LA-JSM-01-01 / Iglesia San Ignacio Loyola, Arq. Juan Sordo Madaleno, Polanco, CDMX, 1961.
LA-JSM-01-02 / Iglesia San Ignacio Loyola, Arq. Juan Sordo Madaleno, Polanco, CDMX, 1961.
LA-JSM-01-03 / Iglesia San Ignacio Loyola, Arq. Juan Sordo Madaleno, Polanco, CDMX, 1961
LA-JSM-01-05 / Iglesia San Ignacio Loyola, Arq. Juan Sordo Madaleno, Polanco, CDMX, 1961.
LA-JSM-01-06 / Iglesia San Ignacio Loyola, Arq. Juan Sordo Madaleno, Polanco, CDMX, 1961.
LA-JSM-01-15 / Iglesia San Ignacio Loyola, Arq. Juan Sordo Madaleno, Polanco, CDMX, 1961
LA-JSM-01-17 / Iglesia San Ignacio Loyola, Arq. Juan Sordo Madaleno, Polanco, CDMX, 1961.
LA-JSM-01-23 / Iglesia San Ignacio Loyola, Arq. Juan Sordo Madaleno, Polanco, CDMX, 1961
LA-JSM-01-29 / Iglesia San Ignacio Loyola, Arq. Juan Sordo Madaleno, Polanco, CDMX, 1961.
LA-JSM-01-31 / Iglesia San Ignacio Loyola, Arq. Juan Sordo Madaleno, Polanco, CDMX, 1961.
LA-JSM-01-42 / Iglesia San Ignacio Loyola, Arq. Juan Sordo Madaleno, Polanco, CDMX, 1961.
LA-JSM-01-PLAN-03 / Iglesia San Ignacio Loyola, Arq. Juan Sordo Madaleno, Polanco, CDMX, 1961.
LA-JSM-01-PLAN-04 / Iglesia San Ignacio Loyola, Arq. Juan Sordo Madaleno, Polanco, CDMX, 1961.
LA-JSM-01-PLAN-08 / Iglesia San Ignacio Loyola, Arq. Juan Sordo Madaleno, Polanco, CDMX, 1961.
The San Ignacio de Loyola Church (1961) stands as one of the most iconic works in Juan Sordo Madaleno’s architectural legacy. Located in the heart of Polanco, at the corner of Horacio and Molière streets, the church is instantly recognizable for its sharp triangular volumes clad entirely in yellow ceramic, evoking the form of an abstract sculpture.
Its innovative construction system combines a steel framework with sections of reinforced concrete. These prefabricated panels were finished with glazed ceramic tiles reminiscent of Talavera poblana, establishing a powerful visual dialogue between modern engineering and traditional Mexican craftsmanship.
A pair of stunning multicolored stained-glass windows, installed on the north and south façades, illuminate the church’s transept and heighten the interior’s spatial drama. These works, signed by CDM in 1961, remain a distinctive feature of the space.
In 2005, the church underwent a major restoration led by TOVSA Restauración, which included the refurbishment of both the exterior ceramic cladding and the stained-glass windows. Additional modifications were made at this time: the cross above the altar was replaced, the Stations of the Cross were added, the lighting system in the central crossing was altered, and a new metal canopy was installed over the atrium and main entrance.
Architects: Juan Sordo Madaleno, José Adolfo Wiechers, and José Ignacio de Abiega.
