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Ricardo Legorreta designed the Camino Real Polanco in 1968 as Mexico City's Olympic hotel, and from the beginning his ambition was less to build a luxury property than to stage an argument about what Mexican modernism could be: bold, chromatic, rooted in the flat-walled geometry of pre-colonial architecture rather than the glass-and-steel idiom imported from the north. Color at the Camino Real is not decoration applied to a building — it is the building's primary structural language, each mass assigned its own saturated field the way a painter assigns a ground. Here that language is reduced to its most elemental terms: a hot-pink open lattice of stacked square modules occupies the lower left, punched through with rectangular voids, set against a flat yellow wall whose roofline cuts a clean diagonal across pale sky. The composition is almost aggressively simple — no transition, no gradient, no middle tone, just three hard color fields meeting at hard edges, the pink grid casting its own shadows into the blue sky framed by its openings. In Mexico City, this counts as restraint.
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