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Fernando Romero's Soumaya Museum is clad in sixteen thousand hexagonal aluminium discs, no two rows at quite the same angle, locked together across a free-form shell that widens as it rises and then flares outward at the top — a shape that resists any single clean description and looks different from every approach. The cladding was the engineering problem: because the building has no flat faces and no repeated curvature, each tile had to be individually positioned across a doubly curved steel substructure, the seams between them tightening and spreading as the surface bends. Here, the camera is close enough that the individual hexagons read clearly in the lower right, then compress into chevron ridges as the facade curves away toward the upper left, the whole mass sweeping diagonally across a flat steel-blue sky. The waist of the building — its narrowest point, where the form cinches before flaring again — bisects the frame, turning what is in fact a very large building into something that reads, at this distance, almost like fabric. Mexico City has never been short of architectural ambition; Romero simply chose to express it one hexagon at a time.
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