While the property fell into disrepair in the 21st century, Raul Cabra and Michael Sledge, co-founders of design collective Oax-i-fornia, took over in 2007, and as current custodians of the historical residence have overseen its meticulous and ongoing restoration.

“The idea was to create a space in which artisans and students could actually meet, collaborate and grow together,” states Cabra, describing the vision for Oax-i-fornia, a collaborative model that brings together art and design students with Oaxacan artisans for social change and cultural engagement. “We needed a space that would serve as the home of the students, and also a place where the workshops would take place.”

La Ex-hacienda Guadalupe also serves as the full-time home of Sledge, an American writer, and Cabra, a Colombian-born designer of objects, graphics and interiors, as well as their eight dogs, two horses and three donkeys.

Spanning 14,641 sq ft, the square structure features three-foot-thick stone walls that have endured earthquakes, revolutions and wars. Finished with cal apagada, an indigenous Zapotec technique still visible in the ancient ruins of Mitla, this process not only waterproofed the walls but also preserved their authenticity, requiring no modifications over the past decade.

The property comprises a living room, a family room (formerly a stable), a dining room, an indoor kitchen, four bedrooms, a library, a showroom, an office, and a second workroom/showroom (previously a chapel); all are connected via an L-shaped covered corridor on one end, and open to the sky on the other.

Outside, a commodious central courtyard anchors the property, unifying the outdoor kitchen with its comal and oven, the gardens with their chicken coop, and a large warehouse dedicated to Oax-i-fornia’s workshops.

The biggest challenge for Cabra, who oversaw the farmhouse’s renovation and interior design, was preserving the property’s essence while also maintaining its intrinsic beauty. As such, he approached the restorative task with the utmost care, utilising traditional construction techniques to honour the heritage of the building.

“I saw myself as a temporary steward of this remarkable place, entrusted with maintaining its character, history and connection to both the past and the present,” he says. “Every alteration made was done with the understanding that it could be reversed to restore the house to its original state.”

The initial stages of the farmhouse’s restoration, however, did present some rather unexpected challenges, as Cabra recalls. “The house has been around for hundreds of years and has witnessed many stories. For a while, we felt like the house was a gateway to another dimension.

“We had great difficulty retaining the construction crew because they reported seeing visions and apparitions, and experiencing strange dreams,” he continues anecdotally. “Many of these experiences were unpleasant, and we eventually had to bring in someone to perform a deep spiritual cleansing.”

The homeowners have embraced these supernatural elements, even setting an additional place at their table for whom they call “the owner”, involving this presence in all their celebrations.

“‘The owner’ is present, and we’re happy to have him,” Cabra says with a smile.

Drawing inspiration from the surrounding landscape, pre-Hispanic ruins and colonial elements in Oaxacan architecture, Cabra declares that La Ex-hacienda Guadalupe is “an ode to Oaxaca”.

“It was about eight years of living in the most rustic environments for me to understand what needed to be done, before I did anything or purchased anything other than very simple bare furniture,” he recalls. “While I rarely have that luxury of time with other projects, I do typically invest myself in the project, living in the city and understanding the context, the history, and especially what has been made, and always incorporating [these] into the project itself.

“To me, the house is a living creature that is Oaxacan in essence: rooted in tradition, yet thoroughly contemporary. It gives me the clues to what it needs and wants, and I am just the enabler of those,” he adds.

Cabra expanded the original structure, which had only one door and two windows, by creating several new openings to bring in the picturesque views; whereas colours and materials with natural hues were selected for the bright and breezy interior.

Eschewing artificial paints, red clay floors, white lime-washed walls, unpainted wood and rusted metal were all sealed to retain their natural patina, creating a harmonious palette that attests to the authenticity of the house and its surroundings.

“This allows the home to evolve organically, embracing the changes and weathering that [which comes] with time while also staying rooted in its context and natural beauty,” the designer explains.

On top of that, Cabra also prioritised the use of salvaged materials common to Oaxaca’s Hispanic and colonial architecture. “Whenever possible, we tried to use materials from other buildings from the 17th century. We rescued doors and windows that had been discarded for modernity after the 1950s from various Mexican states. It was the more expensive option, but it only made sense to do it,” he notes.

The contemporary elements introduced into the farmhouse maintain a respectful presence, featuring humble materials such as naturally finished wood and rusted metal. Meanwhile, cement with a modernised aesthetic encompasses the kitchen floorings; a traditional choice for church architecture between the late 1800s and the early 1900s.

Modern comforts were implemented in the farmhouse seamlessly to preserve the architectural integrity of the farmhouse, as Cabra elaborates. “Natural means of heating and cooling, such as thick walls and high ceilings, were utilised to maintain a comfortable environment throughout the seasons; fireplaces provide warmth in the winter, while open doors allow for natural cooling in the summer.

“Today, the hacienda has been remodelled using traditional techniques but with a contemporary eye, gaining new life as a cultural, academic and culinary meeting ground,” Sledge adds in conclusion. “Not only is it a space for creativity and new ideas, it is also a refuge to preserve and nurture local traditions.”

NOW READ

Home Tour: A thoughtfully restored heritage mansion in Singapore's Pender Road

Home Tour: A brutalist beach house in Mexico that embraces sustainable design

Rumah Kechik: Reviving Unesco Heritage shophouses in Melaka, Malaysia