The grandiose buildings were originally inhabited by aristocracy, but their central courtyards later turned into spaces for communal living

These buildings1, usually between two and five stories high, had windows facing inward toward the elongated patio, says José Castillo, an architect and urban planner in Mexico City. They tended to be on very narrow lots, about 10 meters wide, and made of compact stone or brick. The rooms themselves also tended to be narrow, around 3 square meters, albeit with high ceilings as a cooling technique. While some of these courtyard mansions were plain, many had stone facades and intricate stonework or other decorative elements, including portraits depicting old Spanish families or religious figures — all denoting their owners’ wealth. This model continued into the late 18th century, from which many vecindades date.

  • 1. The buildings that would eventually become vecindades began to be constructed in Mexico City’s historic center in the 16th century, right after the arrival of Spanish colonists. During Spanish rule, wealthy families built large homes in a classic Andalusian Spanish style, with rooms spanning multiple stories encircling an open-air patio — a descendant of the Roman Atrium that may have remained popular in Spain due to the influence of Islamic architectural traditions, which favor inner courtyards. This structure kept the space cool, encouraging airflow between rooms in the home. The layout was also used by the Catholic Church  when constructing convents, hospitals and schools.
"Casa de Vecindad" © Mochilazo en el Tiempo

....

During the Golden Age of Mexican cinema (spanning the period from the 1930s to the late 1960s), movies like Nosotros los Pobres (We The Poor), El Quinto Patio (The Fifth Patio), Casa de Vecindad (“Vecindad house”, featured in the scene above) and El Rey Del Barrio (The King of the Neighborhood) helped create a national image of the vecindad and its inhabitants: a tightly knit community where hardworking laborers, family matriarchs and kooky personalities formed a community that fought, loved and supported one another — and often dreamed of eventually leaving.

This archetype ultimately moved onto television. When comic series El Chavo del Ocho (The Kid from the Eight) debuted in 1973, it became an iconic show across Latin America for its portrayal of a prototypical motley crew of vecindad neighbors: the orphaned boy, the stuck-up child and his haughty mother, the gentle old man in charge of the mail, the spooky single woman dubbed “the witch of number 71” by her neighbors.

....