The history of pandemics stretches far back into the annals of time. Looking back on the calamities that have struck since the Modern Age, we confront the stark reality of our vulnerability to microscopic infectious agents capable of wreaking havoc on a global scale. From the Black Death, which decimated over a third of Europe’s population, to the relentless spread of syphilis, cholera, typhoid, and typhus across continents, and the devastating toll exacted by the H1N1 virus with avian origins, we have endured numerous trials. More recent scourges, such as the AIDS pandemic and influenza outbreaks, including the infamous 2009 episode, and the recent Ebola epidemic, underscore the ongoing threat posed by infectious diseases.

Each of these cataclysms was characterized by a complex interplay of pathogenic and social factors. This highlights the critical role played by environmental design and societal dynamics in both the transmission and containment of pandemics. By the end of 2019, SARS-CoV-2 had found a fertile ground for its spread, facilitated by a globally interconnected world and densely populated urban centers, allowing for rapid transmission across vast regions.

From the outset of the COVID-19 outbreak, it became evident that traditional healthcare systems were ill-equipped to cope with the impending crisis. Governments lacked the necessary hospital infrastructure to effectively manage the surge in cases. However, what they did possess were robust communication networks capable of disseminating crucial information to the masses. Thus, efforts were focused on massive prevention campaigns aimed at empowering individuals to take responsibility for their health. This shift, as envisioned by Foucault, imbued individuals with biopolitical responsibilities, compelling them to manage their own well-being and contribute to the collective immunity of society.^{11 Foucault, Michel. Discipline and Punish. New York: Random House, 1995, pp. 24-31.}

In Mexico, a unique approach was taken to communicate new virus containment protocols. Rather than relying on authoritative figures, the Presidential Social Communication team opted for a different strategy: they created a superhero. Drawing on Mexico’s rich cultural heritage, this mythical figure embodied resilience rather than supernatural powers. As noted by historian Luis E. Coronado Guel, Mexican superheroes derive their strength from survival, not extraordinary abilities.^{2 2} Sheridan, Mary Beth. “From Mexico’s Newest Superhero to Iran’s most Elegant Hand-Washer: Watch how Countries Are Promoting Coronavirus Safety.” Comisión Universitaria para la Atención a la Emergencia del Coronavirus. March 28, 2020. https://covid19comisionunam.This sentiment was echoed by Carlos Hernández Soriano, the campaign’s coordinator, who emphasized the power of maintaining distance as a superpower accessible to all.

Thus, “Susana Distancia” emerged as a symbol of resilience and collective responsibility. Clad in a brightly colored uniform and encased in a protective bubble symbolizing social distancing, she quickly captured the public’s imagination. Her image, disseminated through various channels, became synonymous with the National Healthy Distance Day program, aimed at mitigating the spread of the virus. As the pandemic evolved, so too did the campaign, with new iterations and characters reflecting the diverse tapestry of Mexican society.

While the campaign’s initial success was undeniable, its long-term impact was marred by the shifting narrative surrounding the epidemiological traffic light system. Yet, its legacy endures as a testament to the power of inclusive messaging in times of crisis, celebrating diversity and empowering marginalized communities in the face of adversity.

Susana Distancia emerges from a rich tradition of succinct and resonant slogans deeply embedded in the popular consciousness. Echoes of phrases like “Drop by drop, the water runs out,” “Be careful, be careful,” “Count to ten,” and “Amanda, shut him down” resonate in her legacy. Illustrator Javier González first sketched her, adorning her in a vibrant uniform and encased within a protective bubble whose circumference extends from her outstretched arms. While reminiscent of the Vitruvian Man, this bubble symbolizes the interpersonal buffer crucial for maintaining safe distances. It aptly captures the essence of pandemic space, representing the minimal extension required for maximum movement within a confined area.

Introduced during the widely watched seven o’clock conference, Susana swiftly permeated social networks and various governmental communication channels. As her graphic identity took root in the public psyche, its impact had to be meticulously gauged in real-time. As the pandemic evolved, so did Susana’s design. Evolving into a three-dimensional figure with a voice and animation, she gradually became more human, captivating the masses in mere weeks. In an age enamored with visual culture, her image proliferated, adapted into piñatas, cakes, flyers, comics, anime, and souvenirs, spreading virally among her intended audience.

Susana Distancia’s debut marked the commencement of National Healthy Distance Day, spanning from late March to May. Upon its conclusion, the epidemiological traffic light system was introduced, guiding the phased return to economic activities. In the face of the challenge of communicating a nuanced deconfinement scheme, Ernesto Tejeda, an engineer and LGBTQ+ activist, devised his campaign. Building upon Susana Distancia’s foundation, he crafted new heroines, diverse and liberated from Western beauty standards and heteronormative tropes. His provocation swiftly caught the attention of Dr. Ricardo Cortés Alcalá, General Director of Health Promotion, before gaining momentum on social media platforms, thanks to Dante Bañuelos, an independent architect and illustrator.

In a collaborative effort, they delineated the profiles of each character: Refugio (red traffic light), adorned in Huichol patterns; Prudencia (orange traffic light), symbolizing resilience with Aztec iconography; Esperanza (yellow light), representing hope as a muxhe gunna; and Aurora, embodying diversity with Tehuano motifs. Beyond its original scope, the campaign celebrated Mexico’s cultural diversity and empowered marginalized groups by portraying them as heroes and heroines. Despite its initial success, its dissemination was eventually sidelined, perhaps due to the ambiguity surrounding the government’s reference to the epidemiological traffic light system.³³ “El color del semáforo en CDMX es intrascendente, se puede rebasar la capacidad hospitalaria: Gatell.” Animal Político. December 11, 2020. https://www.animalpolitico.com/2020/12/color-semaforo-cdmx-intrascendente-emergencia-capacidad-hospitalaria/.

Illustration of the heroine Susana Distancia with her arms extended towards the outline of an isolating bubble
Source: Presidency Social Communication

Sketches of the 4 heroines that make up the Health Squad
Source: Dante Bañuelos and Ernesto Tejeda

Aurora, one of the 4 heroines that make up the Health Squad
Source: Dante Bañuelos and Ernesto Tejeda

Esperanza, one of the 4 heroines that make up the Health Squad
Source: Dante Bañuelos and Ernesto Tejeda

Prudencia, one of the 4 heroines that make up the Health Squad
Source: Dante Bañuelos and Ernesto Tejeda

Refugio, one of the 4 heroines that make up the Health Squad
Source: Dante Bañuelos and Ernesto Tejeda

Final graphics of the 4 heroines that make up the Health Squad
Source: Dante Bañuelos and Ernesto Tejeda

Bus stop advertisement

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Simultaneously, black and white posters began cropping up on streets throughout the country, bearing phrases like: “If you’re reading this, you might die, or worse, kill someone,” “Visiting family? Say your goodbyes,” or “Our condolences if you’re reading this.” Designed by the Alliance for Strategic Value (AVE), a consortium of Mexican advertising agencies, the “Stay at home. Stay alive” campaign serves as a stark reminder that “a significant part of the population has yet to grasp the real and grave dangers posed by the possibility of infection.44 “Campaña Quédate en casa, quédate vivo.” Alianza por el Valor Estratégico de las Marcas. May 27, 2020. https://www.ave.mx/campana-quedate-en-casa-quedate-vivo. The campaign’s content sternly condemns any deviation from the safety of one’s home. The messages are delivered in bold typography, characterized by thick strokes, compressed forms, narrow counters, and minimal kerning; Impact, a typeface commonly used for headlines and popularized by memes, seeks to do just as its name implies – make an impact.

These attention-grabbing messages encapsulate, in a concise yet somewhat punitive tone, the narrative fragmented by pandemic propaganda. They underscore the hostile nature of the outside world, urging us to remain within the confines of our homes. We’re taught to hunker down within four walls, adapting our living spaces to function as temporary sanctuaries; at times, as with the concept of “plastic hugs,” they prompt us to create boundaries that simulate emotional connection.⁵⁵ “Una niña de diez años crea una cortina para poder abrazar a sus abuelos durante el confinamiento.” La Vanguardia. May 19, 2020. We’re often compelled to outfit our interiors with telecommuting equipment to maintain ties with our professional spheres, effectively transforming domestic spaces into centers of productivity. As Deleuze argued, sovereignty reigns only over that which can be internalized.⁶⁶ Deleuze, Gilles, and Felix Guattari. Mil mesetas. Translated by José Vázquez Pérez. Valencia: Pre-Textos, 2015, p. 367. The prophylactic space that has confined us in recent months has been the home, and anyone who breaches its borders is deemed a threat to all. However, amidst sharp rises in poverty, job insecurity, and unemployment, COVID-19 serves as a stark reminder that while the virus may not discriminate, our economic structures certainly do.

After weeks of stagnation and heavy economic losses, small businesses that reopened began ingeniously reshaping the architecture of their establishments to reconnect with their clientele. Enrique Santana, owner of the Don Chema tortillería in the 24 de Febrero market to the east of the city, along with his staff, devised a mechanism outside the façade to facilitate transactions with customers. Consisting of a wheeled container mounted on a rail, customers can push or pull it to maintain a safe distance. Payments are deposited, sanitized change is received, and merchandise descends down a ramp into a collection basket. Similarly, Ricardo Yáñez, proprietor of El Guerrero tortillería a few blocks from the Historic Center, erected a 1.5 x 1.75 m sanitizing booth on his façade during operating hours. Constructed from PVC tubes and canvas, this structure protrudes from the wall, welcoming customers with two ozone-emitting machines designed to reduce the virus’s infectivity upon entry.

Sanitizing booth installed on the facade of “El Guerrero” tortillería

Sanitizing booth installed on the facade of “El Guerrero” tortillería

Sanitizing extension assembled on the facade of “Don Chema” tortillería located in the 24 de febrero Market in Iztapalapa

Sanitizing extension assembled on the facade of “Don Chema” tortillería shop located in the 24 de febrero Market in Iztapalapa

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Hygienic barriers of various types – some rudimentary and others corporatized –⁷⁷ In some small commercial establishments such as miscellaneous and stationery stores, cardboard and plastic barriers have been installed with advertising from companies such as Bimbo or Sabritas. have become a common sight, adorning establishments ranging from humble changarros to upscale restaurants. Under the “Outdoor City” strategy, the Ministry of Mobility of Mexico City (SEMOVI) has granted restaurants the concession of parking spaces in front of their facades, transforming them into outdoor terraces equipped with furniture to accommodate diners while adhering to social distancing measures.

With the aim of reprogramming congested streets to create more open spaces, SEMOVI has also implemented the well-known Ciclovías. Recognizing that only 19% of the city’s 19 million daily trips occur by private car, while the remaining 81% rely on other modes of transportation, this initiative seeks to provide additional mobility alternatives for the population, particularly essential workers, and promote intermodality between bicycles and existing public transportation. Given the urgency of the project’s implementation, tactical urban planning proved to be the most strategic approach, minimizing study times, streamlining planning processes, and reducing expenses as much as possible.

The team led by Constanza Delón, head of planning and pedestrian infrastructure, identified two strategic axes – Insurgentes and Axis 4 west – to connect the city’s four cardinal points, leveraging existing metrobus routes. Following a comprehensive analysis of existing traffic patterns, flow nodes, and conflict zones, the team proposed new bicycle lanes, along with various horizontal and vertical signaling options, ultimately opting for straight yellow lines and dashes.

To implement these changes, “confibuses” from the remodeling of metrobus lines 1 and 2 were repurposed, providing easily anchored markers to delineate the cycle paths. Additionally, plastic “trafitambos” and voussoirs, readily available and removable, were used to demarcate the remaining areas. The cost-effective nature of these interventions was crucial given the limited budget available. Evaluation of their impact is ongoing, with feedback from various stakeholders and target populations guiding decisions on whether to make them permanent fixtures.

While progress has been made in redesigning streets to accommodate a wider range of users, other sectors grapple with shortages of critical resources, notably medical equipment such as ventilators. In response, many corporations and specialized firms worldwide have turned to 3D printing to accelerate production and streamline supply chains during emergencies.⁸⁸ Murphy, Mike. “3D Printing Finally Found its Market, and all it Took Was a Pandemic.” Protocol. May 5, 2020. https://www.protocol.com/3d-printing-found-market-in-coronavirus-pandemic. The simplicity of developing prototypes, adaptability to specific needs, and ease of assembly make 3D printing an attractive solution, circumventing the need for large facilities or specific environmental conditions.

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In Mexico, Ariel Rojo Design Studio, renowned for its social commitment, collaborated with the organization Tom México to address shortages in medical supplies by designing and distributing much-needed objects to hospitals across the country. Among their innovations are the Splitter and the doc mask. The Splitter ingeniously divides the airflow from a ventilator, allowing it to serve two patients simultaneously. Its development involved rigorous mechanical tests and meticulous optimization of airflow until the final design was achieved.

For patients requiring ventilator assistance, a specialized mask is essential to generate higher-than-atmospheric pressure, keeping the lungs inflated and preventing collapse. During the prototyping phase of the doc mask, several issues were identified and resolved, including limited visual field, discomfort around the holding sides, insufficient sealing around the nose and mouth, and incompatibility with glasses. Five iterations were meticulously crafted before arriving at the optimal design.

Constructed from EVA (ethyl vinyl acetate), a versatile thermoplastic polymer commonly used in industrial applications, the doc mask is produced using thermoforming techniques. This involves heating a semi-finished EVA sheet until it softens, allowing it to conform to a mold’s shape.

The final product comprises multiple pieces, all designed for disassembly and reusability. The primary component is a peep valve, with its base derived from an open-source model from MIT, adapted to utilize readily available spare parts from Mexican hardware stores. The 3D file is freely accessible online (makersmexico.org), enabling individuals to download and print it. This open-source approach has facilitated reverse engineering efforts, resulting in further refinements to the mask’s design, including the addition of customizable features like filters or supporting trays.

Challenges persist, particularly in scaling production to meet demand. Efforts are underway to acquire more sophisticated printing equipment capable of faster, more efficient production. The initial target is to manufacture 60,000 units, a testament to the studio’s dedication to addressing critical shortages and improving healthcare accessibility in Mexico.

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Time will ultimately reveal the enduring impact of these and similar design initiatives. History shows that past pandemics have left a profound mark on the built environment, often leading to innovations that shape our future. For instance, London’s sewer system traces its origins back to efforts to combat the cholera epidemic of the mid-19th century. Similarly, the Tuberculosis Sanatorium, designed by architect José Villagrán in the 1920s to address the tuberculosis crisis, stands as a pivotal piece in the evolution of modern architecture in Mexico.

The diverse array of projects showcased here underscores how the current crisis has compelled design to embrace innovation, decentralize production, and democratize access to services for a wide spectrum of users. Yet, amid the challenges posed by the pandemic, design risks becoming tainted by notions of exclusion, selectivity, and the division between safe and unsafe spaces, particularly in a world marked by geopolitical tensions and stark inequalities. How can we navigate these complexities to ensure that our built environment remains inclusive and accessible to all? How do we reconcile the imperative of physical distancing with the need to foster networks of collaboration, cooperation, and solidarity?

The COVID-19 pandemic serves as a clarion call for a collective reimagining of our future. Now is the time to design an ecosystem of immunity that not only addresses immediate challenges but also lays the groundwork for a more resilient and equitable society. Let us embark on this journey together, guided by principles of inclusivity, empathy, and collective action.