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Meeting Fernando Romero

On my visit to Mexico City, I got to watch architect Fernando Romero present his new airport plan at a conference for local real estate developers. His model was given pride of place in the exhibition hall and the assembled Mexican business community clearly couldn't wait for the new eye-catching airport to be built. The project was intensely controversial nationally but, in this crowd, it wasn't controversial at all. When the conference floor was opened up the for questions, attendees just praised the project and asked incredibly small-bore questions like, for example, how fast the baggage claim would work. A few days later, I visited the impoverished towns bordering the airport site. There, the reception couldn't have been more different. The townspeople universally dismissed the project as a scheme to comfort the comfortable at their expense. Image by Daniel Brook. Mexico, 2017.

On my visit to Mexico City, I got to watch architect Fernando Romero present his new airport plan at a conference for local real estate developers. His model was given pride of place in the exhibition hall and the assembled Mexican business community clearly couldn't wait for the new eye-catching airport to be built. The project was intensely controversial nationally but, in this crowd, it wasn't controversial at all. When the conference floor was opened up the for questions, attendees just praised the project and asked incredibly small-bore questions like, for example, how fast the baggage claim would work. A few days later, I visited the impoverished towns bordering the airport site. There, the reception couldn't have been more different. The townspeople universally dismissed the project as a scheme to comfort the comfortable at their expense. Image by Daniel Brook. Mexico, 2017.

I knew the dried-up lakebed site where the new Mexico City airport was being built was unstable—top engineers from all over the world were working on the project just to ensure that the building and tarmac would stand up—but I only got a full sense of it when I visited the site with a of construction workers. One of the workmen pulled out his cell phone and showed me a picture of one of their cherry-pickers that had strayed from the reinforced roadbed and sunk up to its chassis into the ground. I'm always a white-knuckle flyer but the idea of landing in a 747 here made me queasy. Image by Daniel Brook. Mexico, 2017.

I knew the dried-up lakebed site where the new Mexico City airport was being built was unstable—op engineers from all over the world were working on the project just to ensure that the building and tarmac would stand up—but I only got a full sense of it when I visited the site with a of construction workers. One of the workmen pulled out his cell phone and showed me a picture of one of their cherry-pickers that had strayed from the reinforced roadbed and sunk up to its chassis into the ground. I'm always a white-knuckle flyer but the idea of landing in a 747 here made me queasy. Image by Daniel Brook. Mexico, 2017.

The local celebrity architect, Fernando Romero, who is designing the new airport with Sir Norman Foster, made his name in the city with this iconic museum, funded by his father-in-law, tycoon Carlos Slim. Since its opening, in 2011, the metallic museum building has become one of the leading places to take "selfies" in Mexico City. Down the street, I found this taco stall, done up with tarps as is typical of street food operations in the Mexican capital. The disjuncture between the self-consciously global architecture funded by one of the richest men in the world and the makeshift street food stall summed up to me the tensions in Mexico's globalization. Both are legitimate reflections of contemporary Mexican realities—the unfathomable wealth and the grinding poverty. For the well-connected, Mexico City's economy now provides opportunities on par with those of any major city in the world; for those without connections, life is a constant hustle for subsistence. The "parallel play" between these two worlds and their potential for friction are the same ones that are playing out in the controversial new airport project. Image by Daniel Brook. Mexico, 2017.

The local celebrity architect, Fernando Romero, who is designing the new airport with Sir Norman Foster, made his name in the city with this iconic museum, funded by his father-in-law, tycoon Carlos Slim. Since its opening, in 2011, the metallic museum building has become one of the leading places to take "selfies" in Mexico City. Down the street, I found this taco stall, done up with tarps as is typical of street food operations in the Mexican capital. The disjuncture between the self-consciously global architecture funded by one of the richest men in the world and the makeshift street food stall summed up to me the tensions in Mexico's globalization. Both are legitimate reflections of contemporary Mexican realities—the unfathomable wealth and the grinding poverty. For the well-connected, Mexico City's economy now provides opportunities on par with those of any major city in the world; for those without connections, life is a constant hustle for subsistence. The "parallel play" between these two worlds and their potential for friction are the same ones that are playing out in the controversial new airport project. Image by Daniel Brook. Mexico, 2017.

Architect Fernando Romero, right, prepares to take the stage at a real estate developer conference at Mexico City's Centro Banamex Convention Center. Image by Daniel Brook. Mexico, 2017.

Architect Fernando Romero, right, prepares to take the stage at a real estate developer conference at Mexico City's Centro Banamex Convention Center. Image by Daniel Brook. Mexico, 2017.

After a tour of the main floor of the office, I went upstairs to meet Fernando Romero. The principal was seated at his decidedly non-office-like workspace, a circular white table surrounded by black chairs—he wore a shimmering purple Prada jacket made of phosphorescent windbreaker material. I had seen photos of Romero and had screened a web video of one of his lectures but in person he has a smaller physique and larger personality than I had expected. He’s built like a jockey, short and slight. And he is nearly as shiny as his sportcoat, his cheeks radiant with a stubble-less sheen, his hair slicked into unctuous black waves, and his gripping eyes among the purest blue in all of Mexico City.

I took a seat next to the 43-year-old architect as he scribbled in a sketchbook using a purple ink that perfectly matched his outfit. Drawing a triangle, he blasted through pleasantries and dove into his point: architects tend to serve the wealthy minority “at the top of the pyramid,” but he's interested in how architects can serve all levels of society. In Mexico and other developing countries, those at the base of the pyramid typically build their own structures themselves—“architecture without architects”—but there is still plenty the profession can do to help. His firm, FR-EE, for example, has created a prototype of a modular housing unit that can be unloaded in the barrios of Mexico and customized by users. Generating its own solar power and harvesting its own rainwater, it is perfect for areas that poverty and neglect have left off the utility grid. Circling the bottom of the pyramid with his royal purple pen, Romero told me, “I love to read about what’s happening in this context.”

Plenty of architects love to read about what’s happening at the bottom of the pyramid, of course, but in Mexico City you don’t just read about it; you’re immersed in it. On the subway ride to the office, I found myself sardined in next to a shabbily dressed old laborer with a lined, terra cotta face out of a Diego Rivera mural. The walk from the subway stop to Romero’s secret office took me past an informal market where scores of vendors held sway under tarps and hawked everything from homemade sweets to pirated DVDs. I wanted to get Fernando out into the metropolis to take in its overflowing life and discuss its impact on his work, perhaps taking the subway to the city’s main square, the Zocalo, and then walking through the free-flowing flea market nearby that spills out into the streets. But Romero’s courtly executive assistant, Hugo Vela, had nixed that in an email: “Kindly note that due to security reasons Fernando cannot ride by Metro or walk by foot in the Zocalo area.”

If Romero can only read about life at the bottom of the pyramid, it is because he lives at the top of it. Fifteen years ago, Fernando married the daughter of Carlos Slim, the richest man in Mexico (and, on days when Microsoft stock is down, the world). Being kidnapped for ransom is always in the back of his mind and he travels everywhere with a bodyguard. But it all made me wonder: Can you design great cities if you can't even move through them?