space has at least two windows, allowing for maximum natural light. The building meanders its way through the site, maintaining existing trees and plant life in the process. Since starting her firm, Canales has also shifted her focus to highlight the intermediate, often-neglected spaces between public and private. These, she noted, often have greater impact on the users and those living around the projects. The Portales Dwelling, a multifamily apartment in Mexico City, diverges from the city’s typical housing blocks, with their closed stairs, shut-off alleys, and unimaginative envelopes. Portales opens up in every place it can, with large balconies in front, uncovered patios in back, open stairs in between, and roof terraces above. “It addresses the beautiful climate of Mexico City, instead of ignoring it,” said Canales, who added that the addition of green and open spaces helps the development better fit into its context, minimizing the usual scorn from neighbors. With the Elena Garro Cultural Center, also in Mexico City, Canales converted a long-abandoned private manor into a public amenity. The first step was removing a large wall between the home and sidewalk, reinforcing that all were welcome. To further show the public what was inside the cloistered historic house, Canales created a large glass-walled addition in front, framed in concrete, exposing books and other amenities, which are surrounded by a series of updated gardens and courtyards. To keep her work as simple as possible, Canales generally avoids complex new materials, working often with concrete, which she values for its affordability, durability, and ease of use. “I go for what workers know how to do. It’s the most practical solution,” she noted. Her reading rooms, built for the Mexican Ministry of Culture for use around the country, are modular concrete structures that function as meeting and recreational spaces. Their perforated facades, which create an effect that Canales calls “social lanterns,” allow them to be easily built (without glazing or other complications) and their interiors to be visible from the outside, making them safer. Her careful, socially oriented approach, Canales pointed out, is not new, and she’s long been studying Mexican social housing—particularly its boom times, like the 1920s and 1950s. She’s soon publishing a book, called Shared Structure, Private Spaces: Housing in Mexico (Actar Publishers). “I can’t imagine doing without thinking or thinking without doing,” she said. “It’s all important research.”

The Architectural League of New York’s Emerging Voices award and lecture series highlights individuals and firms with distinct design “voices”, singling out those with the potential to go on to even greater heights. 2018 saw two rounds of judging; first by a panel of past Emerging Voices winners, and a second to pick the winners. The first-round jury included Virginia San Fratello, Sebastian Schmaling, Wonne Ickx, Lola Sheppard, Marcelo Spina, Carlos Jimenez, and Marlon Blackwell, as well as members of the second-round jury, Sunil Bald, Lisa Gray, Stella Betts, Jing Liu, Paul Makovsky, Tom Phifer, Chris Reed, and Billie Tsien. AN profiled all of the emerging voices firms in our February print issue. Comunal: Taller de Arquitectura founders Jesica Amescua and Mariana Ordóñez Grajales will deliver their lecture on March 15, 2018, at the SVA Theatre in Manhattan. Since establishing their practice in 2015, Mariana Ordóñez Grajales and Jesica Amescua, of Mexico City–based Comunal: Taller de Arquitectura, have continually worked to push the limits of their socially guided architectural practice and the architecture and building that result from it. The practice combines academically minded research with materials engineering and community-led participatory design and construction to generate new forms of vernacular architecture in rural communities. “Our work begins with a social feasibility study,” Ordóñez explained. “We analyze and understand the capacity, willingness, and degree of organization that a community has to face difficulties. Then, we carry out the processes of research, social management, participatory design methodology, and finally, construction itself.” For the architects, the true power of their profession lies in their ability to facilitate the culturally appropriate material improvement of these glossed-over rural communities, as evidenced by the firm’s work on a series of childbirth centers across Tenejapa Municipality, in the Mexican state of Chiapas. Comunal partnered with a group of local midwives to conceptualize a network of pitched clapboard structures that will help the delivery nurses formalize their practices and achieve their goal of eliminating infant and maternal mortality in the region. Through built projects and academic research, the office also works to stave off the modernizing—and standardizing—effects of market forces and government regulation, which can produce alienating, short-lived structures and can often disincentivize the use of trusted materials like bamboo and thatch. In a recent project, for Mexican social housing developer Infonavit, created in partnership with Mexico City-based architects Escobedo Soliz, Comunal helped create a courtyard home prototype built from these traditional materials. The vivendas are defined on one end by a home capped with a steeply raked roof that conceals a double-height interior volume containing a loft and the sleeping hammocks that are customary in the region. The courtyard complex is designed for passive ventilation and is erected out of running bonds of offset, buff-colored concrete block, with stone foundations. An indoor-outdoor kitchen sits opposite the lofted space, with a generous patio sandwiched in between. Amescua said, “Vernacular architecture poses a close link and a constant dialogue with the territory, where the symbiosis between it and the inhabitant becomes evident not only in the form and functioning of the architectural objects but in the way in which elements are grouped.” Working with traditional materials and construction techniques fueled Comunal’s approach for another social housing project, from 2013, with Unión de Cooperativas Tosepan Titataniske, a cooperative made up of indigenous communities in the state of Puebla. In this project, the designers pushed to incorporate bamboo construction in ways that would still allow regulators from the state to approve— and potentially fund—the project. For the development, Comunal and local partners developed a set of modular infill panels and roof trusses that sit on or between concrete-block walls and bamboo piers buttressed by intricate brickwork. The wall panels utilize bamboo and cementitious materials alternatively, depending on functional need, while the corrugated metal panel roof is designed to facilitate rainwater capture on site. Lessons gleaned from the project were implemented in a 2016 effort in the same area that utilizes a primary set of concrete posts and beams for structure instead of bamboo. The social housing project was recognized in November 2016 with a silver medal in Mexico’s National Housing Commission’s First National Rural Housing Contest and has led to new work with the organization.

This week, the 9^th iteration of Design Week Mexico (DWM) will kick off in Mexico City. As Mexico’s premier design and architecture event, the city will be filled with installations, gallery openings, lectures, and exhibition openings. This year’s festival will focus on the work of contemporary designers from all over Mexico, along with work from the Guest Country of Switzerland and the Guest State of Puebla. Originally scheduled for the first week of October, the festival was delayed by one week due to a devastating earthquake. On September 19 a 7.1-magnitude earthquake shook central Mexico. Its epicenter was just 34 miles southwest of the city of Puebla, in Design Week Mexico’s guest state of Puebla. The earthquake caused widespread damage throughout the Puebla and Mexico City region, and ultimately killed 370 people. Striking just a week after another deadly earthquake struck southern Mexico, include DWM’s 2015 Guest State Chiapas, the focus of all of Mexico for the past month has been squarely on recovery. While the recovery and mourning continues, Mexico City is ready to welcome international guest for Design Week. Taking place throughout the city, the festival will fill multiple art and design institutions, including the Museo de Arte Moderno and the gardens of Museo Tamayo. The Museo de Arte Moderno will play host to 100 Years of Swiss Design, a show first shown in 2014 at the Museum für Gestaltung in Zurich. The DWM version of the show will expand to include the shared histories of Mexico and Switzerland, and will also mark the 70^th anniversary of diplomatic relations between the countries. The Museo Tamayo will be the city of the Tamayo Project, a major architectural pavilion akin to London’s Serpentine Pavilion. This year’s project was designed by Mexico City-based Materia. Opening during Design Week, the pavilion will be open in the museum’s gardens, Bosque de Chapultepec, through the spring of 2018. Design Week Mexico will also be running concurrently with Expo Design Week, the city's major commercial fair. The two events have collaborated with a number of design institutions and corporations to put together a series of talks about the industry in Mexico. Expo Design Week itself will bring upwards of 140 Mexican and international designers together. This year’s event also marks the designation of Mexico City as the 2018 World Design Capital. The biennial honor, issued by the World Design Organization, recognizes cities that use design for economic, social, cultural, and environmental development. Currently Taipei, Taiwan, holds the title. Mexico City is the first city in the Americas to named World Design Capital. Design Week Mexico will run from October 11 through October 15, throughout Mexico City. The Architect's Newspaper will be in Mexico City the whole week covering the events.

This article appears in AN Interior's sixth edition—if you're not a subscriber, there's still time to buy it on newsstands! See our list of stores here.

Ana Paula Ruiz Galindo and Mecky Reuss, of Mexico City–based Pedro&Juana, met in 2005 while attending SCI-Arc (the Southern California Institute of Architecture). The pair then spent about four years at Jorge Pardo Sculpture (JPS) in L.A. They launched Pedro&Juana in 2012, after moving to Mexico City from Mérida, Mexico, where Pardo had been building a hacienda. In the years since, the firm has developed a series of architecture- and furniture-driven designs, including installations for the 2015 Chicago Architecture Biennial (CAB), 2016 Design Miami showcase, and an upcoming design for the Commons, a multiuse engagement space at the Museum of Contemporary Art in Chicago. In all of their projects, they furnish public areas with furniture of their own design, imbuing utilitarian spaces with a joyful energy and effervescent wit. Those sensibilities—and some of those furniture pieces—are fully realized throughout the pair’s recently renovated, 1,200-square foot Mexico City apartment.

“We kind of just did it the way we wanted to,” Ruiz Galindo said, describing the radical renovations the pair made to their fanciful apartment in the city’s Colonia Juárez neighborhood. The residence is located in a two-story, 176-unit neoclassical building built in 1913 as housing for the administrative staff of a local tobacco company called El Buen Tono.

The apartment had a long history of deferred maintenance and disjointed alterations that allowed the designers to reprogram the spaces as they saw fit. “We eradicated hallways and, typologically speaking, went back in time,” Reuss said. The flip was simple: Service areas were consolidated and modernized in the front of the apartment, while bedrooms were moved to the back. The unit’s two patio spaces were revamped too, with one receiving a wooden deck and the other a masonry floor. The wooden deck sits above an open basement level designed to passively cool the unit. To access the basement, Ruiz Galindo and Reuss added a new spiral staircase made from salvaged wooden beams left over from the construction. “That basement can be a problem. In our neighborhood the city sinks between 10 and 15 centimeters every year,” Reuss said, explaining Colonia Juárez’s extra-porous subterranean landscape. When it rains, the apartment’s basement sometimes floods as a result.

The main bedroom’s floor was replaced. There, the designers painted the new floors white to match the walls and ceilings of the room. A low, wide bed fills a space shared with a rocking chair and a lamp prototype leftover from their days at JPS. A nearby bathroom is decorated with brick checkerboard floors and a colorful array of citrus-hued tiles. The kitchen, simply articulated and looking out over the masonry floor courtyard, features built-in cabinetry and wooden countertops. Water damage from semi-seasonal flooding left the original pine floors in the dining room rotted through, so Ruiz Galindo and Reuss replaced them. The new pine floors match the casework, everything a crisp hue of light golden brown. Deeply recessed French doors cut into the exterior masonry walls of the room, opening out onto a shared courtyard. The doors, studded with divided lights and paneling, like the wide sweeps of crown molding above, echo the Beaux Arts provenance of the building.

The rest is a mix of contemporary objects and hand-me-downs: utilitarian bracketed bookshelves, prototype chairs and leftover lamps from the CAB installation, a pair of cabriole-leg chairs upholstered in yak wool. Stacks of tiny objects abound too, including groupings of the firm’s Maceta ceramic pot, a stackable vessel made of inverted, symmetrical cones of clay. These objects, Reuss said, are “the residues and leftover prototypes, extras that [over time] started to populate our house.”

The Architectural League’s Emerging Voices award and lecture series spotlight individuals and firms with distinct design “voices” that have the potential to influence the discipline of architecture, landscape architecture, and urban design. The jury, composed of Sunil Bald, Mario Gooden, Lisa Gray, Paul Lewis, Jing Liu, Thomas Phifer, Bradley Samuels, Billie Tsien, and Ian Volner, selected architects and designers who have significant bodies of realized work that creatively address larger issues in the built environment.

The Architect’s Newspaper featured the Emerging Voices firms in our February issue; stay tuned as we upload those articles to our website over the coming weeks. The firm featured below (Mexico City and Barcelona-based Cadaval & Solà-Morales) will deliver their lecture on March 16, 2017, at The Architecture League in New York City. Click here to learn more!

Eduardo Cadaval and Clara Solà-Morales met at the Harvard University Graduate School of Design and launched their practice, Cadaval & Solà-Morales, in New York City shortly after in 2003. Two years later, they moved it to Barcelona and Mexico City. Their first projects were two residences: the House at the Pyrenees—a renovation and expansion of a vernacular house perched on the top of a mountain in Aran Valley, Spain—and TDA House in Oaxaca, Mexico, a beach house that can easily be opened and closed depending on the weather.

With a focus on residential architecture in challenging sites, Cadaval and Solà-Morales strive for an honest, straightforward approach—hitting that intersection of theory, practice, and academy. “We always look for simplicity in our work,” said cofounder and partner Cadaval. “We try to make bold projects that can stand the passage of time and not rely on the latest trends. We enjoy working at different scales and types of projects so we don’t have a set goal to achieve. We just try to do our work in the best way possible and enjoy the process.”

This simple approach has led to striking results: The X House is nestled into the hills of Cabrils, Barcelona, celebrating the expansive, dramatic views of nature and the city. The project also makes use of concrete construction techniques typically used for building bridges and tunnels. To help reduce costs and shorten the construction schedule, the project relied on high-density concrete made using a single-sided formwork rather than a double-sided one.

Outside of Spain, Cadaval and Solà-Morales are building up a body of work in and around Mexico City. “Recently we have been working on buildings that are part of an effort to densify Mexico City,” said Cadaval. These include urban residential units, such as Córdoba-Reurbano—a conversion (renovation and addition) of a formerly abandoned historic home to nine residential units with ground-floor commercial space.

Cadaval and Solà-Morales, both associate professors at the Barcelona School of Architecture, have also completed ephemeral works, including a Reporters without Borders exhibit at Robert Palace in Barcelona.

“We think that it would be very pretentious from our part to say that we stand apart from other offices,” explained Cadaval. “We all try to do our best. The only thing that we do is try to work as hard as possible and try to find solutions that simplify and synthesize the project.”