Javier Senosiain on the Architectural Curves that Captivated the World

When a young Javier Senosiain presented his thesis project—a cultural and sports center—to his professor Mathías Goeritz at the National Autonomous University of Mexico, he anticipated critique. Goeritz, a towering figure in Mexican modern art and architecture, challenged the young architect’s initial design of rigid orthogonal spaces. “Sports are movement, fluidity,” Goeritz reminded him, encouraging Senosiain to look beyond the confines of straight lines. That insight became a watershed moment, prompting Senosiain to embrace organic forms that mimicked those found in nature. It was the beginning of a lifelong journey into what he would later call Bioarchitecture.

Senosiain’s fascination with free-flowing spaces took root early in his career. “[Curved spaces] are more human because they are part of nature,” he explains. This philosophy found its first major expression in Casa Orgánica, a home nestled into the landscape like a living organism. Built in the 1980s, the house rejected convention. The embryonic concept for the project drew inspiration from a peanut shell: two large, light-filled oval spaces—one for living and one for sleeping—connected by a narrow, dark passage. This design mirrored the basic functions of human life, creating a space to gather, with a living room, dining room, and kitchen, and a space to rest, with a bedroom, dressing room, and bathroom. Grass-covered and naturally temperature-controlled, Casa Orgánica embodies a sense of entering the earth itself, seamlessly integrating with the surrounding green spaces. This project, along with his book Bioarchitecture: In Search of Space, became a cornerstone for reconnecting architecture with the environment.

For Senosiain, organic architecture is a way of thinking about how humans inhabit and interact with the planet. “The influence of Austrian architect Friedensreich Hundertwasser resonates deeply with my work,” he says. Hundertwasser famously wrote that humans have three skins: the epidermis, their clothing, and their home. “A home should adapt to the person,” Senosiain insists, and his designs reflect this belief. In organic architecture, one might glimpse forms reminiscent of animals or plants, their curves and contours echoing nature’s own designs. “Recently, we’ve accentuated these shapes,” he notes, “as seen in projects inspired by a shark, a nautilus, or a fish.”

Senosiain’s native Mexico has been both a canvas and a collaborator in this vision. “In Mexico, labor is affordable, but more importantly, Mexicans are creative across all levels. Local artisans have exceptional natural talent that has been passed down through generations,” he says. Drawing on a legacy that spans pre-Hispanic artistry and Spanish influence, Senosiain has been able to experiment boldly with forms inspired by craft, painting, and engraving, among other elements. Whether it’s the undulating curves of Casa Orgánica or the spiraling form of the Nautilus House, his works hold a sense of wonder, equal parts functional and sculptural.

This connection to nature is also deeply practical. “Grass, shrubs, and trees release oxygen, filter dust, and absorb carbon dioxide,” he explains. “Earth is one of the best thermal and acoustic insulators.” These principles are evident in his projects, which maintain consistent, comfortable temperatures without reliance on modern energy systems. For Senosiain, architecture should not only serve people but also enhance the environment—a philosophy that feels increasingly prescient in the face of climate change.

One of his most ambitious projects, Nido de Quetzalcóatl (2000), exemplifies this philosophy. The design features the curving body of Quetzalcóatl, the Aztec cosmic serpent, rendered in ferrocement with an iridescent finish that shifts between golden emerald and deep violet blue—colors evocative of the quetzal bird’s feathers. According to Senosiain, the serpent serves as “a bridge between heaven and earth.” The structure’s malleable form dives, emerges, and submerges into the landscape, intertwining with its natural surroundings.

Senosiain’s designs have drawn comparisons to surrealism and Art Nouveau, but he sees them as a continuation of a much older lineage. “The arch, vault, and dome—all these forms were inspired by nature. Roman, Byzantine, and Gothic architecture understood this. But somewhere along the way, we lost that connection,” he says. His work aims to restore that bond, creating spaces that are both primitive and futuristic, grounding people in the past while pointing to his vision for the future.

Playfulness is another key element in the architect’s work. “It’s like playing with clay,” Senosiain says. “You’re free to shape something instinctively, letting it take on a life of its own.” That sense of freedom has found a new resonance in the digital age. “Instagram has been incredible for connecting with a younger audience. It’s a platform that makes my work instantly accessible to people who might not have encountered it otherwise.”

Looking back on his career, Senosiain finds the greatest satisfaction not in accolades but in the joy his spaces bring to people. “Seeing how people interact with Casa Orgánica or Parque Quetzalcóatl—how they feel at ease, inspired, and connected—that’s the real reward,” he reflects. For him, organic architecture is a way of reshaping how humans live in harmony with the earth. As cities grapple with the challenges of sustainability, Senosiain believes that “The cities of the future must heal the planet. Organic architecture can lead the way.”

Through his visionary buildings and commitment to the environments that surround them, Javier Senosiain has carved a legacy that reflects nature itself—alive, evolving, and rooted in the unrelenting beauty of the planet we call home.