Contemporary Mexican architecture looks beyond its own borders. Jakob Gómez, director of Grupo Fasque, leads a firm that, after establishing itself through residential, commercial, high-rise, and public projects in Mexico, is preparing to take a new step: the opening of an office in Madrid, Spain, which will mark the formal start of its operations in the European Union.
A Unified Architectural Language
With more than 15 national and international awards, as well as a career that includes teaching, lecturing at various universities, and serving on juries for competitions in Europe and Russia, Gómez has built a practice in which functionality, aesthetics, and environmental responsibility coexist within a single architectural language.
“This expansion isn’t just geographic—it’s a statement about where we want to take the brand: a Mexican firm with international standards and ambition.” We spoke with Jakob about this new chapter for Grupo Fasque, but also about the journey that has brought him to this point: his early years as an architect, the development of his own practice, and how he came to define his own approach to architecture.
“I took my first steps with Héctor Esrawe. When I joined him, the office was already very well organized, and at that time, he was restructuring his teams. Each team had a senior member. I learned a lot from the structure he managed; for example, he had a multidisciplinary team of engineers, architects, and industrial designers. I really learned a lot from that and also from the details,” he recalls.
Obviously, the conceptual aspect of Esrawe’s stylistic tradition was also an important factor: “Of course, there was also the conceptual aspect. I think the way they handled it was very important. It was a good learning experience.”
After that experience, he returned to his hometown of Monterrey, where a new chapter began: “Monterrey is a very interesting city. I think the entire urban fabric is being reorganized here in Monterrey as well. So, all the structures—the primary and tertiary sectors—seem to be reorganizing themselves more effectively. Also, since it’s a very industrial city, we have a lot of foreign investment from various countries and other states as well. It’s a city that—I think—is interesting right now because it has this vibe; not quite at Mexico City’s level, but it’s heading in that direction.”
A concept for every setting
When he leaves Monterrey to work on a project, the surroundings become an important part of his process. That was the case with Casa Larsen in San Miguel de Allende. “When we had the opportunity to work there, it was very exciting for me. I really enjoy traveling in Mexico. I’ve had the chance to work in various parts of the country: San Miguel de Allende, Guanajuato, Querétaro, Guadalajara, Monterrey, Mexico City, Puebla, and Quintana Roo. I especially enjoy getting to know the context of each state, each city, and the surroundings.”
That approach involves exploring the locations before I start designing. “Generally, when I go to a project outside of Monterrey, I head out, rent a car, and start getting to know the city—literally exploring the surrounding area. I start interviewing or even getting to know local artisans in the area where the project will be located. This is an adventure for me.”
In San Miguel de Allende, for example, he spent a week exploring the city and observing how the different trades are distributed. “Every city has its own areas. There are parts of Monterrey or Mexico City where all the blacksmiths are; trades tend to cluster in certain areas of cities. I try to soak it all in to observe the people, their rhythms, and also the skill of the artisans who work there.”
That prior understanding was also present when developing Casa Larsen: “I spent a week there, getting to know the city and trying to understand it, especially in context. Even though we’re in Mexico, there are different building styles in each state, and people also have different ways of doing things. It’s important to adapt.”
The overall design process begins right there: “It really starts with getting to know the space, seeing what the site is like, and fully understanding the surroundings—the entire atmosphere that this space I want to create will have. And based on that, we begin to work: we create initial, conceptual volumetric studies, and so on.”
This approach to space is also evident in Casa del Rumor. Gómez explains that volumetric explorations begin after understanding the context, the space, the sunlight, the winds, and the type of soil. “For us, it’s very important to have deep respect for the site itself.”
At Casa del Rumor, they carried out various explorations based on a previously established program. “There are two types of volumes: some are like subtractions, and others are like volumes that are simply placed there. So these were two ways of addressing the clients’ program. We conduct these kinds of volumetric studies where the objective of the house is resolved, so to speak, in two different ways.”
For Gómez, architecture cannot remain detached from the changes in the lives of those who inhabit it. “I believe architecture must be able to evolve alongside the client.” He believes there is a solid architectural foundation that views space almost as a whole, but also includes elements that must necessarily remain open to change. “There are certain things that have to be flexible; they have to be able to adapt to the family, to the people. I think that’s a good thing, and I feel that spaces should also have that flexibility—that they can adapt and evolve alongside the people who live there.”
However, he acknowledges that there are projects in which the integration of the concept makes it more difficult to modify certain elements: “The concept must be so strong, so comprehensive, that it can become difficult to change anything because you’d be removing one thing to replace it with another and affecting another space. That’s when it becomes complex.”
Finishes and materials are part of that evolution. “Sometimes certain finishes change; sometimes certain elements change. I think it’s good for the home to evolve in this way as well. We really like to tell our clients that the materials should be high-quality, authentic, and genuine, so that they, too, can evolve over time.”
The passage of time, in fact, is part of how he conceives of materials: “We also consider the character that materials acquire over time for this very reason: so that they don’t wear out as they evolve, so that they are durable, and, furthermore, so that they possess the character we’re seeking.”
And it’s not that I’m searching for timeless architecture. Or am I? Gómez is cautious: “I think we’d all like a space to be timeless. I wouldn’t dare say that ours are timeless; I think that’s the goal, but time will tell. The goal is for the space itself to begin functioning as a single entity with the context, the atmosphere, and time. We try to incorporate certain elements that we believe can truly stand the test of time.”
Among the influences that have shaped his approach to architecture, Gómez mentions reading. “I read a lot about architecture. I also really enjoy this reflective aspect of architecture.” During his time as a student, the writings of Swiss architect Peter Zumthor were particularly influential for him, and he mentions *Atmospheres* as one of those books.
“I talked more about the spaces. Obviously, a space has to be functional and all that, but I also went a little beyond that. I think the thermal baths were something very important that really left an impression on me.”
Outside of architecture lies another of his passions: boxing. Gómez even finds a common thread between the two disciplines. “There’s strategy. I’ve always believed that every project must have a strategy and a goal, and above all, it must be tangible. You can create something very abstract, but from that abstraction you have to arrive at something tangible, real, and solid.”
He sees a similar process in boxing: “There’s a certain strategy for achieving a goal. And I also think there needs to be a kind of calm, meditative state of mind to assess and solve any problems that may arise.” Architecture, from that perspective, also involves problem-solving: “There comes a point where we’re decisive. We solve many issues. And I think it’s the same in boxing.”
The firm is currently working on various projects. Among them is Casa Margaen, a renovation that Gómez finds particularly interesting and which, he notes, will feature “a very expansive tectonic design.” They are also developing an apartment tower.
“It’s extremely important to us to see how people are evolving, and architecture has to adapt as well. Construction processes are also evolving significantly.”
High-rises also open up another dimension of the practice: collective housing. “I think high-rises are interesting because they allow you to bring together all those kinds of solutions. And, above all, it’s also interesting to see how collective housing is becoming a little more open around the world right now.”
For Gómez, this typology also raises a social issue that architecture must address. “In Mexico City, there are already several examples of this. Here in Monterrey, I think it’s going to start happening too. Houses are getting smaller.”
As a result, the firm faces new challenges at a time when the ways we live are also changing. For Jakob Gómez, this process coincides with a new phase: the opening of his office in Madrid and the launch of his operations in Europe.
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