R+W NATURALS: JAVIER SENOSIAIN
The spaces we live in significantly affect our emotional well-being, and architecture has the power to enhance our experience. Our brains respond to beauty and aesthetic environments, making mindful design essential. By incorporating elements like light, color, texture, and spatial arrangement, architects can create environments that evoke positive emotions, reduce stress, and improve mental health. These thoughtfully designed spaces promote feelings of safety, inspiration, and connection, ultimately enhancing our overall quality of life.
“Just as “we are what we eat,” we are also a reflection of the spaces where we live and spend time.”
Organic architecture is a philosophy of architectural design that promotes harmony between human habitation and the natural world. Rooted in the idea that buildings should be symbiotic with their environments, organic architecture seeks to create structures that are both functional and aesthetically integrated with their surroundings. This approach often incorporates natural materials, fluid forms, and sustainable design practices to minimize environmental impact and enhance the living experience. Pioneered by architects like Frank Lloyd Wright and continued by visionaries such as Javier Senosiain, organic architecture challenges conventional notions of space and design, fostering a deeper connection between the inhabitants and the natural world around them.
Casa Orgánica photos by Leandro Bulzzano
A graduate of the National Autonomous University of Mexico in 1972, Javier Senosiain has dedicated his career to both education and professional practice, teaching Design Studio and Theory of Architecture courses while also engaging in extensive research on habitable spaces. His architectural projects span a diverse range of buildings, including office structures, residential homes, industrial plants, and tourist facilities, all characterized by their organic shapes and ecological harmony.
Senosiain's creations epitomize the interconnectedness of the human body and architecture blurring the lines between time and space. His organic designs draw inspiration from the natural curves and forms found in caves, which have historically served as sanctuaries for humans, symbolizing safety and unity with the earth. In Senosiain's work, architecture transcends traditional boundaries, merging seamlessly with the landscape to create harmonious living environments. These spaces allow the human, the animal, and the natural world to coexist as one, fostering a timeless connection to nature. By integrating the fluidity and sheltering aspects of caves with innovative design, Senosiain crafts habitats that are both functional and spiritually enriching, where the distinctions between human-made structures and the natural environment dissolve. This approach not only respects the intrinsic bond between humans and nature but also enhances the living experience by creating spaces that resonate deeply with our innate desire for unity and harmony with the world around us.
In R+W Naturals, we connect with extraordinary people making waves in sustainability, art, design, architecture, gastronomy, wellness, and wildlife — from travel and hospitality industry icons to acclaimed architects, designers, influential artists, forward-thinking musicians, and boundary-pushing chefs. We spoke to Javier about designing to enhance the human experience, exploring the interconnectedness of our bodies and architecture, and blurring the lines between time and space.
Javier Senosiain in Noguchi Museum in NY, taken by Anna Dave
R+W: It is an honour to interview one of the great visionaries of our time. The whimsical nature of your architecture is full of infinite child-like creativity and wonder, captivating the imagination. How do you define organic architecture? Do you see it as an evolution of vernacular and bio-architecture? What do you consider to be the main differences between these three approaches?
JS: Organic architecture can be defined as a philosophy of architecture that seeks harmony between human habitats and the natural world. Juan O'Gorman defined organic architecture as taking into account the geographical and cultural conditions of a place. I believe that organic architecture is synonymous with bio-architecture, derived from the Greek word "bios," meaning life. This approach considers living things, animals, and plants.
Vernacular architecture, which is primitive architecture, serves as the foundation from which organic architecture evolves. A crucial aspect of organic architecture is site analysis, including topography, orientation, environment, and views, a practice that dates back to vernacular architecture.
“I believe that organic architecture is synonymous with bio-architecture, derived from the Greek word “bios,” meaning life. This approach considers living things, animals, and plants.”
Casa Orgánica photos by Leandro Bulzzano
R+W: Casa Organica is one of your most renowned projects. What I find most fascinating is that it serves as a "live-in model," as your residence and embodies your thought processes. You have said that it was built to align with the natural rhythms of its inhabitants. How has the design affected your state of being while living there? Please share the concept, the inspiration, and the journey behind this project.
JS: I based the design on the natural movement of humans, noting that people often walk in an "S" pattern or slalom when navigating around obstacles. One of the objectives of Casa Orgánica is to adapt to the human body. These are harmonious spaces where the continuity and fluidity of space, combined with structure and form, create unity and harmony, resulting in very cozy areas. In the case of my daughters, this harmony positively impacted their lives. For 25 years, their friends enjoyed the garden and interior spaces, playing games like hide and seek. Beyond these benefits, it is also an architecture that is fun.
Casa Orgánica photos by Leandro Bulzzano
Casa Orgánica photos by Leandro Bulzzano
R+W: Nature is the greatest architect in terms of adapting to constant change and building after our needs. Your work has been described as a respectful conversation with nature. What regenerative systems are currently in use to build with landscape in mind? Why do you think there is a renewed interest in organic architecture today?
JS: I believe it is crucial to analyze the principles of nature, including structural, formal, and functional aspects. Physiology aims to adapt these principles to architecture, which has evolved over thousands of years, rather than simply copying them. Today, we face many issues, especially ecological problems due to climate change. When societal values collapse, people tend to turn to nature. While it's uncertain if our values have already collapsed, it is evident that people increasingly seek spaces and time with nature.
“When societal values collapse, people tend to turn to nature. ”
Casa Orgánica photos by Leandro Bulzzano
R+W: Let’s talk about the technical aspects of organic architecture. Please tell us more about “ferrocement” and your use of continuity when creating spaces.
JS: Yes, it is somewhat similar from a structural perspective. In nature, we find the principles of the arch, vault, and dome. Erosion caused by water or wind can produce an arch, and the vault and dome were elements used in great cathedrals from the Roman era through Byzantine, Romanesque, Gothic, Renaissance, Baroque, and Art Nouveau periods. Art Nouveau did not manage to take off, and then Art Deco emerged between the First and Second World Wars. After that, we began constructing buildings in box-like forms, a trend accelerated by the Industrial Revolution.
Had Art Nouveau continued using the dome, vault, and arch, today's architecture might more closely resemble organic architecture. Structurally, the shell of an egg is very rigid due to its shape, similar to ferrocement. In various projects, we have used ferrocement with free structures of double curvature or double inverse curvature, which provides rigidity. This approach is cost-effective because the structures are only 4 centimeters thick and, at the same time, offers the fluidity that comes from a structure that defines a space. Externally, the form reflects the structure.
“In nature, we find the principles of the arch, vault, and dome. Erosion caused by water or wind can produce an arch, and the vault and dome were elements used in great cathedrals from the Roman era through Byzantine, Romanesque, Gothic, Renaissance, Baroque, and Art Nouveau periods. After the Second World War, we began constructing buildings in box-like forms, a trend accelerated by the Industrial Revolution.”
Casa Orgánica photos by Leandro Bulzzano
R+W: Barragán often remarked on the blinding effects of excessive light, noting that animals naturally seek out semi-darkness. Please discuss the role that light plays in your projects.
JS: Gaudí also observed that both excess light and lack of light can blind us. Light is fundamental in the plastic arts, such as painting and sculpture. It can provide either a wide or narrow perspective. In his projects, Barragán would transition from large, well-lit spaces to narrow, dark areas. These are basic concepts, yet they are significant because of the sensations they evoke in a space, such as surprise and mystery. Barragán's spaces evoked serenity and enchantment.
Casa Orgánica photos by Leandro Bulzzano
Casa Orgánica photos by Leandro Bulzzano
Similar effects can be achieved with the ferrocement construction system. For instance, transitioning from a closed space into a garden can create a sense of infinite space. The impact depends on one's talent and how the space is defined. The Ronchamps church by Le Corbusier (1955), though very small, feels pleasant and allows one to hear the silence.
“Transitioning from a closed space into a garden can create a sense of infinite space. The impact depends on one’s talent and how the space is defined. The Ronchamps church by Le Corbusier (1955), though very small, feels pleasant and allows one to hear the silence.”
Casa Orgánica photos by Leandro Bulzzano
R+W: Your work often extends the principles of organic design into the interiors of his buildings, including custom furniture pieces that complement the flowing, natural forms of your designs. Please discuss the role of furniture as part of your architecture.
JS: I believe this is very important because we typically buy commercial furniture to fit into our spaces, often integrating it into our octagonal designs. In the organic architecture we practice, everything is seen as a cohesive whole, much like an organism. It’s a way of integrating space, form, structure, and furniture into a unified entity. This approach represents a different mentality for living and designing.
El Nido de Quetzalcóatl photos by Dimitri Roggon
El Nido de Quetzalcóatl photos by Dimitri Roggon
For example, in Casa Orgánica, there are no traditional paintings; instead, the windows serve as paintings, and the furniture, like the kitchen table, acts as sculptures. In my bioarchitecture book, I use the term "arespin," where "ar" stands for architecture, "es" for sculpture, and "pin" for painting. This concept reminds me of the Altamira cave, where they painted on protruding stones, creating low reliefs that were part of the cave's structure. I believe this kind of integration is crucial, especially in our understanding of octagonal architecture.
“In Casa Orgánica, there are no traditional paintings; instead, the windows serve as paintings, and the furniture, like the kitchen table, acts as sculptures. In my bioarchitecture book, I use the term “arespin,” where “ar” stands for architecture, “es” for sculpture, and “pin” for painting. This concept reminds me of the Altamira cave, where they painted on protruding stones, creating low reliefs that were part of the cave’s structure. I believe this kind of integration is crucial, especially in our understanding of octagonal architecture.”
Casa Orgánica photos by Leandro Bulzzano
Casa Orgánica photos by Leandro Bulzzano
R+W: Your design concepts revolve around reconnecting with origins, whether it's the nurturing environment of your mother's womb or the freedom of childhood where creativity thrives. Could you delve deeper into the therapeutic effects of organic architecture, its focus on connection, revisiting our spiritual foundations, and thinking beyond conventional boundaries? (getting outside of the box as you have said).
JS: I am increasingly convinced of the importance of living happily and harmoniously with both architecture and nature. The relationship between humans and nature is essential, as humans are part of nature. This belief strengthens my appreciation for organic architecture and its emotional benefits, which, though not easily quantifiable, are incredibly valuable.
Today, many books and conferences emphasize reducing stress and the importance of connecting with nature. Alongside practices like meditation, yoga, healthy eating, and sports, the significance of our relationship with nature cannot be overstated. Just as "we are what we eat," we are also a reflection of the spaces where we live and spend time.
Casa Orgánica photos by Leandro Bulzzano
R+W: What has been the most challenging project to date? What has been the most satisfying?
JS: El Nido de Quetzalcóatl and Parque Quetzalcóatl presented a unique challenge due to the irregular terrain with caves. Initially, it was difficult to envision where the structure would be placed. Gradually, the design evolved to extend upwards with minimal contact with the land, thereby preserving a larger green surface area.
El Nido de Quetzalcóatl photos by Dimitri Roggon
R+W: El Nido de Quetzalcóatl gives everyone a chance to experience the art of organic architecture in the form of hospitality. Please tell us more about this project. What feeling do you want the visitors to achieve and leave with?
JS: I believe the analysis of the site, topography, and orientation was crucial, along with the environment and views. This project exemplifies how site analysis and the geography of the location informed the architectural concept. The exterior, featuring the existing ravine and forest, is very pleasant. We aimed to integrate the garden with the forest and the serpent, named after Quetzalcóatl, the Aztec god.
The structure of Quetzalcóatl's body was projected as a large tube with 10 apartments. The tube measures 120 meters in length and approximately 8 meters in diameter. A 1.20-meter-wide floater was placed and adjusted according to views and orientation. The snake's head was placed in the largest cave, with the body extending in and out, and the tail located at the parking lot. Entering through the head or cave leads to El Nido, where there are small snake-like structures.
“My focus was on the creative process rather than creating a predetermined feeling. The importance of integrating the terrain with nature and human elements gave us exterior and interior spaces, designing curved spaces, though not as organic as in other projects. The result reflects the entire process, rather than a pre-planned design.”
El Nido de Quetzalcóatl photos by Dimitri Roggon
My focus was on the creative process rather than creating a predetermined feeling. The importance of integrating the terrain with nature and human elements gave us exterior and interior spaces, designing curved spaces, though not as organic as in other projects. The result reflects the entire process, rather than a pre-planned design.
There are two favorite spaces among people. One is a white "little egg" near the foundation, which serves as a studio. The other is where we made cuts for the snake, creating a level area that rises into a triangle, resulting in a bedroom with a mezzanine. The tube's shape influenced the interior spaces, even though it initially "broke" a bit formally.
I am increasingly convinced of the importance of emotional and psychological functioning over material functioning.
Casa Orgánica photos by Leandro Bulzzano
“My mythical happy place is the womb itself—an exceptionally warm place with numerous qualities, advantages, and unique environments. The natural one would be Casa Orgánica, where despite the existence of different spaces, each one is inviting. ”
R+W: What is your happy place? (natural or mythical)
JS: The mythical one could refer to the womb itself—an exceptionally warm place with numerous qualities, advantages, and unique environments. The natural one would be Casa Orgánica, where despite the existence of different spaces, each one is inviting. Depending on the time and purpose, there were several spaces such as the study; my desk, though small with a garden-facing window, provided ample protection and concentration for my work. The kitchen and living room served as more social spaces, each distinctly memorable. In traditional architecture, spaces vary in size but often resemble boxes. Contrastingly, in the Nautilus house, entering creates a space-time experience where the further you move, the more you perceive the space; here, the ceilings, floors, and walls are non-parallel. This spatial-temporal relationship significantly alters the experience of architecture as you move through it.
The Nautilus House by Javier Senosiain
The Nautilus House by Javier Senosiain
Translated by: Fernando Campos (@feugalde)
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