How did this place come about and what made it different from the start?
In early 2025, we had the opportunity to take over a space in a building located in an alley in downtown Tijuana. With the intention of playing with how we perceive the passage of time, we decided to repeat the exercise we did in Bloodlust (our previous project): inviting the group of builders from Coatepec, Veracruz, who master the ferrocement technique, Jaime Zuverza, a Texan artist, and creating a surreal piano bar, inviting other local artists and designers to complete the experience.
What part of the day, space, or creative process do those who work here enjoy the most?
Cocktails and music are our main creative processes, but I think stepping into a peculiar space-time dimension is always enjoyable; although at times it can also feel overwhelming.
If someone is coming in for the first time, what should they not miss?
A piano session with a martini in hand.
What has been an interesting challenge that has made you rethink something about the project?
It is a very young project, it is only just beginning to develop its true personality. Allowing it to grow freely in its first year and being able to identify the traits it reveals so we can guide them has been a constant challenge.
What influence, idea, or reference continues to shape the way you work today?
Moving away from current bar formats, especially listening bars, which are popping up everywhere around the world and where it is hard to tell one from another.
If your space could invite someone to collaborate for a day, who would it be and what would you do together?
We have constant collaborations: pianist residencies, guests at the bar and kitchen, interventions in lighting and sound systems.
Is there an object, corner or detail of the place that has a story that few people know?
There is an elf that no one has ever seen.
If this project were a city, a book, or a record, which would it be and why?
Naked Lunch — William Burroughs.
Answers by Alfonso Muriedas. Photos by Meli Lunar.
