A fresh coat of olive green paint, potted plants, scattered garden furniture, the smell of coffee and the sound of people going about their day discern the interior spaces of La Laguna, a cultural centre in Mexico City. The interior stands in stark contrast to the centre’s rundown context. A former textile factory built in the 1920s, the complex is located in a central neighbourhood in the city, characterised by government buildings. An  adaptive reuse project undertaken by PRODUCTORA, a Mexico-based architectural practice, it was planned to reactivate the urban fabric of the area. Centred around the courtyards of the former industrial space, the architects consciously retained the exterior façade and main structure of the original building. The architects explain the choice to preserve and their approach to the design, “Architects, developers and entrepreneurs understand the value of pre-lived spaces. Their history and patina are assets to the project.” La Laguna creates a sense of continuity with the past and its surroundings through its minimalistic gestures.

The Doctores neighbourhood, where the project is located, is adjacent to the vibrant Roma, the neighbourhood poignantly portrayed in Alfonso Cuaron’s movie of the same name, which has recently been embraced by artisanal and hipster culture. Around 2015, Doctores was earmarked for redevelopment by Mexico City’s government. The scheme involved the densification of the area and an increase in capital gains through the use of existing government infrastructure. In this vein, the proposal for La Laguna strayed from the easier approach of demolishing everything and building housing on the procured land to achieve maximum profits. Instead, aiming to become a generator of a deeper transformation of the neighbourhood, the proposal created a space for independent, creative trades to flourish in the city centre. While privately owned, the cultural centre opens out to the public and generates an economic revenue of its own, increasing the land value in adjoining plots.

The unassuming industrial building, with its distinctive window frames and rough concrete walls, was already widely recognised and fondly remembered by the community. A notable memory comes in light of the 1985 earthquake that hit the city. The textile factory was the only site with running water and was used as a shelter and service centre after the disaster. Drawing on the history and memories of the factory, the architects decided to reactivate the interior spaces without altering the industrial architecture. Businesses based nearby were offered spaces within the factory. These included two architecture studios (including PRODUCTORA’s office), a gallery, a textile workshop, LIGA, an organisation that promotes Latin American architecture, a bookshop, a school, Mubi’s main Mexican office, and a new project of artist residences. The presence of these practices was envisioned as instrumental in generating an active community and bolstering solidarity through community-oriented events.

The fear of gentrification because of the inflation of land prices is altogether justified. To counter this, restaurants and bars were not allowed to function in La Laguna, the developers instead favoured practices that would enrich the local culture. The major architectural interventions in the complex are centred around the two courtyards of the former factory, which act as spatial anchors for various activities, such as art exhibitions, installations, and workshops. In order to make these spaces functional, obsolete equipment, annexes and debris were cleared out.

Apart from these open public spaces, the design involved improving the operation of the building by strategically distributing the horizontal and vertical circulation. A promenade motivating visitors to discover the entire complex was achieved through the insertion of a new staircase tower encased in olive green screens, tying the disaggregated spaces together. Further, to make the spaces habitable, new restroom areas, stairwells, a new freight elevator, and several additional buildings and warehouses to complement the complex were incorporated. The intention of the overall exercise was to create a continuous, cohesive architecture.

While the courtyards and staircase design connect the spaces volumetrically, the olive green accents connect all the spaces visually. The subtle addition of colour differentiates the new elements from the existing ones. The choice of olive green was borrowed from the colour of the old power looms in the factory, facilitating the reading of new and old. Continuity between the historical and contemporary, public and private, finished and unfinished permeates the space.

Instead of the conventional view of architecture following a set script to generate a perfect finished product, the design and ongoing transformation of La Laguna attests to the idea of architecture as a process. The gradual refurbishment of the spaces has encountered several modifications over the years—as ideas evolved, funds fluctuated, and the project was staggered into phases. This was particularly challenging since it would mean that existing occupants would have to adapt to the continuously changing program and requirements. Moreover, the constant remodelling would have to ensure that it did not disrupt the spaces’ functionality while retaining the distressed industrial character. This was overcome in part because of the spacious open layout of the factory which proved to be flexible and easily modifiable. Describing the project as “intentionally unfinished,” the architects explain, that architectural interference was not the core objective. Instead, the idea was to cultivate a space that could be built upon for years.

This palimpsest of architecture mirrors the gradual transformation of a city in a way. Urban transformation is rarely radical. Most times, it is organic, unfolding silently in the corner of one’s eye, until one looks around to find an unrecognizable neighbourhood. Like a city that constantly changes, accumulating new meanings, people, and places, La Laguna will continue to transform. Currently housing more than 25 creative firms and practices, the building continues to host events that are open to the public, encouraging interaction and communion.

Project Details

Name: La Laguna
Location: Colonia Doctores, Mexico City
Client: MARQCRET
Architect: PRODUCTORA (Carlos Bedoya, Víctor Jaime, Wonne Ickx, Abel Perles)
Consultants:
Structural Design: Colinas De Buen
Structural Engineering: T2M
Collaborators: Claudio Morales, Diana Jiménez, Nicolás Fueyo, Ruy Berumen, Rubén Flores, Carla Romano, Diego Velázquez, Fidel Fernandez, Pablo Manjarrez
Area: 75,886 sqft
Year of Completion: 2019-ongoing