The Anahuacalli is a unique piece of Mexican architectural heritage and a legacy of Diego Rivera, with the assistance of Juan O’Gorman, two of the most prominent figures in Mexican art history. The museum’s site, primarily composed of rugged volcanic rock, is an ecological reserve with a rich biodiversity endemic to the southern quarry of the Valley of Mexico—a region where much of the original flora and fauna has been lost to urban sprawl. In this setting, beautiful wildflowers emerge from the volcanic rock, amidst a landscape of prickly pears, tall grasses, and trees.
The “Pedregal Pyramid,” as Diego fondly called the museum, reflects his deep knowledge and lifelong fascination with pre-Hispanic cultures. The museum’s mission is to preserve and display the extensive collection of pre-Hispanic artifacts that Diego amassed during his lifetime—making the Anahuacalli not just a container, but a work of art in itself, an extension of the collection.
For Rivera, architecture was a reflection of society. The plaza, library, and remaining buildings were constructed after the museum, commemorating pre-Hispanic ceremonial gathering spaces. Through these additions, Diego communicated the idea that pre-Hispanic architecture persists within the museum—a temple of knowledge, the object of contemporary society’s devotion.
Recently, the museum’s board of trustees invited four architecture studios to compete for the opportunity to design an expansion to the museum. Although our entry was not selected, we wanted to share our vision in this GA issue.
Our proposal sought to both preserve and enhance this extraordinary space, allowing visitors to fully engage with it. We aimed to redefine the relationship between visitors and the ecological reserve by opening it up and transforming it from its current use as the museum’s ‘empty backlot’ into a vibrant and integral part of the experience.
The project focuses on appreciating and amplifying the importance of the site’s cultural heritage by emphasizing the existing community, local traditions, and regional culture in a design that makes thoughtful use of the landscape. In this way, the museum could become a gathering place for the appreciation of the site’s natural, cultural, and artistic assets.
When Diego Rivera acquired the land in Coyoacán, he recognized its social potential. For Diego, who often referenced the idea of a “city of the arts,” the campus was intended to be a microcosm of such a city. In his vision for the Anahuacalli, this mission was embodied through the creation of independent workshops for arts and crafts, spaces for dance and music, and even an open-air auditorium for community events. This new city of the arts would serve as a space where the Mexican people could confront and learn from their heritage, arts, and crafts. Unfortunately, Diego passed away before his vision was fully realized.
Our intent was to carry forward the creator’s vision, while also opening up the unique natural environment for public enjoyment. The expanded program we proposed would allow the museum to fulfill a social, cultural, and educational mission that appeals to a diverse audience.
Our design begins with the first view visitors encounter when entering the museum. Along the main plaza, we added a few volumes to house administrative functions. Diagonally across from the main entrance, adjacent to the “Pyramid,” two perpendicular planes open up, introducing a material palette distinct from the volcanic rock. A subtle copper reflection draws visitors in, inviting exploration. This space reveals a circular patio lined with curved, colored glass that serves as the entrance to the administration area. This area includes museum offices, the Diego Rivera archive, and serves as a transitional space for visitors before they access the ecological reserve.
As the project extends into the site, the topography becomes a key element and guide. We selected a consistent level across the terrain from which all buildings can be accessed. The program was dispersed across this level, encouraging visitors to explore the site. Each workshop is accessible from this topographic level but adapts to the landscape: some volumes are perched above the ground, some are embedded in the rock, and others rest gently atop the earth. By dispersing the program into multiple volumes, the construction remains minimally invasive while allowing each volume to develop its own unique identity.
Aesthetically, the new volumes respect Diego Rivera’s original designs. The simple forms, imagined in compacted concrete, blend harmoniously with the plaza, while in the reserve, they emerge as monolithic blocks—timeless and steadfast. Each block has one corner trimmed to reveal a circular patio vestibule lined with curved, copper-toned glass, marking the threshold and celebrating the city of the arts.
When Diego Rivera acquired the land in Coyoacán, he thought it had high social potential. For Diego, who frequently referenced the “city of the arts,” the campus should exemplify a city in miniature. In Diego’s idea for the Anahuacalli, this mission is accomplished by the creation of independent workshops for arts and crafts, spaces for dance and music, and even an open-air auditorium capable of hosting parties and events for the community. This new city of the arts would bring a space for the Mexican people to confront and learn from their heritage, their arts, their crafts. Unfortunately, Diego died during construction and his dream was never fully executed.
It was our intent to complete the creator’s idea of how the space should be used in addition to opening up its unique natural environment for people’s enjoyment. The program added onto the museum allows it to develop a social, cultural, and educative mission that attracts a varied public.
Our proposal grows from the view first seen by visitors upon entering the museum. Along the main plaza a few volumes are added to house administrative functions. In a diagonal line on the opposite corner from the main entrance, adjacent to the “Pyramid” two perpendicular planes open up, suggesting a material palette different from the volcanic rock. Its slight copper reflection beckons visitors, inviting them to take a look. This space reveals itself to be a circular patio, lined with colored, curved glass that is the entrance to the administration. This area has a program of museum offices, the Diego Rivera archive, and as a threshold for visitors before they access the rest of the ecological reserve.
From this point on, as the project develops into the site, topography becomes a key indicator and guide, having selected one level on which all buildings can be accessed. Program has been atomized along this level compelling visitors to explore the site. Each one of the workshops is accessible from this topographic level but responds to the site conditions such that some are perched above, some are ensconced in the rock, and others lie gently atop the ground. By atomizing the program into different volumes, it permits construction to be as minimally invasive as possible while allowing volumes to develop unique, independent personalities.
Aesthetically, the new volumes of the museum’s expansion respect Diego Rivera’s own designs. The simple volumes, imagined as being built from compacted concrete, don’t look out of place in the plaza and out in the reserve arise as monolithic blocks, timeless and unflinching. Each block has one of its corners trimmed off revealing a circular patio vestibule lined with curved, copper-toned glass to mark the threshold at the edge and celebrate the city of the arts.
