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Since 2006, Frida Escobedo Taller de Arquitectura has been operating in Mexico City, but like that of many young practices, Frida’s career began with small commissions that, due to their forcefulness, gave rise to increasingly important projects, such as the remodeling of the hotel Boca Chica, in Acapulco (2008); the renovation of the pavilion of the El Eco Experimental Museum, in Mexico City (2010); and the expansion of La Tallera Siqueiros, in Cuernavaca (2012).<\/p>\n
In the latter, Escobedo proposed opening the museum patio to the adjacent plaza, rotating Siqueiros’s murals from their original position and managing to generate a new relationship between the museum space and its urban context. Beyond the force of the gesture, the action implied a symbolic provocation between the architectural fa\u00e7ade and the murals as pieces of art, and the way in which both relate to the public dimension.<\/p>\n
More than having an interest in developing a style or a merely aesthetic search, his projects bring to the table important questions and concerns that he explores through a material, spatial and formal approach. This, in turn, has allowed questions and interests that are beginning to be reviewed in smaller-scale projects or that are ephemeral in nature, to give way to increasingly important commissions.<\/p>\n
Frida Escobedo has received different awards and her work has been included in important platforms, such as the Venice Architecture Biennale in 2012 and 2014 and the Lisbon Triennale in 2013. In 2016, she received the Architectural Review Emerging Architecture Award, and in 2017, the Architectural League Emerging Voices Award.<\/p>\n
A year later, he achieved global recognition by receiving the design award for the Serpentine Gallery’s annual summer pavilion. Every year the British gallery commissions the ephemeral structure located in Kensington Gardens, London, to activate the outdoor space during the hot months, and has had the collaboration of architects such as Zaha Hadid, Peter Zumthor or Oscar Niemeyer.<\/p>\n
Parallel to his work in the office, Escobedo has also incorporated teaching and academic research as part of his practice, and has done so in such prestigious institutions as the Yale School of Architecture.<\/p>\n
These are spaces where the recurrent questions in his projects can expand and take other forms. Such is the case of “Domestic Orbits<\/i>“, research developed over several years and that takes the form of an essay accompanied by architectural graphics that investigate the relationship of service spaces within homes in Mexico and the political, social and economic implications that this entails, while architecture is a tangible reflection of the contemporary values \u200b\u200bof our society.<\/p>\n
This year, Frida is once again at the center of the global conversation around architecture after being selected to design the new modern and contemporary art wing of the Metropolitan Museum of Art in New York (Met).<\/p>\n
The relevance of the project is enormous, since it will house almost 7,500 square meters of public spaces and exhibition halls for art pieces such as paintings, sculptures and digital art, making it the largest project to have emerged from his office. It is the first time that the New York institution has opted for such a young architect of Latin origin to renovate a wing of the museum; a project estimated to cost $500 million.<\/p>\n
Why do we choose it?<\/b><\/p>\n
For being one of the most influential architects of her generation and one of the most important in Mexico in recent years. Her project for the Met in New York attests to this.<\/p>\n<\/p><\/div>\n