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Fernando Romero's Soumaya Museum is sheathed in roughly 16,000 hexagonal aluminum tiles, each one slightly different in size to accommodate the building's compound curves — a solution that reads, from a distance, as a single seamless skin, and up close as something closer to chain mail or fish scale. The form itself is the argument: no two facades are alike, the building widens as it rises, and the entire volume sits on just six columns, giving it a top-heavy, almost precarious presence against the Polanco skyline. Here the camera looks up along the upper edge of that curving skin, where the hexagonal grid tightens and warps as it rounds the building's crown, the aluminum shifting from bright silver to a cooler grey-white as the surface turns away from the light. The horizon of sky and metal cuts diagonally across the frame, turning an engineering problem — how do you tile a doubly-curved surface? — into something that looks, from this angle, entirely inevitable.
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