A Force In Mexican Design

This article, drawing from Newell Turner's new book "Mexican: A Journey Through Design," explores the rich history of Mexican decor by examining nine distinct periods that have shaped its unique aesthetic. The journey begins with the Pre-Columbian era, highlighting the advanced civilizations of the Maya and Aztecs. The Maya, residing in the Yucatán Peninsula, developed sophisticated agricultural techniques, salt harvesting, and pottery, along with an intricate understanding of astronomy and a numbering system incorporating zero. The Aztecs, in central Mexico, constructed impressive stone cities like Tenochtitlán, characterized by cosmic orientations and a multicultural urban fabric. Next, the article delves into the Baroque period, which emerged in the late 16th century. This style allowed both Spanish colonizers and indigenous Mexican populations to express spiritual passions through architecture and design. While the Spanish used Baroque to assert power, indigenous artisans, with their long-standing traditions in stonemasonry, plasterwork, and weaving, instinctively integrated their vision, leading to a distinct Mexican Baroque style that flourished until the mid-18th century. The Colonial period, spanning 300 years after the fall of Tenochtitlán in 1521, saw the Spanish Empire leave an indelible mark on Mexican design. Both the conquistadors and religious orders utilized architecture to claim land, constructing cathedrals, convents, plantations, and grand houses. These structures drew heavily from Mediterranean design, particularly the Spanish convivencia, blending European styles with ancient New World building techniques and craftsmanship. French influence arrived during the Neoclassical period, especially prominent during President Porfirio Díaz's tenure from 1877 to 1911. French Neoclassicism, associated with ideals of liberty, became a symbol of Mexican independence. This style updated Spanish colonial facades and influenced public government buildings and small businesses, adding a sophisticated layer to Mexican architectural heritage. Art Nouveau, though a transitional style in Mexico, made significant appearances in public buildings like Mexico City's Palacio de Bellas Artes. Key elements, such as iron and glass canopies, found both decorative and functional uses in homes. Hints of the style were also evident in interior decorative painting, pasta tile patterns, and colored glasswork, marking the end of the Porfiriato Era's decorative influence. The Art Deco movement, prevalent in the early 20th century, saw Mexico embracing its progressive, international message. A unique variation, Mayan Deco, emerged, blending traditional ancient Maya architectural motifs and geometric imagery with Art Deco's bold lines. This resulted in a wealth of urban homes featuring concrete construction and decorative applications, as well as influencing Mexico's distinctive pasta tiles and fine jewelry production. Surrealism, originating in Europe, found a fertile ground in Mexico due to its freedom from traditional constraints and celebration of the subconscious. Roman Catholicism's artistic expressions and Mexico's existing blend of indigenous cultures and magical realism provided a welcoming environment for Surrealism to flourish in fine art, decorative arts, and architecture. Modernism in Mexico, particularly from the mid-20th century, uniquely combined ancient hand-built architectural traditions and indigenous monumentalism with a focus on warmth and human needs. Exemplified by architects like Louis Barragán, Mexican Modernism integrated color and texture, creating a vernacular language that continues to evolve. Finally, Contemporary Mexican design, while technically referring to the present, defines a freeform style that integrates endless historical references with unrestrained freedom. Technology plays a crucial role, enabling diverse expressions in decorative arts and architecture. This period is marked by new dialogues, particularly across the Americas, leading to a distinct Mexican design emerging on the international stage, blending the past and future in a vibrant, conscious manner, echoing the Mexicanidad movement without its political connotations. #MexicanDecor #DesignHistory #PreColumbian #BaroqueArchitecture #ColonialStyle #NeoclassicalDesign #ArtNouveau #ArtDeco #Surrealism #Modernism #ContemporaryDesign #InteriorDesign #ArchitecturalStyles

Mexico is recognized for its vibrant local handicrafts, which reflect the nation's energetic spirit and rich cultural traditions. Contemporary furniture designers are boldly reinterpreting age-old techniques to create distinctive and innovative furniture pieces. This article highlights five furniture designers who adeptly utilize local artistry, encompassing stone carving and weaving, through a forward-thinking and visionary approach. Fernando Laposse, a Mexico City-based designer, views furniture as a medium for powerful messages, transcending mere decoration. His work includes chaise-style seating crafted from avocado-dyed cotton marquetry, tables made from heirloom maize husks, and furniture adorned with agave fibers. Laposse, influenced by his childhood experiences in rural Tonahuixtla and design studies in London, collaborates with local communities to revitalize and evolve traditional craft methods. His pieces often convey messages addressing agricultural and cultural issues, reflecting a resurgence of appreciation for Mexico’s historical heritage. Gloria Cortina, a designer of modernist furniture and interiors, is deeply influenced by the inherent power of materials, particularly stone. Her creations, such as chairs, benches, and tables, are sculpted from onyx, marble, and obsidian, exuding a dynamic blend of art and functionality. Cortina’s work intentionally references Mexico’s ancient cultures, drawing parallels between her stone pieces and the craftsmanship of pre-Columbian civilizations. She divides her time between Mexico City and Manhattan, where she instructs at Parsons School of Design, continually seeking to integrate the natural landscape and topography of Mexico into her designs. Loyzaga, a design firm, features the legacy of architect and designer Jorge Loyzaga, with his daughters, Sophia and Fernanda, continuing and expanding the brand. The sisters emphasize classical ideals, focusing on culture, harmonic proportions, romance, and meticulous study. Loyzaga’s offerings extend from architectural and interior design to exquisite furniture pieces, including table lamps, side tables, and mirrors, all handcrafted by Mexican artisans. With backgrounds in architecture (Fernanda) and business and fashion (Sophia), they aim to broaden their international presence and foster dialogues about classical architecture and design through Mexican products and craftsmanship. Casamidy, founded by Anne-Marie Midy and Jorge Almada in San Miguel de Allende, celebrates the fusion of their personal love story with a shared passion for Mexico’s enduring traditions. Established in 1998, the firm has garnered a dedicated following for its distinctive use of iron combined with saddle leather, canvas, and wood in modernist forms, exemplified by their acclaimed metal Opera chair. Despite the recent passing of Jorge Almada, Midy is committed to preserving his legacy, expanding their artisan network, and incorporating new materials and traditions. Mestiz, led by designer Daniel Valero, showcases outspoken pieces from his San Miguel de Allende studio. Valero, trained in architecture and textile design, returned to handcrafting to honor Mexico’s historical syncretism—the fusion of cultures resulting in new creations—and to decentralize design from the capital. Since launching Mestiz in 2015, he has partnered with artisans in rural areas, fostering economic opportunities and innovation at the community level. His work includes wool rugs from Saltillo, wicker pieces from Tequisquiapan, and ceramics from Dolores, all reflecting a vibrant blend of tradition and contemporary design. #MexicanDesign #FurnitureDesign #TraditionalCraftsmanship #ModernistFurniture #ArtisanCollaboration #FernandoLaposse #GloriaCortina #LoyzagaDesign #Casamidy #Mestiz

Contemporary Mexican architecture showcases a remarkable fluidity between indoor and outdoor spaces, a tradition deeply rooted in the country's historical architectural practices and influenced by its climate and cultural values. This design philosophy, which dates back to ancient structures like the palaces of Teotihuacan and colonial apartments centered around loggias, emphasizes seamless transitions between sheltered interiors and open-air environments. Mexican modernists of the mid-20th century, such as Luis Barragán and Enrique del Moral, were pivotal in integrating the International Style with local conditions, viewing gardens as extensions of interior rooms and designing homes that, while appearing private from the street, opened expansively to natural surroundings through courtyards and terraces. More recent architects like Alberto Kalach and Mauricio Rocha have continued this legacy, with contemporary firms developing even more innovative solutions to maximize the landscape. These approaches include large openings, strategic framing of vistas, fully retractable walls, and carefully selected material palettes that enhance the connection to nature. Five examples illustrate this diverse spectrum. Manuel Cervantes's homes near Mexico City exemplify how design can respond to topography. His own home in Amatepec, spread across multiple levels, uses the site's natural slope to create permeability. An existing jacaranda tree forms the basis for an aromatic entrance garden, while a spacious living room with pivotable floor-to-ceiling windows dissolves the barrier between inside and out. Planted inner spaces enclosed in glass offer private natural experiences, and the white brick exterior, clad in ceramic, organically blends with the green environment, allowing the climate to be sensed even indoors. Casa Mague, designed by MCxA in Malinalco, prioritizes existing vegetation. Built in 2020, its design respects the site's abundant trees, weaving a series of flexible, open, and closed spaces around the natural elements, sometimes allowing tree branches to penetrate the structure. This constant interplay between indoor and outdoor maximizes occupant interaction with the surrounding forest, using elements like latticed screen walls and glazed enclosures to blur boundaries. Material choices are also crucial in contemporary Mexican architecture for reinforcing indoor-outdoor continuity. Architects frequently select earthy materials in neutral tones, such as stone and cement tiles, to harmonize interiors with the exterior landscape. Casa Tejocote in Querétaro, designed by González Muchow Architects, uses high walls of pigmented rose-colored concrete to echo the region's colonial heritage and arid landscape. The design prioritizes privacy, with four modules arranged around a central garden and connected by bridges. Precise incisions in the stone walls frame views, creating strong links to the outside, while every space is partially open to a courtyard or garden, reflecting a modern evolution of del Moral's patio-centric prototypes. Fernanda Canales, a prominent female architect, reinterprets the patio as a hallmark of her practice. Her Recreo House (2017) in Valle de Bravo, built with local materials like gray stone, clay tiles, and timber, integrates a central patio as the heart of the home. This focal point connects access, service, and private areas to generous social spaces. The dining and living areas are extremely open, situated between the main courtyard and a large terrace with pool and views. L-shaped resting areas are near a more intimate patio, blending wild surroundings with privacy. Breezeways between bedrooms create covered, interstitial outdoor spaces. Casa Zicatela in Oaxaca, designed by Ludwig Godefroy in 2015, offers a radical paradigm. This compact weekend house, overlooking the Pacific, is almost entirely built from silvery concrete. Conceived as a 'country house by the sea,' its fortified exterior provides protection and privacy while echoing nearby mountains. Inside, open space abounds, resembling a mysterious concrete playground with no conventional indoor-outdoor boundaries. Rooms are arranged around a garden, with an open-air corridor and loggia-like areas, and a central structure housing living, dining, and kitchen areas seamlessly extending into the courtyard. Steps like a Mayan pyramid lead to a second level observatory, immersing occupants in the vibrant blue sky and surrounding landscape, where concrete walls and wood details contrast vividly. #MexicanArchitecture #IndoorOutdoorLiving #ContemporaryDesign #ArchitecturalInnovation #HomeTours #DesignInspiration #SustainableDesign

The UC House, a 5,920-square-foot residence located on the outskirts of Morelia, Mexico, blurs the lines between indoor and outdoor spaces. Designed by Daniela Bucio Sistos, founder of a Mexico-based architecture and design firm, the home is characterized by its minimalist yet textured and warm aesthetic. A central foyer with a raised, circular ceiling features a tree growing through a hole in the floor, serving as a focal axis. Adjacent to this central point, a large glass wall reveals the library, which is considered the heart of the project. The design of the library was paramount, as the clients possessed an extensive collection of approximately 15,000 books, which previously filled every available space in their former home, including bathrooms and near the chimney. Sistos aimed to create contemplative spaces that diverge from traditional home aesthetics. Responding to the clients' desire for a single-floor residence without stairs for easy navigation, the UC House incorporates an open-plan living area that includes a lounge space, dining room, and kitchen. This area is situated at the back of the house and opens onto a patio with a ramp leading to a lush garden. The primary bedroom is also located at the rear, while three additional bedrooms are positioned towards the front facade of the property. The architect sought to achieve an almost monochromatic palette throughout the home, predominantly utilizing earthy tones such as red, brown, ochre, yellow, and beige. Sistos intentionally prioritized textural contrast over color variation to create a serene and contemporary atmosphere. All construction materials, including bricks and stone, were sourced locally to integrate the residence seamlessly with its surroundings. Additionally, Sistos collaborated with local copper artisans to incorporate decorative elements into some of the interior spaces, further grounding the home in its regional context. The resulting design provides a peaceful and modern sanctuary in Michoacán's capital. The project's credits attribute Daniela Bucio Sistos for the architectural design, general contracting, landscape design, lighting design, and interior design, with Victor Marín as the structural engineer. #MexicanArchitecture #IndoorOutdoorLiving #ModernHomeDesign #LibraryDesign #CircularMotifs #BrickAndConcrete #EarthyTones #MonochromaticPalette #SustainableMaterials

Patrón, the premium spirits company, has created a luxury guest house, La Casona Guest House, at its Hacienda Patrón Distillery in Jalisco, Mexico. This exclusive facility serves as a first-hand brand experience for VIPs, media partners, and customers, allowing them to immerse themselves in the history and craft of Patrón tequilas. The guest house integrates art, architecture, local design, and Hispanic heritage, reflecting the brand's creation process. The project was a collaborative effort between Patrón’s architectural department and three local firms: Joaquin Homs Studio for interior design and interior landscaping, GVA architects for general landscape, and Grupo CASGO for construction management. The 20-room guest house, not open to the public, features dining and entertainment areas, a full-service bar, and conference facilities, offering world-class hospitality. Designed in a traditional Spanish Colonial style, La Casona incorporates architectural details from 1800s Spanish, French, and Italian designs to acknowledge their historical influence on Mexico. These traditional elements are seamlessly blended with modern design to achieve a cohesive, updated aesthetic. Joaquin Homs, who was deeply involved in the project, noted the correlation between the historical hacienda economic systems and the labor-intensive tequila distillation process. He emphasized the importance of community involvement, engaging over 2,000 local townspeople in creating almost all interior and exterior design elements. The design team implemented bioclimatic architectural processes to suit the local climate and pay homage to historical hacienda design principles. Features such as 16’ 6” high ceilings and strategically angled windows ensure optimal natural lighting and ventilation. Custom lighting systems compensate for variations in natural light throughout the day. The main building’s statement chandelier, crafted by local artisan Ernesto Cruz, features recycled glass and reclaimed wood with working bees on agave plants, symbolizing the importance of agave bees in tequila production. Other lamps and sconces are handmade from forged iron, metal, copper, hand-blown glass, and ceramic tile by local Mexican artisans. Attention to detail extends to the furnishings and fabrics, which are custom-made. Mattresses are custom-sized, and linens are locally sourced. All furniture is custom-designed, echoing early 1900s Mexican character while being modernized with various textiles. Wallpapers from Italy and France, textiles from Mexico and the U.S., French linens, and sustainable silk and grass fiber wallpapers are used throughout. Peter Leder, Patrón’s head of hospitality operations, highlighted the intention to convey Patrón’s legacy as a modern company rooted in heritage. Sustainability is a key aspect, with features like water recycling, rain absorption and well replenishment, red clay walls for climate and acoustic protection, LED lighting, and the use of cacti and semi-desert vegetation for reduced water consumption. Local materials such as Cantera (limestone), marble, onyx, clay tiles, and red bricks are utilized for their natural, reusable, durable, and biodegradable qualities. La Casona exemplifies a growing trend in design, where modern elements harmonize with old-world styles to create warm, inviting, and livable spaces, making commercial hospitality venues feel more like homes. #SpanishColonialDesign #ModernFlair #GuestHouse #MexicanArchitecture #LuxuryTravel #SustainableDesign #ArtisanCraftsmanship #BioclimaticArchitecture #InteriorDesign #PatronTequila

Furniture designer Mark Grattan has found his serene retreat in a 19th-century building in Mexico City's Colonia San Rafael enclave, an apartment located in a rare building designed by the renowned Mexican architect Luis Barragán. Grattan, the founder of VIDIVIXI, a prominent furniture design studio, has gained recognition from figures such as Solange Knowles, who enlisted him as a product development consultant for her design studio, Saint Heron, and Ellen DeGeneres, whose design competition, _Ellen’s Next Great Designer_ on HBO Max, features Grattan as a participant. Grattan's journey to Mexico City began in 2016 when he moved from Brooklyn, where he founded VIDIVIXI in 2014. Despite a tumultuous romantic relationship that ultimately ended, he chose to remain in the city, seeking a personal sanctuary. He subsequently found a two-bedroom apartment in a Barragán-designed building, which retained many of its original midcentury details, including paned windows and interior wooden doors designed to filter light. The apartment also features an iron balcony, which serves as Grattan's morning contemplation spot, offering views of the Jardín del Arte. The apartment's natural light deeply impressed Grattan, leading him to meticulously observe its patterns for over a year before commencing decoration. He noted the appearance of rainbows on the walls in the late afternoon and spectacular sunsets, which he sought to amplify. To achieve this, he installed a wall of mirrors at one end of the living room and another above the sofa. These mirrors interact with the incoming natural light, reflecting off each other to create dynamic and unexpected plays of luminescence throughout the space. Grattan's commitment to perfection is evident in the custom elements and thoughtful modifications throughout his home. He designed much of the furniture, including a wall-mounted sideboard in the living room that spans the entire back wall. In the bathroom, he relocated the showerhead to accommodate a bronze-glass door and suspended a fern above the entrance. These deliberate choices create a distinctive ambiance, particularly in the evening, when the mirrors, water, and foliage cast captivating shadows, enhancing the overall experience of the space. The bedroom features a custom king-size variation of his best-selling Docked En Rio platform bed, a design that blends Art Deco and Japanese influences. A guajillo tree positioned bedside on a cuboid plinth contributes to the room's tree-house-like atmosphere, reflecting a minimalist aesthetic and a profound sense of restraint. This approach aligns with his decision to live in the unfurnished space for an extended period, prioritizing quality and thoughtful design over immediate completion. Grattan expresses satisfaction with the final decor, viewing the creation of his beautiful space as a form of personal triumph and contentment. #MarkGrattan #MexicoCity #InteriorDesign #FurnitureDesign #VIDIVIXI #LuisBarragán #ModernistArchitecture #HomeDecor #DesignPhilosophy

Laura Kirar, an internationally acclaimed American-born, Mexico-based interior and product designer, shares insights into her unique style, diverse inspirations, and creative process. Her design philosophy emphasizes the combination of raw materials with her deep understanding of art, architecture, fashion, and music. Kirar’s early influences stem from her upbringing in Chicago, where she was exposed to significant art and architectural collections, including works by Daniel Burnham, Louis Sullivan, Mies van der Rohe, Frank Lloyd Wright, Brancusi, Georgia O’Keeffe, René Magritte, and Salvador Dalí. These foundational experiences shaped her perspective, leading her to view furniture as sculptural objects and spaces as canvases for human experience. Kirar's passion for both art and architecture guided her career choice. She describes her approach as abstract, knowing when to adhere to design principles and when to innovate. The ability to create environments where lives unfold is a powerful motivator for her. Her current inspirations include contemporary artists, fashion designers, and musicians such as Peter Zumthor, David Wiseman, Milena Muzquiz, Monica Rezman, and Marcela Diaz. She expresses a particular fondness for coral pink in all its hues, describing it as luminous and soothing, suitable for various applications from walls to textiles. Travel plays a significant role in Kirar's inspiration, leading her to discover unique shops worldwide. In Mexico City, she frequents Trouve for vintage items. New York offers Les Atelier Courbet, The Future Perfect, and Artemest. In London, she highlights The Carpenters Workshop Gallery at Ladbroke Hall, and in Paris, Pierre Frey for textiles, along with various antique and vintage markets like Marche Biron. Mexico itself is a profound source of inspiration, influencing her sense of color, scale, and textures, and fostering her appreciation for traditional crafts found in its mountains, valleys, and cities like Oaxaca and the Yucatan. Kirar is also a passionate collector, believing that artists benefit from surrounding themselves with inspiring objects. Her collections include vintage chairs, ceramics, pottery, art books, hand-woven textiles, vintage cowboy boots, and silver Navajo accessories, all chosen for their stories. She recently acquired her fourth art piece by Cisco Jimenez, suggesting a new collection in the making. Her personal art collection includes a Cindy Sherman photograph, which has inspired the palette for an entire room. Beyond visual arts, Kirar finds inspiration in film, particularly through MUBI, enjoying classic films, film noir, thrillers, and sci-fi. She also has eclectic musical tastes, ranging from The Cure to opera, classical, rock, punk, and jazz, appreciating the intimacy of live performances. Among her extensive product designs, which number over a thousand, she favors the Mar floor lamp and Vargueno chair from her collection with Arteriors. Her Vir Stil and Paletta bath collections for Kallista have been bestsellers for two decades, and her Caviar chandelier for Arteriors has consistently topped its bestseller list since 2010. Kirar also enjoys cooking, drawing on her Italian heritage to create dishes like pici al limone with sautéed radicchio. She also puts a contemporary spin on traditional Mexican chiles rellenos. Her philosophy is that cooking can be spontaneous and creative, often improvising with available ingredients. This reflects her broader approach to design and life – a blend of diverse influences, personal passion, and creative adaptation. #InteriorDesign #ProductDesign #LauraKirar #CreativeProcess #ArchitecturalInfluence #ArtInspiration #MexicanCrafts #DesignPhilosophy #GlobalTravel

The author explores how international travel, specifically a trip to Mexico City, can significantly influence and inspire new decorating ideas for the home. The article highlights that design inspiration doesn't necessitate grand transformations, but rather can manifest in subtle changes or the appreciation of everyday elements observed during travel. The trip to Mexico City, though brief, provided a wealth of creative energy by focusing on various design aspects encountered in the urban landscape. One key takeaway from Mexico City was the vibrant "Urban Jungle" aesthetic, characterized by a lively interplay between natural and urban elements. The city's parks, sidewalks, and apartment balconies are abundantly filled with lush greenery, demonstrating how nature can be integrated into everyday city living. This observation inspired the author to consider how natural elements could be similarly incorporated into her own home, even within an urban environment like St. Louis, emphasizing that an urban setting does not preclude having nature present in daily life. The concept of "Lighten Up" was another significant design inspiration. The buildings in Mexico City are often designed to maximize natural light through features like courtyards and skylights, with interior decor and furniture thoughtfully arranged to complement this illumination. While the author's home may lack these specific architectural features, the principle of maximizing natural light by opening shades and utilizing existing windows was a valuable insight. This suggests an emphasis on enhancing the inherent light sources within one's living space. "Color Is Everywhere" describes the city's bold and subtle use of vibrant colors. This included colorful accents throughout the city and, notably, the tinted old wooden floors in the Museo Ramón López Velarde. The author's observation led to the realization that incorporating more color into home decor can be a fun and expressive endeavor, encouraging a playful approach to interior design. Finally, the article delves into "Wall Art" and unconventional framing. A visit to the Museo Kaluz, dedicated to Mexican art, revealed not only inspiring artwork but also unique wall treatments. The author particularly noted the textured wall in a stairwell and the _trompe l’oeil_ technique used in the adjoining cafe, where wallpaper mimicked bookshelves. This sparked the idea of exploring similar illusionistic techniques and less conventional ways to frame art or decorate walls within her own home, moving beyond traditional and expected framing methods. Overall, the blog post underscores how travel can broaden one's design perspective and provide practical, creative ideas for personalizing living spaces.

The article explores the 'City of Books' project located within the historic José Vasconcelos Library in Mexico City. This initiative transformed sections of the library into dedicated spaces showcasing the personal literary collections of five influential Mexican thinkers: Ali Chumacero, Carlos Monsiváis, José Luis Martínez, Jaime García Terrés, and Antonio Castro Leal. Each space was designed by a different architectural firm, aiming to provide a unique insight into the minds and intellectual journeys of these figures through the organization and presentation of their books. The Carlos Monsiváis Personal Library, designed by JSa Arquitectura, occupies a walnut-clad, double-height series of rooms in the west wing. Its design focuses on arranging Monsiváis' extensive collection to illustrate the evolution of his thinking, incorporating works of art by Francisco Toledo. This design approach creates an intimate connection between the public and the writer's intellectual development. BGP Architects were responsible for the space dedicated to Antonio Castro Leal, drawing inspiration from his private library in Coyoacán. The design prominently features natural and LED lighting, light wood flooring, and a contrast of stainless steel and glass against dark wooden shelves, creating a dynamic and engaging environment for his collection. Alejandro Sánchez García Arquitectos designed the José Luis Martinez library, replicating Martinez's personal organization of his vast collection of 20th-century Mexican literature. A notable feature is the installation of plane mobiles suspended from the ceiling, symbolizing the expansive nature of imagination and intellect inspired by literature. For Jaime Garcia Terrés' collection, Arquitectura 911sc, led by Jose Castillo and Saidee Springall, created a wood-paneled space that includes a reproduction of Terrés' writing desk. An art installation by Perla Krauze, 'Time Suspended,' uses resin stones to reflect and refract natural light, adding an ethereal quality to the environment. Finally, Jorge Calvillo designed the Alí Chumacero library, opting for a more traditional aesthetic with dark wood finishes. This space emphasizes the books themselves, allowing them to be the primary focus, complemented by personal items from Chumacero's home, such as a tree, paintings, and a ceramic mural. Each architectural intervention within the José Vasconcelos Library successfully translates the unique character and intellectual legacy of its respective thinker into a tangible and immersive experience for visitors. #MexicoCity #LibraryDesign #ArchitecturalDesign #InteriorArchitecture #LiteraryCollections #MexicanCulture #PublicSpaces #DesignExhibition

Luis Barragán’s reputation as one of the 20th century’s most influential architects primarily rests on a select number of iconic works, particularly his own house and studio in Mexico City, a UNESCO World Heritage site, and other residences built after 1945. His architectural style is globally recognized for its evocative qualities of silence, mystery, serenity, and thick walls adorned with vibrant colors, which are often linked to Mexican tradition. This perception was reinforced by figures such as Octavio Paz, who, upon Barragán receiving the Pritzker Prize in 1980, described his art as modern yet not modernist, infused with magic and surprise, and deeply rooted in the traditional and popular aesthetics of Mexican pueblos. However, this streamlined historical narrative often overlooks a significant period of Barragán’s career: his functionalist works in Mexico City from 1935 to 1940. Following a second trip to Europe in 1931, where he was profoundly influenced by Le Corbusier’s radical Modernist architecture, Barragán returned to Mexico and began to integrate Corbusian elements into his designs. Upon moving to Mexico City in 1935, he spent five years designing nearly two dozen apartment buildings and houses in developing neighborhoods. These works, which Barragán himself later downplayed as "edificitos" (little buildings), have largely been forgotten, despite containing embryonic elements of his later, more celebrated style. A closer examination of these early Mexico City projects reveals Barragán’s underlying genius and his internal struggles between pragmatic commissions and artistic vision. While some buildings from this period were anodyne, many featured meticulous details like modulated staircases, strategically placed skylights, or elegant metal mail slots, demonstrating his capacity to imbue even the most functional spaces with wonder and an agreeable spatial experience. These designs often contained unexpected angles, emotional progressions between rooms, and abundant natural light, showcasing Barragán’s unwillingness to compromise his artistic principles. One of the most important works from this period is Parque Melchor Ocampo 38, located in Colonia Cuauhtémoc. Recently restored, this building, designed in collaboration with German émigré architect Max Cetto, is notable for its striking Cubist exterior and its illustrious inhabitants, including artists and designers like Juan Soriano and Clara Porset. The building’s complex inner logic, designed on an irregular plot, reflects a sophisticated blend of Corbusian influences and German housing estate principles, emphasizing optimization and modern living while integrating local craftsmanship and materials. It features unique details such as a spiral staircase with volcanic stone steps, custom cabinets, and an almost complete absence of right angles, creating a dynamic and visually engaging interior. The facade of Melchor Ocampo 38, with its play of voids and solids, functions as both an autonomous form and a diagram of its interior, aligning with Barragán’s lifelong interest in two-dimensional abstractions. The interior spaces, particularly the double-height studios with large frame-like windows, are flooded with natural light, creating an illusion of expanded space and framing abstract views of greenery, despite the surrounding urban chaos. This early Modernist heritage in Colonia Cuauhtémoc, including Barragán’s forgotten works, faces preservation challenges amidst Mexico City’s booming real estate market. The survival of buildings like Melchor Ocampo 38 often depends on investors’ goodwill rather than official preservation efforts. Yet, even today, these spaces attract professionals drawn to their prime location and timeless, light-filled design, confirming their enduring modernity. The article also highlights Barragán’s often-overlooked entrepreneurial side. He was not just an artist but also a savvy businessman who engaged in speculative real estate development, a fact evident in projects like Jardines del Pedregal de San Ángel. This blend of artistic vision and commercial acumen was central to his success. Finally, the article explores Casa Ortega in Tacubaya, a crucial, yet semi-forgotten, early house and garden project that predates his iconic Casa Barragán. Begun around 1940, Casa Ortega served as a laboratory where Barragán’s long-standing ideas and influences, incorporating Mediterranean hues, loggias, and subtle references to the Alhambra, began to coalesce. This project marked the start of his lyrical phase, a period of experimentation with precise colors and a sophisticated synthesis of memories and references from his childhood haciendas to European gardens. Casa Ortega demonstrates a continuity between his earlier functionalist experiments and his later, more celebrated works, revealing a fundamentally Modernist sense of space beneath traditionalist aesthetics. The often-overlooked garden at Casa Ortega, with its multi-level terraces, hidden paths, and sculptural elements, is presented as one of Barragán’s best-kept secrets, emphasizing his equal dedication to garden design and physical rooms. This project, coinciding with his temporary retirement from architecture due to client frustrations, suggests that the discovery of Tacubaya was instrumental in his pursuit of greater creative freedom, leading to the development of his signature style that is widely recognized today. #LuisBarragan #MexicanArchitecture #ModernistArchitecture #FunctionalistArchitecture #MexicoCity #ArchitecturalHistory #MaxCetto #CasaOrtega #UrbanPreservation

The article presents an interview with architects Maritza Lara Cáceres and Daniel Cruz Maldonado, founders of Casa Quieta, a furniture and home accessories showroom in Mexico City. Casa Quieta, which translates to “quiet house,” is located in an Art Deco building in Polanco and operates by appointment, functioning as a fully furnished and shoppable apartment. The founders describe their vision for Casa Quieta as creating serene, timeless spaces that blend artisan techniques with contemporary design, drawing inspiration from functionalist architects like Ludwig Mies van der Rohe and Richard Neutra. They emphasize the preservation of traditional craft mixed with a rationalist aesthetic. Cruz Maldonado explains that Casa Quieta originated from the desire to consolidate and promote their respective furniture brands and their marble accessories brand, Casa Mineral, which launched in 2015. The concept was inspired by “The Apartment by The Line” in New York City, adapted to showcase exclusively Mexican design and art. Lara Cáceres elaborates on the products offered, which include their own furniture and marble accessories, as well as lighting, artworks, ceramics, textiles, and rugs from other Mexican studios. They prioritize contemporary, mostly handmade designs from Mexico and aim to showcase emerging talents. The co-founders, who met at age 17 while studying architecture, highlight their complementary strengths. Lara Cáceres brings warmth and a vision for creating atmospheres through space and photography, while Cruz Maldonado focuses on details, customer experience, and business strategy. Both maintain their individual design studios: Capital Studio for Lara Cáceres, concentrating on personal and intimate residential retreats, and Cotidiano for Cruz Maldonado, which handles comprehensive design projects from building facades to intricate finishes. They share early memories of design, with Lara Cáceres recalling reorganizing her bedroom for serenity and Cruz Maldonado developing a passion for furniture and collecting design magazines from a young age. Lara Cáceres’s decision to study architecture stemmed from her attraction to various art forms and her understanding of interior spaces' impact on daily life. Cruz Maldonado identifies several influential figures and brands, including Brazilian architect Lina Bo Bardi for her introduction of modernism in Latin America, Norm Architects for their global collaborations, Danish furniture brand Menu and its hospitality project Audo, and Vincent Van Duysen for his architectural ideas translated into furniture for major brands like Molteni and Flos. These inspirations reflect a global perspective on design while maintaining an appreciation for local craftsmanship. Regarding future endeavors, Casa Quieta aims to become a key destination for architects, interior designers, and design enthusiasts. They plan to launch new collections annually, collaborate with other designers on exclusive pieces, and expand their showcase to include Latin American design from other countries. They also express interest in exploring new materials and extending their concept into the hospitality and real estate sectors. For inspiration, both founders emphasize investigation, learning from daily life with consciousness, and travel. They find beauty in raw materials, simple forms, and 20th-century architecture and design, embracing human and universal concepts. #CasaQuieta #MaritzaLaraCaceres #DanielCruzMaldonado #MexicanDesign #FurnitureShowroom #InteriorDesign #ArtisanTechniques #ContemporaryDesign #ArchitecturalInfluence

This article details a traveler's two-night, three-day experience staying at El Nido de Quetzalcóatl, an apartment complex designed by Mexican architect Javier Senosiain. The complex, located about 30 minutes outside Mexico City in Naucalpan, is inspired by the Aztec "feathered serpent" god, Quetzalcóatl, and is a notable example of organic architecture, a style that emphasizes harmony between buildings and their natural surroundings. The author, Maliah West, secured a last-minute booking for one of the two Airbnb-available apartments within the ten-unit complex, which she visited with her grandmother and sister. The journey to El Nido de Quetzalcóatl began with a drive from Mexico City, transitioning from a dense urban landscape to scenic, faraway mountains. Upon arrival, the guests were met by a groundkeeper and led through a winding, stone-lined tunnel that forms the back of the snake's body, revealing the technicolor structure nestled within a lush forest. The apartment itself was characterized by a distinct lack of straight lines, featuring tiled spiral steps connecting its four levels, curved walls, rounded furniture, and large, circular windows. The interior design incorporated earthy materials like white terrazzo counters and light wood millwork, maintaining a minimalist aesthetic. The four levels included an office, a kitchen and living room, two bedrooms, and a principal suite with panoramic views of the serpent's head. The experience continued with an exploration of the labyrinth-like grounds, including a brief, playful venture into a cave formed by the snake's open mouth. The host, Patricia, checked in on the guests and offered a tour of Parque Quetzalcóatl for the following day. Dinner was a home-cooked meal, followed by an evening spent reviewing a welcome box with local recommendations and a property guide, reinforcing the unique nature of the stay. The first night ended with the property enveloped in darkness, allowing glimpses into neighboring units, all sharing similar muted palettes and circular windows. The second day included the promised tour of Parque Quetzalcóatl, led by Patricia and joined by another family. Patricia explained the inspiration behind the Quetzalcóatl design, noting how the building's iridescent facade, made of ferro-cement airbrushed with vibrant oranges, blues, and greens, emulated the mythical god's feathers. The park itself is a expansive area featuring a sculpture garden and a reserve for local plant life. Highlights of the tour included the Jardín Flores with its chameleon and snake-shaped hedges, a forested bamboo path leading to a lake with "spaceship-looking" structures designed to simulate being in the womb, and the Plant Kingdom. The Plant Kingdom, accessed via a dimly lit tunnel with mosaic tiles, revealed a room with giant stained-glass windows and a stone fountain, serving as a nursery for fruits, vegetables, and herbs grown for residents. The tour concluded with a visit to a small on-site museum showcasing miniature models of Senosiain’s works and a meditation session focusing on birthing ideas. Following the tour, guests observed subtle signs of the complex's full-time residents, such as laundry and a house cat, before spending the evening photographing their apartment and watching an episode of "The World’s Most Amazing Vacation Rentals" filmed at the complex. On the final morning, the guests rose early to savor their last hours at the property. They ventured to the end of the cave in the serpent's mouth, discovering it opened to a small garden. The overall experience left them with a profound appreciation for the magical and uniquely designed environment created by Javier Senosiain. #OrganicArchitecture #JavierSenosiain #ElNidoDeQuetzalcoatl #MexicoCity #ArchitecturalDesign #UniqueAccommodation #TravelExperience #SustainableDesign #ArchitecturalHistory

This article details the transformation of a modernist glass-and-steel villa in Guadalajara, Mexico, into a warm, colorful, and charming family home. The homeowners, a young family, enlisted their longtime friend, designer Alejandra Redo, to infuse personality and coziness into the architecturally sleek 6,500-square-foot residence. Architects Imanol Legorreta and Pablo Sepúlveda meticulously crafted the two-level house from steel, glass, and wood, with concrete, zinc, and walnut cladding, strategically designed to embrace Guadalajara's climate and natural light. However, the owners desired a more inviting interior, which led them to Redo, known for her vibrant use of color and pattern. Redo's approach to decorating the modern space involved a careful curation of individual pieces rather than her usual whimsical style. Her first significant acquisition was a midcentury black-and-gold table lamp by Arturo Pani, which became the focal point of the living room. The color palette in the living room is muted, featuring deep gray velour sofas and an ottoman, complemented by two red velvet chairs that add warmth, echoing the hues of an antique Persian rug. Mexican fabrics are prominently featured, with rebozos draped over furniture and cushions made from local textiles, reflecting Redo’s signature aesthetic. The dining room, adjacent to the living area, features Mexican walnut paneling that contrasts with the cool steel structure and marble surfaces, providing a sense of warmth. The entrance hall showcases Redo's eclectic sensibility, with a pine tree piercing both the ceiling and floor. A modern painting by Cuban-born artist Leslie Sardinias is displayed above a reproduction Louis XV console, and a custom Venetian-style mirror adds an artistic touch to the guest bath. Redo emphasizes her comfort in mixing different periods, colors, and designers to create an eclectic environment. The family room is another example of Redo’s unique design philosophy, anchored by a silk wall hanging crafted from a traditional Bhutanese man's robe. This is juxtaposed with a geometric cotton rug designed by Redo and made in India. The space also features a vintage Arco floor lamp by Achille and Pier Giacomo Castiglioni, a family heirloom, alongside a modern sofa and Wegner cowhide Shell chairs, demonstrating a blend of new and old. This room opens onto a garden and a deck, facilitating family gatherings and entertaining. Bedrooms, located downstairs, are characterized by their simplicity and abundant natural light. Redo incorporated playful colors for the children's rooms, with a pink scheme for the girl and a blue-and-red theme for the boy. An eccentric detail in the boy's room is the red wallpaper featuring leaping zebras pursued by arrows, a design reminiscent of Gino's, a historic Italian restaurant in New York. This touch highlights Redo’s ability to bring a lively and personal spirit to the serene modernist house, ultimately making the contemporary architecture feel cozy and lived-in. #InteriorDesign #ModernArchitecture #MexicanDecor #HomeDecor #EclecticStyle #GuadalajaraHome #ResidentialDesign

Galerias El Triunfo, a prominent Mexican home decor chain, has established itself as a purveyor of unique and often outlandish items across its 47 branches nationwide, with 19 located in Mexico City alone. The store, which began as a small crafts retailer 50 years ago, was founded by Don Fermín, who was described by community manager Ricardo López as a visionary. Fermín's approach involved seeking out distinctive international items as Mexico's borders opened to international commerce, resulting in a product range that spans from conventional household goods to highly unusual decorative pieces. The store's extensive inventory is designed to cater to various spaces, including homes, offices, hotels, restaurants, bars, and event venues. Shoppers can find practical items alongside highly eccentric pieces like a toilet with an integrated sink that reuses wastewater for flushing, or a two-meter-high heel-shaped pot. This eclectic mix, driven by a philosophy of following fashion trends and offering innovative designs, aims to provide customers with items that make their spaces unique and memorable. The distinctive and often whimsical nature of Galerias El Triunfo's products has garnered significant attention on social media platforms like TikTok and Instagram. A popular trend, "POV: Shopping at Galerías El Triunfo," features users humorously showcasing the store's more bizarre offerings, with skits depicting shoppers requesting improbable items and employees readily producing them. This trend highlights the store's reputation for having an item for every imaginable, no matter how unusual, decorative need. Despite the focus on its quirkier products in social media, Galerias El Triunfo maintains significant commercial success. It is ranked among the top five businesses in Mexico's "retail trade of articles for interior decoration" sector, a market that generated 3.37 trillion pesos (US $1.81 billion) in 2024, according to INEGI, Mexico's statistics agency. The chain's continued growth and popularity indicate a broad appeal among Mexican consumers, who appreciate its diverse and often surprising selection. Ricardo López emphasizes the store's mission to continuously introduce new items and "make Mexico a more beautiful place" by astonishing customers and enabling them to transform their spaces or events into something spectacular. This commitment ensures that whether customers are planning a party, wedding, or quinceañera, Galerias El Triunfo is likely to offer not only the expected but also unexpected and extraordinary decorative elements, from unicorn figurines to baroque chandeliers. This approach underscores the store’s role as a cultural phenomenon in Mexican retail, blending utility with a sense of playful extravagance. #GaleriasElTriunfo #HomeDecor #MexicanRetailers #KitschyDesign #InteriorDecoration #SocialMediaTrends #RetailIndustry #MexicoLiving

Architects Maria Gomez, Giovanni Ocampo, and Héctor Coss have designed Casa Santos, a low-lying, three-house retreat in Todos Santos, a coastal town on Mexico's Baja Peninsula. The project, located on a 2,000-square-meter desert property with distant sea views, aims to integrate concrete with the desert's aesthetic and address the region's seismic vulnerability. The retreat, which includes three residential buildings and a fourth for service functions, is intended for the Miami Beach-based owners and is also available for rent. The design process prioritized harmony with the natural terrain and resilience against earthquakes. The architects describe Casa Santos as an exploration of concrete's potential to foster community and sustainability within the desert environment. The structures feature ribbed concrete with a pinkish hue, chosen to blend with the natural desert sand and mitigate solar heat gain. The fluting in the walls creates shadows, contributing to passive cooling, while the concrete itself offers thermal relief from the desert heat and structural integrity in an earthquake-prone area. The construction utilized formwork made of rolled-steel sheets, which provided flexibility in placing apertures. After the concrete work was completed, these steel sheets were repurposed for other elements on the property, such as doors, fences, and gates, demonstrating a commitment to material efficiency and recycling. This approach aligns with the project's sustainability goals. The individual homes within Casa Santos share similar layouts, though two have three bedrooms and one has two bedrooms. Each residence includes a kitchen, dining area, and lounge space. The buildings are composed of cube-shaped modules, each measuring 25 square meters, with separate modules for bedrooms/bathrooms and public functions. These modules are intentionally arranged to interact, forming a series of passages, alleys, patios, and squares that evoke the spatial organization of a medieval town. Interior materials include medium-density fiberboard millwork and concrete flooring. The distinctive ribbed concrete walls are left exposed throughout the interiors, providing a consistent aesthetic and tactile quality. The architects emphasize that the walls function as a pure, articulating element, simultaneously serving as interior and exterior surfaces, facades, structural components, and contributing to the overall texture and finish of the spaces. Casa Santos is presented as a contemporary answer to fundamental questions in modern architecture, offering a model for modular construction and scalable accessibility. It incorporates sustainability and climate resilience through its material choices and design strategies. The project achieves an architecture that is austere, formal, and deeply connected to its natural surroundings. Maria Gomez and Giovanni Ocampo lead La Nopalera, and Héctor Coss has his studio, both based in Mexico City. The photography for Casa Santos was done by Jaime Navarro. #MexicanArchitecture #ConcreteDesign #SustainableArchitecture #DesertHomes #ModularConstruction #SeismicResilience #ArchitecturalInnovation #ResidentialDesign #BajaPeninsula

The article describes the transformation of an old Mexican house into an artist's retreat for financial adviser Dorsey Gardner, located in San Miguel de Allende. Gardner initially sought a small studio but acquired a significantly larger 19th-century cottage, which was later expanded to 12,000 square feet. The property, built in the late 1700s, was surrounded by high walls and presented several challenges. Upon acquiring the property, Gardner faced initial issues, including a dense "cactus farm" on the premises. Hundreds of cacti, including a large candelabra cactus, were carefully relocated. The house also featured numerous false ceilings installed in the 1950s in its oldest section, which architect Sebastian Zavala removed to restore the original height and appearance of the rooms. Zavala also enhanced some ceilings with grand wooden crossbeams and refinished existing 1950s wood doors and windows with a light whitewash. During the renovation, a hand-painted frieze in the primary bedroom was uncovered and preserved. Gardner, who had previously undertaken remodeling projects on his own homes in Boston, entrusted the design of this Mexican property to Zavala and Paris-born, San Miguel–based designer Anne-Marie Midy. Gardner expressed a preference for a neutral aesthetic, distinct from traditional Mexican decor. He provided the designers with inspiration from magazines and gave them "carta blanca" for the project before embarking on an extended trip. Midy, along with her partner Jorge Almada, founded Casa Midy, a design firm specializing in furniture and accessories. Gardner's house became their first major interior design project. He had discovered Midy and Almada at their former bistro, Plum, known for its distinctive all-purple decor, which Midy noted was an effective way to attract clients. Zavala converted the original structure into a three-bedroom, five-bathroom artist's retreat, maintaining the house's Spanish Colonial architectural elements, stone walls, and archways. He added a spacious studio and installed robust columns on the patio, using locally quarried stone. A new second-floor guest room was also added, offering views of the 17th-century parish church's Gothic-style tower, an 1880 addition inspired by European postcards. Midy and Almada adhered to Gardner's request for a more understated Mexican interior design. They avoided extensive use of decorative elements like talavera tiles, except for a minimal application in the kitchen, and chose muted colors. However, they integrated rich local decorative resources, using jute from Yucatán for curtains, linens from local cotton mills, and furniture sourced from regional antiques shops. Even the traditional lime-and-pigment paint was mixed with San Miguel dirt to achieve a warmer tone. Midy and Almada also designed furniture and accessories for the house, such as iron sconces, a leather cocktail table, and bed linens. They collaborated with Zavala to create trench-like fountains inspired by hacienda horse troughs. The project concluded after a year, with Gardner expressing immense satisfaction, declaring the house fit for a king. #MexicanDesign #ArtistStudio #SanMiguelDeAllende #HomeRenovation #InteriorDesign #SpanishColonial #ArchitecturalRestoration #CasaMidy #LuxuryHome

Interior design has evolved significantly, driven by user needs and the desire to create specific experiences. The recent global pandemic highlighted the importance of thoughtfully designed living and working environments, leading to a focus on holistic designs that prioritize well-being. These designs often integrate elements like color, sensory experiences, technology, and natural components to promote health and comfort. Mexico, with its diverse climate and rich cultural landscape, offers unique opportunities for interior designers to incorporate these elements effectively. The country's natural attributes allow for innovative approaches to managing temperature, light quality, and wind currents within architectural spaces. This article specifically examines how books can function as a central design element in various Mexican interiors, transforming spaces beyond their traditional purpose. Books, in this context, are not merely functional items but integral components that contribute to the aesthetic and atmospheric qualities of a space. The article showcases a curated selection of 18 libraries and bookstores across Mexico, each demonstrating distinct design philosophies. These examples illustrate how architects and designers have creatively utilized books to define the character of these interiors, ranging from grand public libraries to intimate cafes and cultural centers. The focus is on the interplay between the physical presence of books and other design elements, such as materials, lighting, and spatial arrangement. Each featured project highlights innovative ways to display, store, and integrate books into the overall architectural scheme. This includes custom-built shelving units that become focal points, reading nooks that invite contemplation, and multi-functional spaces where books enhance the user experience. The article emphasizes how these designs foster an environment that sparks imagination and encourages engagement with literature, transforming simple rooms into vibrant cultural hubs. The Mexican context, with its unique architectural styles and natural resources, provides a rich backdrop for these design explorations, showcasing how local influences can shape the integration of books into interior spaces. By presenting these 18 examples, the article aims to inspire and inform readers about the potential of books as powerful design tools. It underscores that beyond their intellectual value, books possess a tangible quality that can be leveraged to create visually appealing and emotionally resonant interiors. The designs demonstrate a range of approaches, from minimalist and modern to traditional and elaborate, reflecting the diverse architectural landscape of Mexico. Ultimately, the article suggests that the thoughtful incorporation of books can elevate an interior space, imbuing it with a sense of warmth, intellectual stimulation, and cultural richness, while also catering to the evolving needs and well-being of its users. #MexicanInteriors #BookDesign #InteriorArchitecture #LibraryDesign #BookstoreDesign #ArchitecturalElements #CulturalSpaces #DesignInnovation