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Fernando Romero's Soumaya Museum is sheathed in roughly sixteen thousand hexagonal aluminum tiles, no two at exactly the same angle — a cladding system engineered to follow the building's double-curved form the way scales follow a living thing. The shape itself resists easy reference: part torso, part tower, it widens as it rises and then twists, so that the facade is always in motion depending on where you stand. Here the camera finds the building's upper sweep at close range, the tiles catching flat white light against a pale steel-blue sky, their irregular grout lines creating a rhythm that reads somewhere between mosaic and chainmail. The lower edge of the frame cuts to a sliver of deep shadow — the void beneath an overhang — which makes the curving surface above it feel less like a wall than a wave about to break. Mexico City has never lacked for ambition; Romero simply clad it in silver and pointed it at the sky.
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