Otro Oaxaca

I arrived at Otro Oaxaca and set about enjoying the welcome mezcal as I mused on how the location was perfection. The Santo Domingo de Guzmán Church, El Centro’s cultural icon, is nearby, as is the botanical garden. Within a three-minute walk is Calle Alcalá, with its bustling social scene and revered restaurants. The building was designed by local architecture practice RootStudio, led by João Boto Caeiro. Its floor plan is inspired by the archaeological site of Mitla, 50 kilometres east of the city in the Tlacolula Valley, with a cross-shaped walkway at the heart. Principal materials reference those of Santo Domingo: brick walls and a limestone rooftop terrace. These are complemented by raw concrete and reclaimed wood. Even the long entry hallway is lined with recycled wood from old railroad ties.

Each space at this 16-key hotel has been thoughtfully designed with local talent at its forefront. Rooms are parted with swathes of organic suede and encased in a contemplative sort of serenity, with decor that leans towards a softened brutalism. They're generously spacious, with high ceilings and thoughtful touches throughout, such as the forest-green base of the bed (matching the seats in the hotel's communal living area) and a square concrete bath. Everything from the furniture to the linens was specifically designed for the hotel and handcrafted by local artisans using regionally sourced materials, creating a utilitarian yet sophisticated ambience.

During my stay, I was busy nipping between restaurant and mezcal-distillery visits for my work as a food writer, so alas couldn't find time to enjoy the hotel's underground spa. But you should. The cenote-like sanctuary features a 20-foot plunge pool beneath a porthole that lets in natural light, alongside a steam room, a cold-water tub and two massage cabins for aromatherapy and indigenous treatments.

Also not to be missed is the rooftop terrace, perfect for taking in the expansive views of the city and the dazzling façade of Santo Domingo as the sun goes down. Better still, the mezcal keeps flowing up there, with the bar mixing up cocktails made with seasonal local ingredients such as cempasúchil flowers (also known as Aztec marigold), as well as the classics.

The hotel is near many craft shops. I still regret not purchasing a set of mezcal cups designed by Rodrigo Treviño, handpainted with abstract geometric shapes and tribal motifs in a vibrant palette of pink, yellow, blue and black against a speckled off-white ceramic base. They were one of many delights at LIA Café nearby, which, despite its name, is less about coffee and more an intentionally curated space for clothing, artworks and ceramics.

I drank a few mezcals at Mezcalería In Situ, where you can opt for an induction tasting of three very different styles. My final drink of my stay in Oaxaca City was at Selva, a sultry, lively spot that regularly appears in the 50 Best lists. The cocktail bearing its name — built on Alipús Santa Ana del Río mezcal, with ingredients such as hoja santa, lemon, agave, juniper bitters and basil — is a lesson in balance. World-class, truly.

I ended the night with a late taco at Lechoncito de Oro: tender pork carnitas, shards of crisp chicharrón and a fierce green salsa that isn't for the faint-hearted. Or so I intended. Mezcal intoxication is wavy and loose; attention drifts, and whatever your eyes or nose catch next tends to become the next bite. That's how I ended up at Tacos Roy, drawn into the al pastor caramelising on a spit. I ordered one, drowned it in a kaleidoscope of salsas, and devoured it with glee.

Naturally, I didn't have breakfast at Otro the next day, but had I had the appetite, I would have gone for the beef and egg chilaquiles or the Escondido eggs with mole, sesame and avocado, which I saw other guests enjoying. As I quickly drank my coffee after a late wake-up, I observed these same guests, fully embracing the slow rhythm of Oaxaca City — lingering in the courtyard, easing into the day. I felt a flicker of envy; I could easily have stayed another week.