The fundamental premise for the project was born from the need to recycle an unused subterranean space. This building was formerly the headquarters for the telegraphs in the center of the state capital. In 2015 it was demolished in order to host an urban site now known as Patio Jose Guadalupe Posada. Once coming to the decision to avoid filling the basement in question, the secretary of public works opted to regard its condition to later assign a different use. Considering location and context - this use would have a cultural vocation.
The order responds to a variety of complex needs categorically listed by the Cultural Institute of Aguascalientes. This allows the space to primarily function as an intimate musical forum, receiving local and international artists with jazz and blues recitals, chamber music, string assemblies, acoustic shows, etc. In addition, it will also admit literary discussions and presentations, small committee dinners and toasts/tastings of products native to region and state.
As is common with all governmental commissions, the first limitation was the amount needed for the investment. The first and most important premise for design consisted of minimal intervention versus forceful impact. In order to achieve this, the beginning sketches reflected the leading objectives of the design : Work with the least amount of elements possible, follow a contemporary language, use lighting as a key element to create infinitely changing atmospheres, and ultimately provide an acoustic behavior apt for superior quality musical presentations.
To responsibly acknowledge the nature of such an abandoned space (with little to no natural light or ventilation, with a maximum 2.5 meters of usable height and considering the intention to house up to 150 guests) decisions were made which would begin to make up the leading concept of the project.
The first resource and protagonist theme of the composition was a continuous parameter in an "L" shape leaned on the east and south walls, floating and rounded in a straight angle which conforms where the stage is located. This resource was established as well as a changing lattice composed of 607 wood slats of approximately 70 cm in height spaced in three rows divided by a black metal profile. Each of these pieces has the ability to turn on its own axis. This assigned each of these its own chaotic individuality, due to the visitors whom played with their positioning in a random sense. Such mask is further emphasized as it is separated from the walls mentioned. This causes a vacuous space through which artificial light can emanate as an indirect bath - both in chromatic tones and changing intensities. The complimentary vertical surfaces were covered with MDF panels in a semi-square proportion from floor to ceiling perforated by orifices in the form of thick, curved and organic lines which remind us of the rough and poetic strokes of the engraving master whom gave this urban space its name.(Jose Guadalupe Posada) Also under the same floating effect with respect to the surfaces which support them, the plates emanate colored lights from the apertures aforementioned. Moreover, the networks of exposed installations - thereby also stating the wholly utilitarian character of a basement - such as the concrete slabs with their original soffits were painted a matte black to lose the feeling of low height and oppression and therefore capturing the visitor's attention through the lattice wall and indirect lighting of the place.
In conclusion, the proposal promotes to generate a cosmopolitan and contemporary atmosphere which would simultaneously allow us to disregard the geography in which we are situated.
Inaugurated in 2019, Sotano Stallworth, named in tribute to the legendary jazz player from Aguascalientes, Raul Stallworth, is also prepared as a gallery to expose visual and plastic arts on its changing walls and strategically designed lighting.