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Stories

Architecture of the Olivia Foundation:
Alberto Kalach and Carlos Zedillo

Andy Butler,

January 05, 2025

The Olivia Foundation is situated in a Porfiriato-era building in Mexico City’s Roma neighborhood. Originally designed as a private residence, the structure of the building reflects the intimacy of domestically scaled rooms, as well as spaces and details shaped by past function. In 2022, Alberto Kalach, working with Carlos Zedillo, reimagined the building. Their work transformed a townhouse built more than a century ago into a distinctive arts space. Across four floors, shifts in scale, light, and materiality create a unique framework in which to see and experience modern and contemporary art. Designer and editor Andy Butler discussed the project with them in August 2024.

Andy Butler: How did the project come about and what made you join forces?

Carlos Zedillo: Alberto and I have collaborated on several projects over the years and an area we have explored extensively is reimagining the use of existing buildings. In places like Mexico City, there is great potential to reuse what has already been built. One of the nice things about these old houses is that they are mostly made of wood. So, the process was to dismantle it and put it back together, which was a great learning exercise. It was both an architectural and restoration exercise, where the limits of the project were set by what already existed. When Alberto introduced me to the clients, it was about using what was already there and making decisions together.

“We managed to give new life to an old house. It was always a lovely house. We’re pleased that it hasn’t lost its character and that it’s set for many more years to come.”

AB: What was the most challenging part of the renovation?

CZ: The most complex part was the bureaucracy surrounding these protected houses in Mexico City. The permits take longer than the actual work. These houses are protected under a heritage protection plan, and the process is very lengthy. After receiving the approvals, everything went smoothly.

AB: What were some key decisions about the final design?

Alberto Kalach: First, I should clarify that many of the restoration projects we do are done in collaboration with Adriana León, who was also involved in this project. Regarding your question: when it was decided that it would function as a gallery, we tried to make the interiors as neutral as possible. We opened up the spaces a bit more, removed some details, moldings, and things that could distract, and made it a space where the art could be appreciated.

AB: Given it was a house previously, and now it’s an exhibition space, how did you approach the lighting?

AK: The patio already existed. It was apparently the service area, but it was very dark, with balconies and a semi-closed rooftop. From the beginning, we cleaned and opened up the patio, and the greenhouse was added on the top floor. A greenhouse that was meant for plants, though it also works well as an exhibition space.

“This house always had its surprises, like the fact that it had two staircases in such a small house, which makes it very dynamic, much more fun. The routes and sequences multiply.”

AB: Which aspects of the final design are you happiest with?

AK: I think we managed to give new life to an old house. It was always a lovely house. We’re pleased that it hasn’t lost its character and that it’s set for many more years to come. This house always had its surprises, like the fact that it had two staircases in such a small house, which makes it very dynamic, much more fun. The routes and sequences multiply. It’s also surprising that with such a small facade, it’s both mysterious and complex.

CZ: It was beautiful to see how Adriana, Alberto, and the team understood the use of the space. We discovered how to open or close parts of the building, and that brought surprises along with the structural restrictions. For example, when you stand in the back galleries and see all the way to the front windows, that was something you couldn’t perceive in the original house. It makes the house feel deeper, something unusual in these houses. Many of these houses were very sectioned off. Being able to open them up is a valuable lesson. Even though the house is small, if you walk through it carefully, you can spend a good amount of time in this little museum. It makes you rethink the scale of exhibition spaces.

AB: And how did you feel when you saw the space filled with art for the first time?

CZ: The different scales and types of paintings featured in the exhibition were a surprise—the exhibition made a very dynamic use of the space. Also, it will be interesting to see how the future shows are designed. I’m happy that there are many ways to use the space.