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Gregory Melitonov, co-founder, along withInes Guzman, of Taller Ken architecture once said: “You need the artistic weirdos.” The occasion of his passionate statement was Taller Ken’s New Practices New York 2016 award, presented by the New York Chapter of the American Institute of Architects. His words were celebratory of a culture of experimentation and challenge, which is evident in the work of Taller Ken which is itself a youthful enterprise, playful enough to be irreverent, but internally respectful to the high art of architecture so as to safeguard the aesthetic evolution of form, even –or especially– as it seeks out new ways to subvert established perceptions. Taller Ken (“Taller” in Spanish meaning workshop or studio, and “Ken” meaning perception, understanding) was born in 2013, out of Melitonov and Guzman’s acquaintance at Renzo Piano’s Building Workshop. Consistent with his philosophy and practice of hiring young architects from all over the world, the renowned Pritzker-winning architect included Melitonov and Guzman in the team working on the Whitney Museum of American Art’s new location in lower Manhattan, next to the prolifically Instagram-able High Line park, whose maintenance and operations building was also designed by Piano’s workshop. In 2012, Mendez went back to Guatemala, and Melitonov stayed in New York. Following a period of freelance collaboration, they opened Taller Ken in both cities in 2013. 
It is in Guatemala that Saúl Bistro’s Madero venue gives Taller Ken an opportunity to showcase its carefully crafted whimsy, where, overlooking a busy highway, a 49-foot-tall structure takes the street traffic and immobilizes it in a sculpted exterior of cut-up car chassis. To a great extent, it represents |
