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Fernando Romero's Soumaya Museum is clad in roughly sixteen thousand hexagonal aluminum tiles, each one individually sized and positioned to follow the building's double-curved, asymmetric form — a structural problem that required computational modeling typically reserved for aerospace engineering. The tile pattern is the building's argument: a system of identical units that only appears uniform until the surface bends, at which point the hexagons compress, elongate, and shift register to accommodate the geometry beneath them. Here, shot from low and close, the camera catches the precise moment where the facade torques inward at the building's narrowed waist, the tile grid tightening into a dense, almost writhing compression before the surface opens again above. A sliver of pale blue sky is just visible at upper right — the only element in the frame that isn't part of the pattern, and the one that makes the scale legible. Mexico City built a museum that looks like nothing else on earth, and then covered it in six-sided tiles, the most ordinary shape in nature.
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