17 Oct 2018, Mexico City, Mexico

As far as we are concern, they are not –solely– tributes to power, representations of hierarchy or technological achievements; they are a whole creative dimension. That’s why we don't call them “high-rise structures”, “skyscrapers”, or even “towers”, “temples”, “pyramids”. For us, they are all “vertical progressions”.

Vertical progressions… The term has resounding hints. Think deeply about it: developing an aptitude for stacking things and creating vertical order in our world is among the first exercises an infant is expected to master. This is a process that entails architectural and engineering essentials such as stability, sequence, alignment, progression and, obviously, verticality.

Why do vertical progressions thrive in modern world? Do the scarcity and high cost of horizontal space are their main triggers? In which symbolic position do these vertical progressions settle? Do they have a weighty purpose in our cities, other than their real-estate stance? Ultimately, whom do they represent? These are the matters that we wonder about, in a professional way, regarding vertical progressions.

We have a bunch of convictions, too: when designing high-rise structures, it is key to identify the multiple implications of verticality in order to ensure that the design proposal truly serves a community of people. This is achieved through a variety of dynamic design resources, which make certain that all interior spaces at every level are afforded equal importance.

Anyway, vertical progressions the wit and capacity to rise above commonplace reality. That is a basic notion and the core of our investigation.

Text: Pablo García
Graphic Design: Romain Roy-Pinot

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