Location
Mexico City
Completion
2026
Scope
Interior Design, FF&E, Project Management, Cosntruction Supervision
Collaborators
Luis Huerta
ESTUDIO Ignacio Urquiza Ana Paula de Alba
CAAM Arquitectos
FF&E
Clásicos Mexicanos
Lighting Design
In Light We Trust
Furniture
Piztola, Design Cacao, Los Patrones, Clásicos Mexicanos
Photography
Zaickz Moz
At the heart of one of the country’s most emblematic architectural works, the renovation of the Mexico City Stadium is conceived as a contemporary manifesto of identity. More than an intervention, the project offers a deep reading of what it means to build in Mexico today: a synthesis between memory and international presence, between matter and narrative.
Thus, national identity is constructed as an open language, where architecture, design and art operate as vehicles of collective expression. A language that integrates inclusion, progress, craftsmanship and creative genius, and that finds in the scale of the stadium the ideal stage to project Mexico into a global conversation.
The intervention within the Stadium is structured around three conceptual principles that define its scope and depth.
The first responds to the need to recover and preserve the original spirit of the stadium. Beyond its sporting dimension, the building is recognized as a cultural symbol, a witness to foundational moments such as the 1968 Olympics and the 1970 and 1986 World Cups. In this sense, the proposal understands the stadium as a living archive, where architecture has accompanied and enabled a broader national creative expansion.
The second principle reclaims Mexican modernism as a current expression of identity. The intervention engages in dialogue with the legacy of key figures —Pedro Ramírez Vázquez, Clara Porset, Mathias Goeritz, Ricardo Legorreta, among others— not through nostalgia, but through reinterpretation. In this way, a cohesive language is recovered, positioning Mexico within the global landscape of design and architecture.
The third principle proposes collaboration as a methodology. Five Mexican offices —Cuaik | CDS, Luis Huerta, ESTUDIO Ignacio Urquiza Ana Paula de Alba, CAAM Arquitectos and Clásicos Mexicanos— converge in a collective exercise that privileges coherence over fragmentation. Rather than dividing the project, an integral system is built in which each space responds to a shared vision, giving rise to a coherent, fluid and deeply articulated proposal.
The design strategy unfolds across more than 15,000 m² of intervention, where the stadium’s monumental scale is translated into a precise and sensorial interior experience. The project introduces a chromatic system that organizes and orients: green, terracotta, blue and yellow code the different levels, transforming circulation into an intuitive experience.
On the west side, street-level access is defined by a terracotta-toned facade and reception area that articulate a vertical route toward differentiated spaces. On the lower level, the yellow tone is introduced; a space composed of a bar and lounge area connects to suites that replicate this same identity. On the upper level, the color green appears, where a large central bar becomes a meeting point. The modulation of wood walls and steel frames reinforces this systematic reading of the space.
In contrast, the east side introduces a dominant opening: a large terrace on Level 300 that visually and physically connects the pitch with the exterior landscape —the volcanoes, the esplanade and Calder’s Sol Rojo—.
This permeability redefines the stadium experience, dissolving the boundaries between interior and exterior through an open plan that functions as a social space.
Beneath the stands, the Lower East Bowl emerges as a parallel universe linked to the “behind-the-scenes” experience. Organized around the Centerline Club - a space that responds to the center of the pitch - this underground system articulates different programs —tunnel club, locker room club and corner club— in a mirrored layout that emphasizes the central axis.
A mural designed by Andrés Gómez Servin, curated and developed by Cerámica Suro commemorates 65 years of the stadium’s history, integrating memory and circulation into a single surface.
The project develops its own line of furniture that extends the architectural discourse to the scale of the object. The Colección EA, designed by ESTUDIO Ignacio Urquiza Ana Paula de Alba, Cuaik | CDS and Luis Huerta; and produced by Piztola, reinterprets the stadium’s geometry and structural logic in pieces that vary in height, color and function.
Benches, chairs and stools in seven distinct colors unfold as a coherent system that dialogues with each environment, responding to programmatic needs without losing a clear formal identity.
Team
Almudena Oria de la Fuente, Ana Paula De Alba, Camilo Moreno Oliveros, Cocó Rincon, Daniel Moreno Ahuja, Daniela Pérez García, Emilio Guzman, Emilio M. Frausto, Erick Eduardo Castillo, Erika Rodríguez Alarcón, Ian Ortega, Ipaldemoany López, Javier Vega, Jimena Orvañanos, Katherine Von Berner, Leslie Jazmín Cortez, Levi Ramírez, Lucia Pells, Luis Felipe Marquez, Luis Huerta, María Fabiola Antonini, Mariana Aguilar Vega, Michela Lostia di Santa Sofia, Miguel Ángel Vega, Pablo Herrera, Patricio Molina, Paulina García Ortíz, Santiago Cuaik, Thalia Valverde, Xavier Delgado
Colección EA
Design: ESTUDIO Ignacio Urquiza Ana Paula de Alba, CUAIK | CDS, Luis Huerta
Production: Piztola
Lighting
Miguel Ángel Vega, ILWT
LEED Consulting
Gabriel Morales
Landscape Design
Rafael Lopez, Green Roof
Structural Engineering
Mauricio Pantoja
