“I’ve always refused to accept that architecture in and of itself is an art,” says architect Benjamín Romano. “I do believe that some buildings deserve that designation. But an architect’s craft is to create spaces—comfortable spaces that improve quality of life,” he explains, “and that has nothing to do with art.”
The Best Skyscraper in the World
The talk takes place in the context of the new project by the architect and his firm, LBR&A, the Mexican architecture firm he founded and which is known for having designed Torre Reforma.
Not only was this building named “The World’s Best Skyscraper” by the 2018 International Highrise Award, but a year later, the Council on Tall Buildings and Urban Habitat (CTBUH) named it one of the 50 most influential skyscrapers in the world over the past 50 years.
It is also notable for being the first LEED Platinum-certified building in the country.
His portfolio stands out for its bold approach to solving extremely complex problems. From Casa BCH 73 —which won the German Design Award after incorporating a 20-meter cantilever over a deep ravine—to the design of the “matatenas”-shaped columns for the new Puerto Vallarta Airport, representing a fusion of engineering and structural design.
The Essence of Architecture: Creating Spaces
“Art is an experience. It’s a sensation. But the essence of architecture is creating spaces. When the structure happens to be an integral part of the space and the facade, the spatiality is generous, and the flow is well thought out—then it’s something else entirely,” he says.
“ I would even go so far as to say that many of the buildings I know are works of art. But that is not the purpose of architecture.“
So, could other arts considered to be “fine arts”—such as music—be dismissed as artistic endeavors if they are not beautiful? I ask you.
“No, music is designed for the senses. I mean, we listen to it, and it can overwhelm us, move us, or make us cry. But we’re talking about sensations. Spatiality isn’t that. Spatiality is about functionality. And quality of life.”
Many professionals, after achieving milestones like the Torre Reforma, could very well “call it a day” and devote themselves to writing books. Romano has already done so, but he acknowledges that the process is slow and that publishing a new book can be exhausting—although he does have something in the works. Let’s just say he prefers action: “It’s in my DNA to keep researching,” he says, having also served as a professor for many years.
BanBajío’s New Corporate Tower in León
“What I’m about to say might sound a little strange. Fortunately, I don’t work—I have fun and enjoy myself doing what I do.” His new project stems precisely from that approach and from a philosophy he often applies to his work and his life: structure is the heart of it all. “This new tower has two very tall pylons, 100 meters apart from end to end. And at the top, they’re joined by a gateway—a large gateway measuring 100 by 16 by 179 in height—that channels all the building’s flows,” he describes.
Estamos hablando de la nueva Torre Corporativa de BanBajío en León, concebida bajo la premisa que el despacho LBR&A mantiene: la funcionalidad como motor del bienestar y, consecuentemente, de la belleza. “Una de las tesis que usamos para el desarrollo del proyecto es una en la que se dieron cuenta de que si el humano estudia o trabaja en un espacio sin vistas al exterior, su capacidad cognitiva se reduce al 14 %. Ahí partimos con el proyecto, con esa tesis, y cuando nosotros se lo planteamos al banco, le dijimos: nosotros queremos apostar por la ventana y por la vista al exterior por ese estudio”.
Fully Integrated Architecture
And when he talks about flows, he’s talking about the structure, the flow of energy, the air conditioning, voice and data, staircases, and elevators; all these flows are right there in this grand entrance hall: “From it hang open-plan slabs, completely open-plan, fully illuminated by natural daylight. And that’s where the workspace is created.”
For Romano, this total integration is not merely a matter of aesthetic preference, but rather the reflection of a vision in which engineering is inseparable from pure design. He attributes this deep structural understanding largely to his education and personal career path: “I was fortunate enough to work for 24 years alongside engineer Heberto Castillo, and I was fortunate enough to learn, first and foremost, how to calculate and apply forces.”
In addition to livability, the design reflects a flexible business strategy that allows the bank to continue growing at its own pace. The competition guidelines required the design of two separate lobbies: one for the institution’s exclusive use and the second—featuring a striking waterfall—designed for companies leasing the surplus corporate floors.
A Statement of Principles
This dual user base required a sophisticated technological solution in terms of logistics and security to manage its 16 elevators. After analyzing the dual-user problem, the firm turned to the New York-based company VDA, Inc. With its technology, if a bank employee and an external tenant call the elevator at the same time using their respective smart cards, the software instantly assigns them to different elevator cars.
The system strictly limits access to the floors authorized for each ID card, preventing unauthorized movement. “There are so many specialties in architecture today that you have to stay up to date; it’s extremely important to ensure that the client is very satisfied with the security of their spaces,” he emphasizes.
The financial institution’s decision to keep its headquarters in its home region of Guanajuato rather than move to Mexico City—as most companies in the country have done—represents, for Romano, a message, a statement of principles. The LBR&A project pays tribute to those roots and incorporates the company’s history, preserving a three-story semicircular building that served as the bank’s first branch and the exact site where the institution was founded.
A design that pays tribute to the past
“I decided to tilt the building so that this historic branch would be the true star of the show,” explains Romano. “As you drive down Clouthier Avenue, the new building will visually draw your attention to the original branch; everything revolves around it.”
In addition, the design pays tribute to the bank’s original philosophy: promoting agribusiness in the Bajío region. To reflect this, the complex will include a terraced building at the rear that will house exhibition halls, an auditorium, and the staff cafeteria, with the rooftops featuring impressive urban gardens. “I find it very interesting because employees will be able to go there and perhaps harvest a carrot they planted themselves, but the setting will also provide them with the peace and excitement that an urban garden of that caliber and size conveys,” he adds.
Work on the project—for which they were notified three years ago that they had won the architectural competition, following a delay caused by an unfortunate family matter involving the company’s management—is progressing steadily. On a site spanning more than 11,000 square meters, LBR&A is currently excavating five basement levels and installing the structural anchors needed to prevent collapses.
The Countdown to 2029
Romano, who personally oversees the construction site in León every two weeks, estimates that the excavation is now 70% complete. With the goal of pouring the first monumental column of the entrance on September 18, the architect is optimistic about the outcome of his new architectural landmark: if the pace continues, the doors of BanBajío’s new corporate headquarters will officially open in March 2029.
The challenge of transforming “complex structural projects into efficient, sustainable, and financially sound solutions” has been met. And yes, even if our interviewee doesn’t acknowledge it, it can be art.
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