Using traditional Oaxacan techniques, Juan José Santibañez’s museums and schools have a tactile beauty.
advocating locally inspired architecture. “Everywhere throughout the world, one finds the same bad movie, the same slot machines, the same plastic or aluminum atrocities,” Frampton complained. As an antidote, he proposed a movement he called, an approach that planted contemporary architecture in the soil and customs of a particular place.
If he doesn’t feel limited by a small city, or a state that has roughly the land area of Indiana and two-thirds the population, that’s partly because there’s plenty of cosmopolitanism to sustain him there. Some years ago, he moved from Huajuapan to Oaxaca, joining a coterie of intellectuals and artists who help give the city its vibrancy.
As we proceed through generous rooms that face toward mountain views Santibañez keeps coming back to the house as a representation of the body. When a human hand has shaped every brick, slat, and block, then each is similar but unique and unrepeatable, he says — just like us. To him, the mottled, uneven surface, now lustrous, now matte, makes architecture alive because it resembles human skin, the surface of the earth, or the bark of a tree.
The connection between weaving and architecture isn’t casual. Santibañez’s most visible work is the main courtyard of the Textile Museum, a double-height red-brick-and-shingle screen vibrating with shadows, voids, and triangles. It’s the sort of spot that makes visitors
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