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Over the years, interior design has evolved according to the needs that arise, but above all according to the experiences it seeks to evoke in the user. In the last two years we have witnessed a radical change and a special interest in this subject because the pandemic forced us to pay specific attention to the configuration of the places we inhabit. This brought about much more holistic designs that seek to address the wellbeing of the user, combining colours, sensory experiences, technology and natural elements that promote health.

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EseColectivo is an architecture studio formed by Belén Argudo, José de la Torre, Santiago Granda and Pablo Silva based in Quito, Ecuador. Their interests are focused on experimentation with alternative building materials, with an emphasis on technologies and logic. In their design process, they seek to reconcile low-impact sustainable strategies with the specific needs and constraints of each project, so that their results are heterogeneous and differ in the type of methodological and technical approach.

The experience of this team has not only been built from their works such as The Endemic House and House in a Corridor, but also through collaborative practices with architecture studios, cultural managers and related projects at local and international level, leading to the development of initiatives closer to architectural documentation, research and dissemination. Consequently, they created "La Parleta" - the first architecture podcast in Ecuador.

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Inner courtyards and gardens can provide many benefits, such as natural light, better ventilation, and increased contact with nature without losing privacy. 

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This article is a part of a collaboration with coolhuntermx.com. It was originally published under the title "Luis Barragán and José Clemente Orozco,The House They Built Together ", written and photograped by David Lozano Díaz in collaboration with Lorena Darquea.

There's a lot of discussion surrounding Casa Orozco as to who the real creator is —Luis Barragán or José Clemente Orozco. And even though we know that one of them was responsible for the architecture, the answer still remains unclear. Orozco returned to Mexico in 1934, by invitation from the Mexico City government, after a seven year stint in New York. Once he arrived, he was commissioned to paint a mural inside the Palacio de Bellas Artes. Afterwards, he received commissions from the Jalisco Government to paint a series of murals for three public buildings in Guadalajara.