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Designed by noted architect Ricardo Legorreta, Monterrey's Contemporary Art Museum—known as MARCO (from Museo de ARte COntemporáneo)—opened its doors in 1991. Legorreta was influenced by the Tapatía School of architecture, probably best exemplified by the works of his teacher, Luis Barragán.

The Tapatía architectural school derives its name from the term used to descrive natives of Barragán’s home town, Guadalajara: the capital of Jalisco, known for its large number of country estates, or “haciendas,” many of which produce tequila and similar spirits. Architecturally, haciendas are greatly influenced by the tastes of Spanish colonists, and this influence can be seen in their open-air interior courtyards surrounding separate buildings to house extended families, service staff, animals, and even industrial areas.

Many consider haciendas among the most representative architectural styles of Mexico, including in Nuevo León, of which Monterrey is the capital. So when Legorreta was selected to design MARCO, which was to become one of Monterrey’s calling cards in its rapid modernization at the turn of the century, he looked to the past for inspiration.

MARCO is centered on a square central section in a nod to the hacienda courtyard. Normally open to the air on an hacienda, the museum’s version is indoors and mirrors the typical central well or fountain with a reflection pool filled at random intervals from a waterfall-like source.

The “Patio de las Esculturas” of the Museum is practically its only outdoors area, thanks to two of Monterrey’s best-known characteristics: its often-extreme weather and its impressive natural surroundings that earned it the nickname “Ciudad de las Montañas” (City of Mountains). Chief among these mountains is the Cerro de la Silla, resembling a “silla de montar,” which can be translated as Saddle Hill. The land earmarked for MARCO had a great view of this hill, which Legorreta decided to highlight with an open-air patio. (It has probably helped in the installation of massive sculptural works for temporary exhibitions as well.)

This patio can perhaps be seen as the equivalent of the hacienda’s stables, or another structure separate from the main house. In true Tapatía School style, the building employs linear volumes and bold colors, “Mexican pink” chief among them. The high walls enclosing most of the patio give way to a much lower one in the direction of Saddle Hill to allow its imposing presence to lord over the view. Other than the shade of these walls, the only cover comes from a walkway lined with featureless geometric columns, a minimalist response to a colonnade. Unlike hacienda patios, this space is completely devoid of vegetation, in order to keep the sky and view as the only natural intrusions in a man-made environment designed to showcase sculptural works.

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