Main image: Legorreta Casa Amor Por México, a private residence paying tribute to the elements of nature and the colors of Mexico in Los Cabos, Baja California. (Francisco Estrada)
Can the essence of a culture be preserved in stone, steel and light? For architect Victor Legorreta, the answer lies in every corner of his designs. His work builds on the legacy his father’s firm forged in 1965, and pays homage to Mexico’s rich architectural history.
LEGORRETA, the contemporary architecture studio in Mexico City, produces designs that are unmistakably of their place, championing elements that predate the Spanish invasion. In every project, an amalgamation of Mexican modernist and traditional elements creates livable spaces that directly respond to the local climate, culture and people.
Façades make a statement in burnt copper and eye-popping hot pink. Thick stone monoliths interplay with light, shadow and symmetry. Airy courtyards burst with native vegetation and, most often, some type of water fountain reminiscent of the celebrated Mexican architect and engineer Luis Barragán (1902-1988). Today, with a project list spanning university buildings in Cairo to private mansions in California, Legorreta stands as one of Latin America’s most celebrated architecture firms.
Storied correspondent Natalie Hoberman sat down with partner and design director Victor Legorreta, to discuss his emotion-centric design philosophy, the art of architectural storytelling and the trajectory of Mexican design.
Nothing plain about a plane when geometries are enlivened by color. At the entrance to his studio, Victor Legorreta uses shade, light and statements of scale as components of his architectural language. (Marianna Achach)
Your father’s iconic work, such as the Museum of Contemporary Art in Monterrey and the Camino Real Hotel, is known for its geometric forms and dramatic interplay of light and shadow. How has your own design philosophy evolved while staying true to these foundations?
My philosophy has always been about evolution – not breaking from the past but building on it. Sometimes, it’s better to stand on the shoulders of what’s come before and push it forward.
Some principles remain the same. We still aim to create architecture deeply rooted in Mexican culture, but we’ve adapted to modern constraints. My father’s designs often featured grand entrances and six-meter-wide corridors, like in the Camino Real. These aren’t practical today, especially in urban settings. But that doesn’t mean we can’t achieve the same beauty in more compact spaces.
Four Seasons Resort, Tamarindo, Mexico. Set within a verdant jungle nature reserve on the Pacific waterfront, the Legorreta playbook here majors on wood and water. (Four Seasons)
Your firm’s work is deeply tied to Mexican culture. How do you approach international projects, like those at Stanford University or in Qatar? How do you balance honoring local traditions with the specific needs of global clients?
That’s one of the beauties of architecture – it’s never just one person’s vision. It’s always a team effort, and you have to respect the place where the building will stand. Climate, culture and the people using the building all shape the design. It’s about finding a balance between integrating local traditions and maintaining what makes our work unique.
For example, in Qatar we found many parallels between Islamic and Mexican architecture, particularly through the influence of Spain. Courtyards, water features and a sense of mystery are present in both. But there are differences too. We once proposed pink for a project, but it wasn’t well-received, because in Qatar pink is associated with nightclubs. However, they loved the use of blue, which holds deep significance in Islamic architecture. So we adjusted, respecting their cultural preferences.
In the courtyard of the boutique hotel La Purificadora in Puebla, Mexico, the design angle is pronounced ziggurats and the purple patch of an ancient civilization. Color promotes discussion. (Undine Pröhl)
Mexican architecture is renowned for its storytelling. Form, color and materials to tell a narrative. How do you approach storytelling in your designs today?
Architecture is functional, but it’s also about telling a story. We design spaces that gradually reveal themselves, creating an experience. The story depends on the project – whether we’re keeping stress out of a family home or generating excitement in a lively restaurant. I’m most excited when a client has a strong vision. It’s our job to translate that into the architecture.
A world where contrasts are compliant. Gradations of blue and purple oblige a dialogue, while the open petals of the Harry Bertoia Diamond Chairs on their floating platform open up against the verticality of wall. (Raquel Canales)
Your firm’s motto, “toward an emotional architecture”, suggests a deeper connection between spaces and human experiences. What does “emotional architecture” mean to you, and how do you practically evoke these emotions in your projects?
It’s hard to rationally explain why we choose certain colors or forms. We work a lot with models and renders, but final decisions often come from instinct. In Mexican culture, architecture is tied to emotion. Maybe that’s because of our Latin heritage or the climate. Other cultures might base design on theory, but we rely more on feeling. We believe architecture should connect with the senses and inspire people. Good architecture can make people more creative.
In Argolis, west of Athens in the Peloponnese peninsula, Casa del Agua illustrates Leggoreta’s sensitivities to sites beyond Mexico. But here too nature is given the hand of influence in a land where your sense of place is always looking out across water. (Studio Paterakis)
Your website makes an impactful statement: “The world is dominated by technology and information… architecture should take advantage of both to make us better human beings.” With AI and technology reshaping architecture, how do you ensure indigenous architectural signatures remain intact?
My father always taught me to ask, “Is this going to benefit us in 20 years, or are we just adopting it because it’s new?” It’s easy to get caught up in the excitement of new materials and methods, but it’s the architect’s responsibility to create buildings that are timeless. Technology is a tool, not the goal.
In a country like Mexico, we often look at places like the U.S. or Japan with admiration. We see a beautiful building in London and say, “Let’s do something similar here.” But we’re not always asking if it fits our culture, climate or place. That’s where technology worries me.
It's easy to get caught up in the excitement of new materials and methods, but it's the architect's responsibility to create buildings that are timeless.
How do you see Mexican architecture evolving in the next decade? What role will your firm play in shaping its future?
I’m optimistic. The new generation of architects is more collaborative and less ego-driven. They’re open to working with other disciplines, like landscape designers and local artists, and that enriches the final product.
Mexico also has a unique opportunity to blend technology with traditional craftsmanship. While other parts of the world have lost the ability to create by hand, artisans still thrive here. It allows us to create beautiful, detailed work that honors our traditions.
A love letter written in California, Casa Amor Por México looks out over the Pacific and replicates its color in the extraordinary infinity pool surrounding this conversation pit. The Legorreta studio designed the wooden furniture – which was built by a Mexican cabinetmaker – throughout the house. Decorative accents such as this extended family of cushions were the work of Oaxacan artisans. (Francisco Estrada)
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