Text provided by
Miguel Angel Aragonés
The project, in essence, is an immense container of water. It is not only the intention to extend the horizon to the ground plane, but also to introduce the horizon into the project as a compositional aspect of the architecture itself, but at the same time not dissolving it and causing the sea to visually enter and envelop the entire space. The project is cubes floating on this perennial surface of water, which is an extension of the sea.
It was vital that these bodies be conceived as floating volumes and that, arranged on the surface as they are, give volume that suddenly becomes entirely uneven and, in a sense, random.
I have always believed that Mexican architecture is a tribute to the wall. And it has a logic. The logic of the wall: it is a container of space, and a generator of privacy and inner space that not only protects, but also shelters, making architecture have a distinct intimacy. The wall is a blind block that is always traced in the three walls that make up the space and the fourth wall that becomes a wall of glass. This fourth wall is the one that is connected to the vision of the sea, the horizon, and the volumes of water.
You could say that the fourth wall, which confines space, is a continuous tribute to the sea. And it is also a continuous ocean that delimits the inner space and makes the interior and exterior communicate and remain fully integrated. The fourth wall here is a glass wall that ends up being an ocean and a horizon that endlessly communicates with the architecture.
To protect this fourth wall, the surface which is the sea and the sun, it was very important that this plane becomes more like a solid as if it were a wall. It is as if the fourth wall were solid, but had the ability to disappear and roll up. It has a bit of a double function: first, it protects from the sun and confines the architecture making the volume a complete solid, not open to the sea, but completely confined. Second, it makes the volume much more abstract, more surreal, more linked to a volumetric composition than to a physical need, that is to contain and stop the force and the temperature of the sun.
These hollows and drafts that are continually given in the architecture are the opening of the light to space, the permeation of a solid. A little of this arbitrary play of light on the walls is reminiscent of Günther Gerzso's work, an extraordinary Mexican-German painter who always drew lines diagonally as if casting the walls as a backlight. He always visualized the Light from space coming from behind like a huge backlight. He drew with diagonals and backlighting, a kind of architecture in two planes. He was an incredibly enigmatic painter and had a very particular geometry in his painting. It was always a source of inspiration to compose on a plane based on lines.
The relationship between the straight line and the curved line is vital here in the project. These solid, rigid, floating cubes and the continuous line that takes you to the sea. The curvatures were always the steps, always the circulations that guided you to the sea and that you desired ever since you entered the space. Always, somehow, the straight line was the volume and the curved line was the way.
Everything under the mirror of water has a much more enigmatic character, much darker, veiled. It's like the positive and the negative. Everything from the surface upward is white, but downard, and the spa particularly, is a black solid, like a kind of cenote where light only enters from above. There is also warm light ripping in a volume of onyx that is much more enigmatic than that of a body of light on a glass.
In this space, it was essential to have a much slower, more contained lighting that was complementary to what we see on the open surfaces, a kind of architecturally styled cenote.
For me, the night is vital as a complement to what architecture says by day. At night, you cannot replicate what sunlight does. This complementarity in color is essential. I have always believed that there must be a quantity of light that does not deny the night, that does not mimic the day but that allows you to see the light of a star or the moon. Never overlap a body to mimic the day. On the contrary, to understand the light of the night and to illuminate with subtlety so that the bodies do not have an aggressive luminosity, but a luminosity much quieter that invites the stars to be seen and the moon to be contemplated. Lighting for the night must be a part of the total composition as well as its complement.