El Cortés is decidedly easy on the eye; an exquisite meshing of old and new set behind a balustraded art nouveau façade in arty Roma Norte. Bold, aesthete-pleasing objets are cleverly juxtaposed against heaps of original features restored by top-of-their-game craftspeople, with the occasional folksy touch – think shocking pink dahlias jutting out of dainty talavera vessels – further rooting the spaces in their surroundings. There’s a timelessness to it, with a great deal of thought and intention paid to the minutiae, yet the overarching mood is softly-tuned, cossetting and not the least bit stiff.

Wallpaper* checks into El Cortés, Mexico City

What’s on your doorstep?

Step outside onto tree-studded Calle Colima and you’re a gentle amble from the many sought-after restaurants, cafés, galleries and ateliers that’ve sprung up in and amongst Roma Norte’s ornate art nouveau mansions. The Museo del Objeto sits on the very same road, and at any given time there are a handful of locals selling Tajín-sprinkled mango slices from streetside carts shaded by colourful parasols.

Who is behind the design?

The interiors are a mastery of textile and layering, and the vision of Mexican owner Carlos Zaragoza, who spent three years renovating every last inch of the place, trawling through archives to uncover old photographs (so as to honour the building’s legacy), and enlisting a team of artisans skilled in traditional techniques. He then set to work tricking it out with a considered smattering of contemporary pieces. ‘My aim was to create a delicate balance,’ explains Zaragoza. ‘I wanted to pull the house back toward its original soul while updating it to reflect the evolution of surrounding Roma Norte.’ This is his first foray into hospitality, though you’d never guess.

Subdued lighting and velvet drapes the colour of storm clouds lend an intimate mood to the low-ceilinged lobby; opposite the hefty wooden check-in desk is a fringed loveseat in a dandelion-yellow hue, strewn with rectangular needlework cushions, and behind it, an enormous art deco mirror bordered with fine vine-like etchings. ‘My favourite piece is a tiny artwork dating back to 1828 that I found at an auction here in Mexico City and now hangs in the first-floor lounge,’ notes Zaragoza. ‘I’ve always had a soft spot for small-scale art, and there’s something captivating about the way the diminutive scale contrasts with its deep history.’

The room to book

With lofty ceilings edged by intricate coving work, pale oak herringbone peeking out from beneath hand-loomed rugs and still-life oil paintings hung in time-worn gilded frames, the 15 bedrooms feel tremendously romantic, while at the same time showing an admirable measure of restraint. Plump, pillowy beds are crowned with headboards upholstered in oxblood velvet, shell-shaped plaster sconces draw the eye upwards, and soft light pours in through paned windows, casting criss-crossed shadows onto the creamy lime-washed plaster. Each has its own appeal, and the level of detail is remarkable (a bespoke talavera tissue box here, a silken tassel hanging from an enamel handle there), though room 103, a Signature Suite up on the first floor, has to be the most fetching of the lot, with tall doors that can be flung open to reveal a little Juliet balcony abutted by an impressive urapán tree.

In the light-filled bathrooms, cylindrical glass sconces flank double vanities crafted with slabs of bold Rosso Levanto marble while rainfall showers are tiled in glossy oxblood, edged with a checkerboard trim, and have niches housing Byredo’s Bal d'Afrique products. A number of them are centred around claw-foot Kohler bathtubs with weighty polished nickel stoppers, and the two Patio Suites feature beautiful stained glass panels reworked by Ramon Sierra, who was involved in restoring the Castillo de Chapultepec. Marigolds and dahlias burst from folksy talavera vases; you’ll find bath salts in hand-carved wooden vessels, and the towels are imbued (ever so subtly) with a fragrance Carlos developed in partnership with the hotel’s laundry service. Rather than opt for something with defined notes, he chose to create a barely-there scent to evoke a sense of purity – the effect is soft, powdery and reminiscent of talc, with a hint of vetiver.

Staying for drinks and dinner?

Gently buzzy Lotti – positioned on the hotel’s ground floor and spilling out onto a bijou pavement patio – makes a strong case for staying put in a city of extraordinarily good food. Helmed by Swiss-born chef Luc Liebster and named after his grandmother, it turns out inventive spins on much-loved classics from both Europe and Mexico, crafted with hyper-local ingredients.

Tiny burnished brass clips hold the menus onto grey textured boards, and waiting staff dart around in collarless shirts with the restaurant’s name inscribed across the shoulders in dark thread, carrying plates of astonishing deliciousness. Standouts include the satisfyingly crisp hasselback potatoes with avocado mousse and trout roe, and the shrimp tostada with pico de gallo, kaffir lime and hibiscus, and on the drinks front, the mezcal-heavy Sativa is a must.

Behind the design is sharp-eyed interiors whizz Rosela Barraza, who’s based between Mexico City and Los Angeles. Restored original beams cut across low ceilings of exposed brick; talavera tiles featuring simplistic floral motifs pay homage to Mexico’s old haciendas, and the space is softly lit with slender bronze-cast lights that call to mind primitive fire torches. Hung on the left-hand wall is a pigment-daubed still-life photograph of corn leaves from Luc’s father’s gallery in Zurich, while outside, wrought iron chairs topped with yolk-yellow and white cushions are clustered beneath square-ish umbrellas. Look out, too, for the wild, larger-than-life botanical displays which Rosela arranges herself each week with whatever foliage and flowers she happens upon at the market.

The verdict

El Cortés is a glorious expression of both style and substance, and just about as good as it gets when it comes to boutique stays. Each design-forward addition has been supremely well-considered so as to complement rather than compete with the building’s heritage features, and instead of feeling showy, there’s a rare sort of homeliness to the spaces. As such, it’s somewhere you’ll look forward to returning to time and time again, and you’ll be loath to stay anywhere else in Mexico City.

El Cortés is located at C.Colima 235, Roma Nte., Cuauhtémoc, 06700 Mexico City, Mexico

Every few months, a new ingredient comes to prominence, amid claims that it will cure the ills caused by modern living: matcha for sustained energy, protein for appetite control, peptides for hormone regulation, CBD for anxiety, and so on. Yet, what if the most effective all-in-one method for achieving all the above has been under our noses for thousands of years?

That was what María Cobar asked herself after she was introduced to cacao – the raw, minimally processed bean (the same that chocolate comes from) that has been prized since ancient times for its nutritional and mood-enhancing benefits.

‘The scientific name for cacao is Theobroma cacao, literally "Food of God”, because of its ability to generate physical, mental and spiritual wellbeing,’ says Cobar. ‘In Mexico, there are all these legends about how the gods stole the cacao tree because it was only meant for the gods, but it was given as a gift to humans so they could focus on the arts and be fully nourished. Now, a thousand years later, people are finally getting it.’

With her brand, María Cacao, Cobar is hoping to help as many people as possible get it by hand-crafting ceremonial strength cacao blocks and flavoured cacao pods (like chocolate candy but with cacao) in her Mexico City store. Of course, cacao has been popular in certain circles for years, with cacao ceremonies, rooted in the tradition of Aztec and Mayan traditions, practised around the world, and plenty of wellness retailers selling the product, albeit often an over-processed, questionably sourced version of the ingredient.

For Cobar, starting her own cacao business was a way to bring cacao to a wider audience, while respecting its heritage and supporting local businesses, with an all-female team working daily to craft every cacao product by hand. There is also a family of farmers working to care for and harvest the cacao trees in the Mexican state of Tabasco.

‘In Mexico we say it's vigorizante – it pumps your veins,’ says Cobar. ‘When Hernán Cortés came to Mexico, he wrote a letter to Carlos V in Spain saying, “These people drink this very strange seed that they use as currency, and just a single dose of this beverage can sustain a soldier in battle for an entire day because it's so nourishing”. Then it was taken to Europe and transformed into milk chocolate. In Mexico, cacao wasn't accessible to everyone; it was a divine food, always present in ceremonies: weddings, funerals, all kinds of rituals.'

But the beneficial qualities of cacao have largely been lost to time following the Spanish conquest of the Americas. ‘Cacao became a sweet treat that, in modern times, even became something that carried shame – it’ll give you spots, it’ll make you gain weight, it’s bad for you. [There is] this whole taboo around chocolate, when actually, at its core, it's so healthy; we just changed it into something unhealthy by processing it.’

When unprocessed, cacao is one of the most nutritionally dense foods in the world, with more antioxidants than blueberries and containing a compound that can aid weight loss, phenylethylamine (the same molecule your brain releases when you fall in love). It also contains anandamide, which activates the same receptors in the brain that produce cannabinoids for relaxation (it is known as the ‘bliss molecule’).

María Cacao just opened up its first storefront in Mexico City’s Roma Norte neighbourhood, where customers can purchase its cacao products and taste a full cacao menu in a candlelit space. The products are also now available to purchase in London thanks to Vickie Biggs, who retails the cacao blocks and flavoured cacao pods from The Dream Of, an east London holistic healing studio that is a Wallpaper* favourite. Together, Biggs and Cobar are working to get cacao retailed in more locations around the UK, and to make ‘people realise that cacao is not only for wellness obsessives’, says Cobar. ‘Hopefully, one day, [it will be] the norm to enter spaces where instead of having wine or coffee, you’re having cacao, and [we’ll see] what conversations arise from this heart-opening medicine.’

At The Dream Of, Biggs has converted many of her clients – who include Yasmin Sewell, founder of Vyrao; make-up artist Isamaya Ffrench; and Alex Brownsell, hairstylist and founder of Bleach London – to replace their morning coffee with cacao. ‘I tried María’s cacao, and I've tried hundreds [of examples], and was immediately blown away; I knew I needed it in the shop,’ says Biggs.

‘As cacao becomes more popular, and I do think it will eventually be the new matcha, there's a real responsibility around how it's sourced and who profits from it. There's been a big influx of white-owned cacao brands. For me, people with platforms must support those who are genuinely connected to where cacao is from. Maria being Mexican, having a fully female Mexican team, working closely with farmers in Tabasco – that matters enormously. The product literally comes from that place of care and connection. You can taste it.’

mariacacao.mx

British designer Lee Broom has filled a grand villa in Mexico City with more than 50 lighting works, creating an immersive experience of sculptural, theatrical illumination.

Opening to coincide with Mexico City Art Week, and lasting until 10 April 2026, ‘The Resident’ sees Broom’s designs installed throughout the rooms of a historic home belonging to Diez Company, a leading Mexican lighting design firm. Situated in the upscale neighbourhood of Polanco, the 1920s, three-storey villa has been transformed by Diez Company into an airy yet characterful showroom for the brand, as well as special design events like these.

The company, which has represented Broom’s brand in Mexico for many years, suggested the designer do a takeover of the villa. 'I thought it would be a really amazing opportunity to showcase my work,' says Broom, who carefully studied the setting in anticipation. 'I got a sense of the architecture of the building and what pieces I thought would resonate in what rooms. The idea was to create a fairly classic gallery presentation with a slight residential feel.'

The curated selection of works features works from the last 12 years, including the Hail chandelier, the Chant Portable Lamp, and pieces from the Requiem, Overture and Cascade series.

The Hail chandelier, newly crafted for the installation, cascades down the villa’s central atrium, an elegant array of glowing vertical lines against a grand, curved staircase.

Nearby, works from Broom’s Requiem series are hand-sculpted in plaster to resemble draped fabric. Poetic and intriguing, they gently trick the eye while inviting closer inspection. 'I love surrealist art and surrealism in general,' says Broom. He developed the technique behind the works when studying fashion at Central St Martins in London. 'I used to make corsetry and bodices out of plasterwork with fabric, and I wanted to revisit that with light fixtures,' he explains.

The art of trompe l’oeil and the motif of drapery is found also in the Overture collection, Broom’s first-ever wallpaper collaboration with Calico Wallpaper. Installed in a top-floor room overlooking the city, the work transforms the walls into theatrical yet restrained illusions, its visual cues blending surrealism with classical sculpture. As Broom explains, he was inspired by his background in theatre as a child actor. 'Some of my earliest memories are the scenography of the stage and the drapery – and the scenery that is painted to give that depth of field.“

Set against the atmospheric wallpaper are works from Cascade, Broom’s porcelain lighting series for Lladró, bringing a touch of Japanese modernism.

The recently launched Chant Portable Lamp – Broom’s first portable design – is found in a dramatic golden installation in the tiled bathroom, that Broom describes as 'nightclubbish'. A cube of hand-blown glass surrounds a glowing spherical lamp, all sitting on a base finished either in brushed gold, silver or bronze. The design, which draws inspiration from 1970s-era architectural glass blocks, provides a modernist counterpoint to the classically inspired details of the house.

In celebration of Mexico City Art Week, and the country’s rich creative culture, ‘The Resident’ also includes artworks by Mexican artists and designers, curated by Lee Broom to have 'resonance' with his own pieces. In the central atrium lies the geometric Amazones chair in travertine marble by local studio Ayres, its sculpted lines in dialogue with those of Broom’s wall-mounted square Pantheum light placed above.

A room with Broom’s large circular Aurora Ring chandelier is complemented by a hanging sculpture of celestially inspired concentric rings with marble fragments, by sculptor Karian Amaya. In another room, a geometric assemblage of Broom’s Orion lights plays off a solid wood and brass room divider by Simón Hamui.

It is Broom’s debut exhibition in Mexico, but one that feels a long time coming. As the designer explains: 'Although I’d never been to Mexico City before, I’ve been really inspired by it from afar – the architecture, the history of art, the materiality here.' Now, his works are in direct engagement with those inspirations.

The Resident by Lee Broom is on view until 10 April 2026

Campos Elíseos 136, Polanco V Secc, Miguel Hidalgo, 11560 Ciudad de México, CDMX

The architect for the Serpentine Pavilion 2026 has just been announced – Mexico City studio Lanza Atelier, founded by Isabel Abascal and Alessandro Arienzo, has been chosen to design the newest iteration of one of London's most highly anticipated annual commissions.

Serpentine Pavilion 2026 – a landmark edition

The pavilion – a staple of London summertime – celebrates its 25th anniversary this year, making 2026 a landmark one for the Serpentine Gallery and its efforts in architecture. It all started with a structure by Zaha Hadid in 2000, and to mark the anniversary, the 2026 Serpentine Pavilion will also feature a collaboration with the Zaha Hadid Foundation, taking the form of a dedicated programme of panel discussions and talks to take place inside the Lanza-designed construction.

'As we mark the 25th Pavilion, we reflect on these origins,' says Hans Ulrich Obrist, artistic director at the Serpentine. 'Since its inception in 2000, the Pavilion has acted as a catalyst for architects at pivotal moments in their careers. Lanza atelier’s Pavilion will mark the second time Mexican architects [have been] appointed, [the first being] Frida Escobedo in 2018. We are grateful to Lanza atelier for embracing this invitation, and we extend our sincere thanks to Sou Fujimoto for his generous guidance.'

Who is Lanza atelier?

The relatively young studio was founded in 2015 in Mexico City by partners Isabel Abascal and Alessandro Arienzo. The directors' experimentation with materiality and deep, contextual design work has resulted in acclaimed works, such as Mexican retreat Casa Jajalpa located about 40 minutes outside Mexico City, featured in the December 2020 edition of Wallpaper*. Various awards nominations and inclusions in emerging architects' lists across the world have cemented the dynamic practice's position on the global map - yet they have not had the chance to build in the UK capital.

This is where the Serpentine commission comes in – an annual award to a studio that has not had permanent, built work in London before. The studio said: 'It is an honour to be selected as the architects of the 25th Serpentine Pavilion, a milestone year for the commission. We are deeply grateful for the opportunity to share our work with a wider public and to contribute to the Pavilion’s ongoing legacy of spatial experimentation and collective encounter.'

The 2026 Serpentine Pavilion design

The 2026 pavilion is titled a serpentine, nodding to the gallery as well as the English crinkle-crankle wall, an outdoor, typically brick wall which tends to snake along site borders, enclosing, often, a garden. This feature forms one side of the pavilion, which is placed in dialogue with its green surroundings in Kensington Gardens and a stone's throw from the Serpentine lake. Its distinctive brick materiality also ties it to the notion of the English garden.

The Lanza directors explain: 'Set within a garden, an evocation of the natural world, the project takes the form of a serpentine wall, conceived as a device that both reveals and withholds: shaping movement, modulating rhythm, and framing thresholds of proximity, orientation, and pause.'

'Inspired by the figure of the serpent as a generative and protective force, we draw a parallel with England’s winding fruit walls, which are structures that temper climate, create shelter, and enable growth. From this idea emerges a pavilion built of simple clay brick, foregrounding vernacular craft and the elemental capacity of architecture to bring people together. The 2026 Pavilion proposes built forms that are permeable, shaped and held by a gentle geometry, and continually responsive to those who move through it.'

Sponsored by Goldman Sachs, the Serpentine Pavilion 2026 by Lanza atelier will be on show at Serpentine South 6 June – 26 October 2026

‘Atmosphere is as important as function,’ declare the RA! team. It’s a statement that permeates the studio’s operation, and it is central to its ethos that recognises emotion to be as strong a power in architecture as technical performance. Co-founders Cristóbal Ramírez de Aguilar, Pedro Ramírez de Aguilar and Santiago Sierra explain: ‘We understand architecture as a sequence of spaces not as a static object, but as a transition.'

Meet RA!, the architecture studio from Mexico City

They continue: 'Narratives are what make space memorable, so we focus on building through a series of emotions. Our process has a cinematic quality: through a series of illustrations, we create a storyboard of theoretical emotions that guide the design.’

RA! was founded in 2017 and has achieved a series of recognitions in its career so far, including a prestigious Félix Candela award in 2019 for its proposal for a Museo Nacional de Arquitectura. ‘Working on that project helped us establish many of the core principles that define how we conceive architecture today,’ the partners add.

RA’s portfolio showcases a broad range of typologies, spanning architecture, but also editorial design, film, art, interiors and construction. It is this polymathic attitude that keeps them active and interested, ‘working within a continuous loop of tools that move from analogue to digital and post-digital to communicate our ideas’. All these approaches feed into their design process and ongoing efforts to convey the essence of their concepts into space. ‘Each typology nourishes the others, allowing us to gain a broader understanding of the relationships between different disciplines,’ they say.

Their first completed house, Casa LL in Tepoztlán, built in 2024, was a key moment for the firm, which took the opportunity to show off its contemporary aesthetic, drawing on Mexico’s local sensibilities. Its magical setting at the foot of the Aztec Tepozteco pyramid was captivating, and it pushed them to engage in a deep dialogue with the scheme’s wider surroundings.

RA! is developing projects in Mexico, the US, Costa Rica and Spain. A housing complex in the Tulum jungle will soon be joined by a slew of new work, from residential master plans to hotels, bars and private homes. And if you ask them what the architecture world needs more of, it’s not specific projects, but equality in the field. ‘We would love to see more female-led practices,’ they say. ‘We believe women have much to teach us in how architecture should be made and how a studio should be run. Mexico has a lot of emerging female practices, and many of them are important references for our own work.’

raarq.com

This article is part of a series on Mexican architects that appears in the January 2026 Next Generation issue of Wallpaper*, available in print on newsstands, on the Wallpaper* app on Apple iOS, and to subscribers of Apple News + from 4 December 2025. Subscribe to Wallpaper* today

Concrete and steel have been a delicious combination when it comes to café and restaurant interior design this year (as seen, for starters, at Side A in San Francisco, Noisy Oyster in London and Call Me Ten in New Delhi). Bringing its own nuances to the genre in Mexico City’s hip Roma neighbourhood is the all-day Marne Café – an extension of the namesake bakery, also located in the area.

Marne Café, Mexico City

Dreamt up by the local Formant Studio, the 130 sq m venue delivers a medley of steel accents, dark wood and unfinished textures, creating a visual rhythm between polished and raw, warm and cold, exposed and concealed. ‘The project is a celebration of timeless design with a contemporary approach,’ explain Alejandro Valencia and Verónica Sojo, architects at Formant Studio.

While it would be easy to sum up Marne Café as brutalist or industrial for its materials and finishes, every furnishing found here is of praiseworthy bespoke design, while details are of exceptional character. ‘The predominantly neutral atmosphere is enlivened by colour accents that interact with the upholstery and contemporary art adorning the walls,’ say Valencia and Sojo.

Expressive and functional forms define the two dedicated areas that make up the venue. Guests enter straight into the café-restaurant, punctuated by a counter overlooking director-style chairs in steel and leather alongside marble-topped tables. Meanwhile, the wine bar is found at the back, where banquettes, sturdy wooden chairs and tables sit under the soft flow of a round paper lampshade. Speakers suspended from the ceiling and metal-framed photographs further enhance the atmosphere.

Rotating breakfast, lunch and dinner menus are paired with an extensive wine and cocktail list. Marne Café specialises in bread in all its forms, from the perfectly laminated croissant served alongside a scrambled egg topped with soy sauce-marinated salmon roe and crème fraîche, to hogaza de masa madre (sourdough loaf) accompanied by a scrumptious crab cake.

Marne Café is located at Av Sonora 92, Roma Nte., Cuauhtémoc, 06700 Mexico City, Mexico.

Fernanda Canales does not shy away from difficult projects. Having previously designed everything from lush private retreats to post-earthquake housing schemes for non-profits (all with the same immaculate attention and design flair), by all accounts, the Mexican architect can tackle a challenge, diligently working her way through tight briefs and strict budgets with consistently impressive results. Her latest project, titled Border Outlook, is located in Naco, a small town on the Mexican side of the Sonoran Desert – and it firmly sits in the ‘challenging’ category, too.

Explore the new Border Outlook in Naco, Mexico

‘Naco exemplifies the abandonment and scarcity of border towns in Mexico, which are considered mainly as spaces to transit, to cross to “the other side”,’ she says. ‘It is the place where drug dealer El Chapo Guzmán built the first tunnels from Mexico to the United States, and it is a place characterised by violence. It lacks public space and has had, until now, no civic spaces or cultural services. Naco is a place fragmented by two main elements: the border wall and the highway that runs parallel to the wall, making the city two strips defined by these strong physical and conceptual divisions.’

After winning a competition in 2020 to design low-income houses in Chiapas for the government, the Mexico City-based Canales was invited to help transform Naco ‘from a place of transition into a place of belonging’ by Mexico’s Secretaría de Desarrollo Agrario, Territorial y Urbano (SEDATU, the country’s ministry for urban development). Some of Mexico’s best contemporary architects, such as Gabriela Carrillo, Rozana Montiel and Estudio MMX, have worked on similar programmes.

The brief initially outlined a market for local craftspeople selling their wares, but this soon expanded to become a multipurpose social-activity structure, offering a platform for anything from graduations and concerts to community events. The design comprises a 4,000 sq m grid-based structure, composed of interconnected vaulted roofs and terraces, left open to the elements and free from furniture or spatial dividers, ‘so anyone can make use of it and everything is always visible’, notes Canales. A three-level tower on one end confidently marks its presence. Made of terracotta brick and exposed concrete, it is robust, almost brutalist; at the same time, its resulting earthy tones nod to the local soil colouring and the area’s architectural vernacular, both important references to Canales. This construction method also meant it could be easily built without the need for specialist skilled labour or expensive future maintenance, perfectly suited to a funds-strapped local municipality.

Beyond navigating difficulties arising from the scheme’s limited budget and resources, the architect also had to tackle travel obstacles as the development of the design took place during the height of the pandemic. ‘It was almost impossible to travel there and visit the sites, and throughout the building process, there was still a huge problem regarding safe working conditions and availability of materials,’ she says. ‘There were more problems than the usual scarcity issues in these very remote and marginal areas. Additionally, these are places that have never been safe for women, so that did not help either.’

The Border Outlook is part of a bigger architectural family, including four other projects designed by Canales for Naco (a sports facility, housing for older people, a community centre and a plaza), and two more for the nearby town of Agua Prieta (a sports and civic centre, and a public library with a park). All were commissioned through a SEDATU scheme addressing the need for safe public spaces and civic services in some of the most deprived areas in the country.

Within this context, the Border Outlook is a flagship feature, thanks to its textured minimalism, size (it is the only building in town with more than two floors) and location at the entrance to the city (visible to everyone driving towards the US, and to returning locals, signalling their arrival home). ‘It plays an important role in providing a sense of identity and pride for Naco residents,’ says Canales. ‘At night, it becomes a lantern for the city and a symbol of new public pedestrian space.’ As a bonus, its presence inspires passing cars to lower their driving speed, allowing for a pedestrian crossing, connecting the town to a baseball field that was previously hard to access.

The project is now fully operational and thriving, but its significance goes beyond its practical use. Canales says, ‘I have been told it’s the “tower of hope”, where people can look from above and gain a different perspective that was not available before – not only can they see “the other side”, but they also see their own side, and become more aware of their home.’

fernandacanales.com

Any first time visit to Mexico City includes a pilgrimage to the Frida Kahlo Museum, known as Casa Azul. The home is where the artist lived with her husband Diego Rivera, and where the details of her life story and her surrealistic work have become symbols of resilience, feminism, and political activism. But a new house museum opened by Kahlo’s descendants attempts to plumb deeper, revealing a more intimate portrait that transcends the image of La Sufrida (the sufferer) and highlights the Kahlo family influence on the painter’s personal and professional life.

The new Museo Casa Kahlo, located just blocks from Casa Azul in the Coyoacán neighbourhood of Mexico City, has been over 20 years in the making. In 2008, Frida’s niece Isolda Khalo, the daughter of the artist’s sister Cristina, died. Isolda’s daughter Mara Romeo Kahlo and her two children began the task of cleaning out the house purchased in 1930 by Frida’s parents, Guillermo Kahlo and Matilde Calderón. Though Frida did not grow up in the house, called Casa Roja, she visited frequently.

‘We knew there were stories in the house and things for an archive,’ recalled Isolda’s granddaughter Frida Hentschel Romeo. ‘But as we discovered so many treasures, we knew these things belonged in a museum.’

They found, among other items, original glass negatives belonging to Guillermo, a German immigrant who became an architectural photographer and documented the city’s most important landmarks and buildings for the Mexican government. He was also a painter, and Hentschel Romeo said it was Guillermo, not Rivera, who first taught Frida how to paint and how to view the world as an artist.

The museum, which opened to the public on 27 September 2025, showcases other discoveries, like previously unseen letters written by Frida, a prolific family correspondent, including homesick missives she sent from the United States while abroad with Rivera. There are also early sketches, a small portrait of Rivera, as well as personal effects, like pieces of Kahlo’s pre-Hispanic jewellery, perfume bottles (Schiaparelli’s Shocking, of course) and embroidered blouses, evidence of her early appreciation of Mexican folk art and a preference for traditional Mexican clothing.

Until 2023, the house was occupied by Frida’s family. Then, with the assistance of publicist Rick Miramontez, chairman of the newly formed New York-based Fundación Kahlo, and the financial patronage from father-and-son Mexico-based businessmen Victor Aboumrad Tame and Victor Aboumrad Chedraui, the house was transformed from a residence into a museum.

Miramontez reached out to the Rockwell Group’s David Rockwell, who spent his formative high school years in Guadalajara, a time he attributes to inspiring his architectural career. Rockwell helped design the museum and worked alongside the family, poring over old family photos to recreate the original courtyard as an homage to the Kahlos’ hospitality; the house had a reputation for being open to all, including to Frida’s art students, known as Los Fridos.

The restored courtyard showcases pots and vessels from artisans throughout Mexico – green glazed pieces from Oaxaca, red clay planters from Guadalajara – and they all contain native plants. The central focus, a large grapefruit tree placed in a hand-carved cantera stone pot surrounded by cast-iron park benches reminiscent of the neighbourhood parks Frida frequented, was also a nod to one of the house’s most significant features: as a child, Mara Romeo Kahlo remembered paintings on the kitchen walls. When preservationists came to examine the space, they discovered a kitchen renovation in the 1960s had inadvertently preserved these murals, including one of a single branch of a grapefruit tree heavy with fruit, dotted with white blossoms, and occupied by colourful birds. According to museum director Adán García-Fajardo, they are believed to be the only murals Frida painted and were completed sometime after 1931 and before 1947.

The museum also offers multimedia installations, including sensory experiences, like in the kitchen, where visitors can smell the warmth of café de olla, traditional Mexican coffee seasoned with cinnamon.

Perhaps the house’s most intimate space is a basement sanctuary where Frida took refuge. It was a room of her own where she could paint, write or listen to music. Rockwell reimagined the space with lighting designed to emulate candles. ‘The intention is to encourage visitors to lean in and look at the small details, like her books, letters and her collection of butterflies and insects,’ he says

If Casa Azul was the place filled with politicians and famous artists, it was also the place where Frida had to be a public figure. Casa Roja was where she was allowed to be herself, take solace with her family, and escape from the tumult of her relationship with Rivera.

‘The story of Frida has been told by Rivera and by other voices than her family,’ said Hentschel Romeo. ‘She’s portrayed as Frida the painter, the wife of Diego. We’re trying to tell the history that, long before she met Diego, she had the artistic influence of her father and the strength and independence her mother instilled in her. We’re not trying to reclaim her story – we just want to tell the complete story.’

museocasakahlo.org

Mariano Azuela 194's barrel vault rooftop makes it stand out in its Mexico City neighbourhood, Santa Maria la Ribera. The design, a housing scheme by studio Bloqe Arquitetura, was conceived to offer something different and fun to its urban context, while anchoring it to its locale and the opportunity of long city views of the Mexican capital to its lucky residents.

Explore Mariano Azuela 194 and its barrel vault rooftop

The project's most dramatic feature, its rooftop design, takes its cues from the surrounding area's rich heritage. The shapes and scale nods to the architecture of the early twentieth century, which dominates this part of town, the architecture team explains.

At the same time, the design's four round features and the building's two circulation cores compose a block of apartments that sits in harmony within its urban fabric and existing built environment. The four barrel vaults not only add the opportunity for outdoor space and spatial drama to the homes; they also add to the overall building's dynamism.

Beyond its dominant residential element on the upper levels, the complex also contains commercial spaces on the ground floor. This allows it to seamlessly connect with street life and the wider community in Santa Maria la Ribera.

In a similar way to the way the overall volume's shapes and proportions were crafted, Bloqe's main material palette takes its cues from traditional for the area Mexican architecture and craft. Natural colours, marble, earthy render finishes and artisanal screens make for a textured environment that creates a strong sense of place.

bloqe.mx

Proving that it’s never too late to realise your dreams, sisters Laura Enriquez Chávez and Asunción Enriquez Chávez – both over 80 years old – are making their artistic debut during this week’s Zona Maco, the annual international fair held during Art Week in Mexico City.

Although this is the first time this particular body of work will be on view to an international audience, the Enriquez Chávez sisters – who operate under the studio name 'Taller Los Tepalcates' – are by no means new to their craft. They have been creating their distinctive ceramic pieces for decades in their hometown of Santa María Atzompa, Oaxaca, where the tradition of ceramics dates back to the pre-Columbian era of Monte Albán.

In the adobe kiln of their community workshop, the sisters bring to life surreal, fantastical creatures – inspired by the vibrant local fauna – including crocodiles, roosters, dolphins and coyotes. The open-mouthed creatures reach skywards, as if emerging from another realm.

Their studio name, 'Taller Los Tepalcates', nods to their unusual production technique in which, before and during the firing process, they cover their creations with tepalcates – the broken fragments of clay that chip off larger pots during firing. This technique, combined with their imaginative visual language and the use of simple kitchen tools to coax the creatures into shape, elevates the traditional vernacular of Atzompa pottery into a unique artistic expression.

During this week’s Zona Maco, their work is being showcased by New York and Mexico City-based gallery AGO Projects in a show called 'Earthling; Life through Earth', curated by Elise Durbecq, a Mexico-based designer with over 15 years’ experience championing artisan collaborations.

'We had seen an exhibition of work from 'Taller Los Tepalcates' in Oaxaca that Elise curated a couple of years ago and were immediately smitten,' recalls designer Rodman Primack, who co-founded AGO Projects in 2019 alongside his partner, the designer Rudy F. Weissenberg. 'Most of the work in that show was smaller in scale, but extremely engaging. We love their use of traditional techniques to create vessels that seem to come from another world, possessing a language all their own.'

So enamoured were Primack and Weissenberg that they immediately invited Durbecq and 'Taller Los Tepalcates' to collaborate. For AGO Projects, the sisters worked in collaboration with Durbecq to develop a series of exuberantly expressive and exquisitely detailed works – including lamps, tables, large vessels and tableware – that exhibit a sense of lightness and playful humour.

'Elise worked with the Enriquez Chávez sisters on the overall concept and pushed their practice to grow in scale and exuberance, but the sisters do all the hand building, firing and glazing. They are simply amazing,' Weissenberg tells Wallpaper*. 'Collaboration is one of the pillars of our gallery, and we are constantly looking for ways to collaborate with people we admire. Both Elise and the Enriquez Chávez sisters, along with 'Taller Los Tepalcates', fall into that category.'

Inside the gallery, the works are arranged by families and typologies on a series of blue, stepped plinths that form a quadrant in the space – a layout that Primack and Weissenberg say will ensure visitors can interact with and view the pieces both individually and as a group. To complement the ceramics, AGO Projects and Durbecq have selected a series of paintings by Oaxaca-based artist Nanashy Mauro, whose work explores the absurdity of modern habitats. Like 'Taller Los Tepalcates', this marks Mauro’s first foray into the gallery context. 'We love the quality of the paintings and their embedded sense of humour,' says Primack. 'We feel the paintings speak to the ceramic works, enabling another form of dialogue with them and creating a universe of animated sculptures.'

Opening to the public on 5 February, Zona Maco is Latin America’s largest art fair. Now in its 21st year and taking place at the city's Centro Citibanamex, it will feature 200 galleries from 29 countries across four continents.

'Earthling; Life through Earth', opens on 3 February, 2025, at AGO Projects, Paseo de la Reforma 382, Interior 501–entrada por Calle Oxford Colonia Juárez, Ciudad de México, 06600.

Zona Maco runs from 5 – 9 February 2025.

ago-projects.com
zsonamaco.com

With 2025 just around the corner, it’s time to make the important decision of where to celebrate the new year in style. Follow the instincts of Wallpaper* readers with this round-up of the most-read bar reviews of the past year. These hot spots around the world span from a minimalist London drinking den to an utterly decadent Las Vegas lounge and a subterranean New York negroni bar. Let cocktail hour begin…

The best bars to make for in 2025

Ama Bar in Vancouver, Canada

To reach Ama, a new Japanese-inspired cocktail and raw bar in Vancouver, one must first locate it. Bathed in orange light, its subtle signage can be hard to spot, but once found, guests are ushered through a discreet orange metal door, up a large staircase and into a space that could easily be a set backdrop for Blade Runner 2049. Designed by Canadian studio &Daughters, with branding by Glasfurd & Walker, the moodily-lit interiors are dominated by polished black granite surfaces, backlit shelves and textured plastered walls with semi-transparent golden mirrors, while the menu offers up inventive cocktails infused with Japanese flavours, such as jasmine and yuzu, as well as melt-in-the-mouth, predominantly raw seafood dishes.

Ama is located at 3980 Fraser St, Vancouver, BC V5V 4E4, Canada, @ama.rawbar

Bauhaus Warehaus in London, UK

Remy Savage is undoubtedly the mixologist of the moment, and his conceptual bar, A Bar with Shapes for a Name – represented by a yellow triangle, red square, and blue circle – is a Bauhaus-inspired triumph of functionalism and minimalism. Situated on Kingsland Road, between Shoreditch and Dalston, Shapes has swiftly become one of east London’s most buzzworthy destinations. This year, Savage expanded his vision with Bauhaus Warehaus, a sister venue also on Kingsland Road. Despite being a production facility, Warehaus is an inspiring place to drink and unwind, nestled among the shelves of bottles, colour-coordinated crates and stainless steel surfaces.

Bauhaus Warehaus is located at 538 Kingsland Rd, London E8 4AH, @bauhaus_warehaus

Thinking of dining out? See our reviews of the best new London restaurants.

Comblé Bar in Shizuoka, Japan

Comblé Bar, in Shizuoka (a few hours west of Tokyo on Japan’s Pacific Ocean coast), is considered one of the last publicly accessible spaces designed by the late Shiro Kuramata in Japan. Located on the first floor of an unassuming building, the bar features the designer’s hallmark style, blending geometry and sweeping curves with floating elements, a bold colour palette, and striking materials like acrylic, glass, and terrazzo. Opened in 1988, just three years before Kuramata’s passing, it was part of a series of projects he undertook in Shizuoka, a region known for its green tea and traditional crafts. A growing number of fans are making a pilgrimage to experience the space first-hand.

Comblé Bar is located at Seizen Bldg. 2F 2-7 Gofukucho, Aoi Ward, Shizuoka City, @comble.bar

El Minutito in Mexico City, Mexico

Mexico City café-bar El Minutito, designed by architect Lucas Cantú, was envisioned as a sanctuary for the enjoyment of life’s simple pleasures. Mirrors are strategically placed to reflect and expand the space, while wood infuses it with a warm, cosy atmosphere. At the central, custom-designed bar where a bespoke clock elegantly ticks away the minutes, paying homage to the café’s name (‘in a minute’ in Spanish) – guests can savour pastries, pan dulce and Mexican hot chocolate during the day. And, as evening falls, botanas (snacks) are served on dainty plates, while moreish cocktails mark the beginning of the evening as the music picks up pace.

El Minutito is located at Londres 28, Juárez, Cuauhtémoc, 06600 Mexico City, Mexico, @el.minutito

The Pinky Ring in Las Vegas, USA

Global design studio Yabu Pushelberg and Bruno Mars joined forces this year to unveil The Pinky Ring, a cocktail lounge and live music venue at the heart of Las Vegas’ Bellagio Resort and Casino, full of decadence and 1970s flair. From the plush velvets paired with marble tabletops to the no-phones policy, every detail evokes opulent nostalgia. Curved furnishings flow through the space, while a mirrored passageway showcasing Mars’ Grammy collection leads guests into the secluded 5,000 sq ft debonair retreat. Signature cocktails include the Mars Mocha (chocolate rum, Cognac, espresso, banana, and toasted sesame froth) or the Hooligan (tequila, Cointreau, agave nectar, lime, and jalapeño with a Tajín rim). Puns most likely intended.

The Pinky Ring is located within the Bellagio Hotel and Casino, 3600 S Las Vegas Blvd, Las Vegas, NV 89109, United States, bellagio.mgmresorts.com

Sotto in New York, USA

Tucked beneath Lupetto, a chic wood-fired Italian steakhouse in Manhattan’s Flatiron District, lies Sotto – a sleek negroni bar. Infused with the rich aromas of woody vermouth and burnt orange, Sotto’s low-lit, pink-and-gold-toned interiors set an irresistibly sultry mood. Its subterranean setting creates an immersive escape from the hustle above. Studio Parts and Labour accented the interiors with the old-world history of the location; bespoke highlights include a velvet-framed chandelier adorned with a squared grove of hand-dyed tassels and a special Hollywood-style banquette created in a quirky nook. The drink menu celebrates craft amari, featuring sparkling, white, rosé, and red wines, alongside bold and complex cocktails like the signature Lupetto Negroni.

Sotto is located within Lupetto at 1123 Broadway, New York, NY 10010, United States, @lupettonyc

Brussels-based Kimy Gringoire, whose jewellery designs push the boundaries of how body adornment can play with expectations, prominently figured the heart shape in her ‘Love Cables’ collection, released in 2022.

Those pieces, she says, were a wearable expression of a bigger idea. Around the time she was expecting her now three-year-old son, Rio, she thought about creating design objects that would translate how she interprets what love is about in materials closely connected to jewellery.

Mexico City’s MASA presents Kimy Gringoire: ‘BigLoveCables’

‘The first idea was seating’ she says. ‘A bench shaped like a vein. A vein is full – pulsing with blood and emotion, full of love.’ She showed a render to Inge Gelaude, a Belgian art director, who installed the bench, a tube light and wall-mounted works in a private exhibition space.

‘At the time it was too risky to make them in bronze or any other metal,’ Gringoire says. Instead, she produced wooden prototypes painted in high-gloss red. ‘In the end, it was perfect because I could play with the red, showing that it was not only about love, but also about blood. In the installation, the mounted ‘BigLoveCables’ seemed to run right through the wall, ‘proof that love is anarchic, it needs freedom. It doesn’t stay in a box. That was the narrative,’ says the designer.

Gringoire also showed renders to Age Salajõe, a co-founder of MASA, a design gallery located in Mexico City’s San Miguel Chapultepec neighbourhood.

‘I think the way Kimy designs her jewelry is just brilliant. The technicality and the multiple ways to use one piece is genius’, says Salajõe. ‘Some years ago, when Kimy briefly lived in Mexico City, we began a conversation about large-scale works, so when she finally sent me the renders of the “BigLoveCables” installation, I was thrilled. Just as she is clever with her jewellery designs, she is equally clever with her lighting and seating designs’.

Her time in the city, a year spanning 2018 and 2019, made its mark on Gringoire. ‘It’s where I found spirituality. When you go to the museum of archaeology [in Mexico City], you just have to cry when you see all those objects from Mayan culture, their beliefs. You can feel that same spirit in the craftsmanship, the food, the hospitality today, too. So going back there, making those heart-shaped metal pieces as I originally conceived them, means a lot to me.’

To produce the handmade pieces, Gringoire worked with craftspeople at a workshop north of Mexico City. Creating the sculpted forms from bronze and steel required two different processes. ‘One was similar to that of creating jewellery,’ she says. ‘It involves pouring the metal into a mould and letting it harden.’

The other method cuts the metal sheets into a pattern and bends and hammers them into the perfect curves her heart shapes require. ‘It takes four people to do this, and one maestro who finds the solutions of how to get the small heart to become bigger,’ explains Gringoire, referencing a large lamp that’s featured in MASA’s Project Room, with a widening diameter.

In the exhibition, Gringoire completes her series with one smaller-scale lamp in aluminium and a pair of limited-edition rings that feature a ‘Love Cable’ with its heart diameter gaping open on one side, giving the illusion of being embedded in the finger.

The discovery process that Gringoire set in motion through her spatial explorations rooted in jewellery seems to have come full circle at MASA – and she’s eager to continue exploring with a full heart.

‘Mexico gave me so much. When I see the pieces in the Project Room for the first time, I will be very emotional,’ she says. ‘It’s a culmination of sorts in a country that has fed me creatively. It’s an important chapter for me.’

‘Kimy Gringoire: BigLoveCables’ runs until 14 December at MASA in Mexico City.

'Care Instructions' could be thought of as the relationship between an object and its owner—anything from ensuring that a white sofa remains pristine to curing insomnia in a lounge chair. The design and architecture studio ATRA demonstrates both (and more) in Paris this week, during an exhibition called CARE INSTRUCTIONS.

Based in Mexico, ATRA started producing furniture in 2014, but Europeans are just starting to discover the ultra luxurious designs by the company's Swedish-Mexican founder, Alexander Díaz Andersson. Neofuturist seating, tables, and lamps feature lines inspired by nature, and noble materials such as onyx, travertine, aged brass, and alpaca. Everything is made by over 100 master artisans in an atelier in Mexico City.

The most awe-inspiring piece on show is a black, L-shaped "Beluga" sectional sofa with impressive proportions, 4.80 m long on one side and 4.15 m on the other, made to fit the contours of a client's Malibu house. Low-slung and deep, it is covered in baby-soft Sandra Jordan alpaca bouclé.

A smaller Beluga sofa is protected by a thin transparent silicone cover called SKIN. Díaz Andersson explains, 'This was my partner Jeremiah [Joseph]'s idea—he grew up in a place where his grandmother wrapped furniture in plastic. It's playing off the idea of encapsulating a piece of furniture while still using it.' Clients can remove the cover to expose the white alpaca velvet underneath, or else choose to keep it wrapped and 'showcase how neurotic you are'.

Neuroscience must be on Díaz Andersson's mind. In a darkened side room, a biohacking chair, the Morphus, sits alone, the result of work he is doing with American wellness entrepreneur Jonathan Congdon. Pulse electromagnetic frequencies with different wavelengths interact with the body, inducing deep meditative states. 'The meditation chair is one of the projects I'm extremely proud about,' says the designer. 'I think this chair is going to become a huge tool for many things.'

And because the experience of sitting in a stylish chair can only be enhanced by looking at interesting artworks, CARE INSTRUCTIONS includes a number of pieces from Jeremiah Joseph's personal art collection, such as a conceptual snowball by David Hammons, a cast concrete "Sportscar" by Jason Rhoades, and a minimalist textile work by Andreas Díaz Andersson, Alexander's brother.

Friends and family flew in from Mexico to attend the opening, including Andreas, as well as Alexander's mother, who runs the workshop. Also present was Gabriella Kuti, Alexander's partner in business and life, who is four months pregnant. That didn't stop the couple from greeting guests at the after-party into the wee hours of the morning, smiling graciously, no care instructions necessary.

A conversation with Alexander Díaz Andersson and Gabriella Kuti

Wallpaper*: Alexander, your background is Swedish and Mexican, how does that impact your approach?

Alexander Díaz Andersson: I think it's a mix. I think we're a minimal maximalist brand because we use very rich materials. And the lines are unobtrusive. I like things when they are organised and there's like a certain symmetry and order. I'm very classic in that sense. I take a lot of inspiration from nature, like for our collection called the Pebble table. I love hiking. I think of rivers or look at the trees, and that gives me a lot of information about shapes and how they can be transmuted into products.

W*: How do the two of you work together?

Gabriella Kuti: I lead the interior design side of the company. ATRA started off as a furniture design company, then we started the architecture side about four or five years ago with a client that believed in us, for a house in Malibu. The client became our mentor and greatest supporter. Now architecture shapes our furniture collection, and vice versa.

W* So it's an ongoing conversation.

GK: We are very well known for our pieces being customisable, as long as the design doesn't get sacrificed.

ADA: Sometimes when we do bespoke, we like the proportions of the design, and then it ends up becoming a product. Every year our objects evolve. I take a lot of inspiration from car designs, like Porsche—it's always the same Porsche, but it's been evolving over time, attaining the same language, but evolved.

W*: What's the meaning of the collection name, "Future Relics"?

ADA: The collection is the continuation of a narrative we created three years ago for Design Miami named Earth Year 2100. So it's the idea of design today and how it's going to age, how it's going to interact 100 years from now. Every time we do objects, furniture, and architecture, we think about the future—like will they be passed down, will they still work, and how do we create pieces that evolve over time. Aging with beauty. It's a very wabi-sabi or Taoist approach.

“CARE INSTRUCTIONS” runs until 27 October at 18 bis Rue d’Anjou, 75008 Paris atraform.com

There aren’t many interior designers working today who use physical models to guide their decision-making and develop their schemes. Yet for New York designer Giancarlo Valle, these tools are not just key to his studio’s day-to-day operation, but also represent a constant state of flux and experimentation, and a continuation of ideas between each project. This approach to design has remained consistent since he founded his eponymous studio in 2016, as his projects have grown in scale and ambition. ‘It’s quick, it’s intuitive, it’s malleable,’ he says of the clay model-making process.

By creating each of their highly detailed maquettes at the same scale, and storing all of them in an archive space at their Canal Street studio, Valle and his team are able to return to earlier designs and borrow specific pieces or circle back to the same larger ideas. This ‘internal algorithm’ allows the team to be self-referential, rather than outward-looking for ideas, and to move freely between different project types. ‘We try not to make the distinction between architecture, interiors and decorating,’ says Valle. ‘We think of it as one common language.’

Valle trained as an architect, but when he set up his studio, he made the decision to shift to interiors, folding what was more of a hobby at the time into his professional oeuvre. ‘It felt like the missing piece,’ he says. Still, ‘architecture is the lens through which we see all of our projects. There’s an underlying idea about how to build that frames the way we think about how furniture is constructed, how interiors are composed.’

Many of the curvaceous forms, warm, rich colours, and craft-forward gestures of the designer’s earlier work, in Manhattan, Connecticut, Stockholm and beyond, appear in Valle’s most recent project: a private residence in the Lomas de Chapultepec neighbourhood of Mexico City. The building was completed nearly a decade ago by the late New York-based architect David Easton. Valle’s clients, a Mexican family with a large collection of art from the country, then enlisted the designer to ‘mess up the hair’ of the building’s neoclassical style, pristine beige surfaces and limestone floors. ‘They wanted the furniture and the spaces to have a little bit more of an edge, and to better reflect the art,’ explains Valle.

As with many of his projects, multiple furniture and decor pieces were custom-designed for the house and its geographic context. Nepalese handwoven rugs, created as part of Valle’s ongoing collaboration with Nordic Knots, are adorned with Mexican iconography, and many of the furniture pieces were fabricated in Mexico – although much of the upholstery was done in New York. Warm ochre tones complement the reddish hues of tropical woods, while other local materials are introduced by way of woven fabrics, parchment lampshades and volcanic-stone tables. ‘There’s a tradition of decoration in Mexico that is wonderful,’ says Valle. ‘We wanted to tap into that, but take it outside of the references that are traditionally associated with this culture.’

Elements repeated through the interior include screens perforated with grids of tiny squares, used as bi-fold window shutters and for ventilation grilles within built-in furniture. Around the living spaces, there are plenty of ledges and niches for placing paintings, and several custom-made, pale wood storage units to display books and objects. In a sitting room, pattern is introduced through a lattice-like wallpaper and spotty circular cushions that are scattered across a huge beige sofa.

Located in a gated community, the property is surrounded by high walls covered in lush tropical plants, so that much of the building and its grounds are hidden from view. At the end of the garden, Valle’s studio constructed a new pavilion, intended as an escape for the family away from the main house. Also mostly hidden by greenery, the structure comprises an extended roof plane with exposed timber beams that are left exposed inside, too. Large wood-framed glass doors slide open to connect the internal living space with the covered seating area outdoors, while huge picture windows frame the flora growing on the property’s perimeter walls. A cylindrical portion of the building, which houses a bar, is wrapped in glossy, dark green handmade tiles across the exterior. Meanwhile, exaggerated grout lines surround the clay tiles in the bathroom, contrasted by a basin sculpted from a single piece of lava stone.

In every project, says Valle, ‘we always have those one or two furniture pieces that I feel become the most memorable for us, and we pull those out’. These items, which are named after his clients to create a ‘time-stamp’ of when and where they were conceived, are added to the studio’s product line of chairs, tables, lighting fixtures and other furniture pieces that feature chunky proportions and highly tactile finishes. From this house, the ‘Julio’ sofa, with its rounded, enveloping backrest and mohair or chenille upholstery, was introduced as a staple.

Valle’s modus operandi of studying and enhancing traditional Mexican design DNA in a subtle yet impactful way is similar to that taken at his Hotel Esencia project in Xpu Há, on the Riviera Maya. Completed in 2022, that initial foray into the hospitality sector is indicative of his ambitions for the studio’s future. ‘Hospitality design combines a lot of the storytelling approach to the way we work,’ he says. ‘It fits in with the scale of design that we like to focus on, and allows us to reach a broader audience.’ The studio has also expanded its physical footprint in Tribeca with the opening of The Annex in June, a space that offers another setting to present the ever-evolving laboratory of ideas to the public, just a stone’s throw from the Canal Street studio. With a growing client roster and inevitable increase in project scale, let’s hope there’s a bigger model archive room in the plans, too.

giancarlovalle.com

This article appears in the October 2024 issue of Wallpaper*, available in print on newsstands, on the Wallpaper* app on Apple iOS, and to subscribers of Apple News +. Subscribe to Wallpaper* today

Federico Stefanovich makes bronze lamps inspired by organic forms. Nodding to the shape of plants and fungi, his latest collection, ‘Folia’, strikes a delicate relationship between organic beauty and mathematically precise craftsmanship. Exploring ideas of harmony, play, and community, his work champions the value of design in connecting people, objects, and our shared appreciation of beauty.

Stefanovich’s ‘Folia’ collection is on show at AGO Projects in Mexico City, co-founded by Rudy F Weissenberg and Rodman Primack (both featured in this year's Wallpaper* 400 guide to creative America). The range consists of a chandelier, wall sconces, table and floor lighting, made from cast bronze, worked brass and carved wood, with forms derived from foliage, seeds and fungi. There is a poetic and profound simplicity to the collection; these are evocative shapes that echo familiar organisms from the natural world. Seeing them reconfigured by human hand with craft processes in solid materials, we re-evaluate their beauty; the sculptural objects become talismanic, less ephemeral than the organic matter of their inspiration. Hidden light sources reflect and diffuse the lamps’ glow, accentuating the various material properties for ethereal ambient effect.

Encouraged by his father’s passion for design and craft, Stefanovich studied at Universidad Ibero Americana in Mexico City, before working for Age Salajõe’s EWE Studio on a range of diverse projects. Stefanovich was driven to pursue his own interests in design, and quickly made his name with multiple showings at Design Week Mexico, where he exhibited a series of ever-larger mobiles and chandeliers. Suddenly in demand, the designer founded his own practice and has continued to delve deeper into his imagination and practice ever since.

‘Folia’ is Stefanovich’s latest project and comes after two years of experimentation and refinement. The process involves digital prototyping and the printing of 3-D models. The component parts of the lamps are then sculpted by artisans in Mexico City. Each piece is a work of collective effort emerging from Stefanovich’s precise specifications for his designs, but integrating the unique characteristics of the workshops with which he collaborates.

It is perhaps no surprise, then, to learn that a key tenet in Stefanovich’s work is the desire to celebrate relationships. In his eyes, great design isn’t about the production of objects to be consumed by their owners, but fostering beauty in how we care for what we love. ‘I think the power of design is to create emotional bonds between objects and people,’ he says. ‘Loving the things that you choose to live means you never want to get rid of them – even if they stop working, you cherish them, look after them and hold onto them.’

AGO-Projects.com

Jutting through a leafy green patch of the Parque de la Luz section of Chapultepec Park in Mexico City, the iconic Torre Virreyes structure is home to the new Alexander Hotel, a refined modern respite from the bustling surroundings.

Named after Alejandro Magno, Alexander III of Macedon, this urban landmark lies in the upscale Lomas Virreyes neighbourhood, which was developed as a ‘Garden City’. The five-star hotel, a member of The Leading Hotels of the World, offers a heliport and a direct-access elevator within the building.

Alexander Hotel, Mexico City

The 26 light-filled suites feel more like private apartments, and are conceived by architect Daniel Álvarez, whose design features floor-to-ceiling windows, dark ebony woods, rare marble and meticulous Italian craftsmanship. ‘The idea was to create a concept for a very high-level hotel. The clients wanted the best and most luxurious hotel in the country,’ Álvarez comments.

Created in collaboration with Linda Masri and Lorena Cherem of Ambia Studio Interior Design, the public spaces and suites blend earthy colours with Mexican elements and the calming influence of calcite blue marble.

‘The interior design has a European soul with a Mexican accent,’ shares Masri. ‘Featuring Italian furniture of the highest quality, mostly from Poltrona Frau.’ Rimadesio was used for shelving and closets; Villeroy & Boch tableware; Riedel glassware; amenities from Byredo; Matouk bathrobes; and 1,200-thread count bed linens. ‘Every last square centimetre was designed with yacht-like precision,’ adds Álvarez.

While seeking to create an immersive environment that transcends traditional hotel experiences, the duo looked to luxury and sophistication as the primary inspiration for the interiors. ‘We specialise in transforming living spaces into personalised sanctuaries, blending functionality with aesthetic appeal,’ says Cherem. ‘Luxury is not just a feature but a philosophy.’

Focusing on the opulence of materials like marble, silver, crystal, gold and leather, the design duo aimed to create an atmosphere of timeless elegance and sophistication. ‘The use of marble adds a sense of grandeur and permanence, while silver and gold accents bring in warmth and a touch of regal splendour,’ notes Masri.

Under the direction of chef Gabriela Ruiz, that theme continues at the oval-shaped caviar bar. Here, you can dine on a selection of Petrossian caviar from Ossetra Imperial and Beluga. For the ultimate pairing, try the house Alexander Martini concocted by mixologist Mica Rosseau with Gin Harris infused with sugar kelp, dry vermouth, and olive juice, served alongside a Kumamoto Oyster topped with Baeri caviar.

Other engaging pursuits on offer around the property include viewing the permanent black-and-white photographic collection from seven Mexican artists, captured between 1987 and 2023. Titled ‘Elegance and Enduring Mirages’, it was curated by Nicole Badín Sucar.

The works on display weave through different photographic techniques while exploring youth, beauty, and expressions of vitality, and offer a complementary touch to the overall design aesthetic of the hotel.

Alexander Hotel is located at Bosque de Chapultepec, Lomas - Virreyes, Pedregal 24, Miguel Hidalgo, Mexico City, alexanderhotel.mx

Mexico City’s El Minutito is not just a café and bar; it is a tribute to universal moments of kinship and draws inspiration from the conviviality of Italian standing bars, the communal spirit of sharing tapas, and the warm embrace of old-school Mexican cantinas. Designed by Mexican architect and co-founder of Tezontle studio, Lucas Cantú, the space was envisioned as a sanctuary where locals and travellers could come together to enjoy life’s simple pleasures.

El Minutito, Mexico City

El Minutito has been custom-designed down to the smallest details, integrating a few unique pieces in a yellow-accented interior. Mirrors are strategically placed throughout to reflect and expand the space, creating a sense of openness. Wood infuses the project with a cosy and natural atmosphere, while off-the-shelf aluminium and brass profiles highlight intricate details.

At the heart of the establishment lies a custom-designed bar adorned with brass detailing and a bespoke clock that elegantly ticks away the minutes, paying homage to the project’s name (‘in a minute’ in Spanish). Here, guests can savour pastries, pies, cookies, traditional ‘pan de dulce’ and freshly prepared sandwiches. ‘Much like the fast-paced espresso culture in Italy, everything at El Minutito is fast and ready to go,’ Cantú points out.

As the day unfolds, guests can transition from sipping coffee, teas or Mexican hot chocolate to ordering cañas, vermouth and wine. Small botanas (snacks) are served on dainty plates, while cocktails and carajillos (a coffee drink) mark the beginning of the evening as the music picks up pace. ‘El Minutito is a social hub,’ Cantú says. ‘It’s a celebration of connection where strangers become friends over a shared moment.

El Minutito is located at Londres 28, Juárez, Mexico City, @el.minutito

A version of this article appears in the July 2024 Design Directory Issue of Wallpaper*, available in print, on the Wallpaper* app on Apple iOS, and to subscribers of Apple News +. Subscribe to Wallpaper* today.

Scenic Garden's hint is in its name. The new, verdant section in Mexico City's Chapultepec Park has been designed by Michan Architecture, Parabase, and landscape architects Entorno Taller de Paisaje to offer respite from the bustling capital through greenery and architectural delights, making for a picturesque backdrop to everyday life. The Mexico City-based firm, headed by founder Isaac Michan Daniel, just completed this fresh urban green space, which has just been inaugurated as Mexico City's newest architectural garden.

Tour Scenic Garden by Michan Architecture

The architecture practice talks about the project as 'part architecture, part landscape, and part infrastructure', and it feels like an apt description. The scheme not only consisted of crafting the flora and landscaping in the appointed section of the park, but also the construction of three pavilions to cater to various needs of visitors.

The aim was to make the project sustainable as well as open to as many people as possible. The architects explain: ‘Located on Avenue Reforma, next to the Auditorio Nacional in the first section of the park, the largest pavilion is dedicated to performance [and is] a large flexible auditorium with doors that open to the surrounding park and neighbouring pavilions, for rehearsal and a cafeteria. Collectively, the pavilions will host guests to see theatre, music, performing arts, and other events.'

Michan Architecture collaborated on the project with the two loal firms, Switzerland-based Parabase and locals Taller de Paisaje Entorno, and managed a team of 11 consulting firms in this complex scheme. Michan Daniel describes the resulting design as 'an exercise in embedding contemporary architecture, landscape and culture as one'.

Boasting organic curves, low concrete forms and swathes of glazing to make sure the interiors always feel connected to the outdoors, the architectural pavilions within the Scenic Garden were conceived to blend seamlessly with the park’s network of winding paths and promenades.

michanarchitecture.com

www.parabase.eu

Since the 1960s, Taquería El Califa de León in the San Rafael neighbourhood of Mexico City has been attracting a dedicated clientele for tacos that prioritise quality tortillas and exceptional meat.

Serving just four dishes – all a variation of the beef taco – the 10ft-by-10ft taco stand has become the third street food vendor in the world to receive a Michelin star, with the guide naming the food ‘elemental and pure’.

Chef Arturo Rivera Martínez ascribes the popularity of his food to ‘the simplicity of our taco. It has only a tortilla, red or green sauce and that’s it. That and the quality of the meat.’ Martinez has been a fixture at the stand for the last 20 years and was presented with the prestigious white chef’s jacket that comes with the award while at work last week.

The accolade comes after the publication of the first Michelin Guide Mexico. Two-star fine dining restaurant Quintonil, run by chef Jorge Vallejo and Alejandra Flores; and Rosetta, from chef Elena Reygadas, awarded one star, were among the other establishments included on Michelin’s first-ever rankings for Mexico.

In 2016, a Singapore Hawker stand was the first street-food outlet to receive a Michelin star. Currently, Taquería El Califa de León joins street-food establishments Hill Street Tai Hwa Pork Noodle in Singapore and Jay Fai in Bangkok in the Michelin guide – both with one star each.

Full details of the Michelin Guide Mexico 2024 at guide.michelin.com

One of Mexico City's newest housing offerings, the Antonio Solá building in the swanky Colonia Condesa neighbourhood, exudes a sense of calm. But there's more to this residential scheme than its minimalist architecture character. Its architects, the dynamic studio Módica Ledezma, headed by co-founders Héctor Módica and Carlos Ledezma, explain they conceived it within the context of their ongoing search and experimentation for a 'new typology of housing' in the city's dense, urban environment. 

Inside the four homes of Antonio Solá

The Antonio Solá building occupies a deep, relatively narrow plot. The architecture team, resisting the urge to plans homes horizontally, as typical apartments, organised each home's interiors vertically. 

To ensure each residence makes for an enticing offering, the architects had to think carefully about spatial divisions. 

'When it comes to properties of this type, there are spatial hierarchies, the front apartments tend to have greater privilege in terms of ventilation, views and location. A strategy was proposed so that each housing unit enjoyed these privileges, regardless of its location within the property: spatial democracy,' the architects write.

There are four townhouses in total, each unfolding upwards across four levels, featuring a generous planted courtyard and a roof terrace that offer outside space to their residents, while securing natural light throughout.

Internally, the residences are composed in a seemingly effortless, pared-down style, wrapped in light, natural hues and off-white-plastered crisp walls. The interiors are often enriched by vegetation and planters. Swathes of glazing around the central courtyards allow the sun to reach every corner on all floors. 

The result is a family of homes that not only offer a sense of retreat, privacy and serenity for their users – but also allow residents to engage with the city through wide rooftop vistas, even though they might not have a direct frontage to the street. 

'It is a place of rest from this effervescent city,' the architects conclude. 

modicaledezma.com

A Mexican artist's studio and home in the capital's leafy, central neighbourhood of San Miguel Chapultepec becomes a creative sanctuary in this new scheme by local studio JJRR/Arquitectura. The project, led by practice founder Jose Juan Rivera Río, was a commission from conceptual artist Stefan Brüggemann (whose Ibiza studio and residency we visited in 2023), who was after a live/work space in the area – a part of Mexico City where the creative crowds flock, offering a wealth of art offerings and situated next to the verdant surrounds of Bosque de Chapultepec. 

A Mexican artist’s studio: a private haven for Stefan Brüggemann

'It is an architectural programme focused on living and at the same time as a work studio and exhibition of the works created by the artist in the same space,' the architecture studio explains in its statement on the scheme. 

Further discussions between the architect and client led to a refined brief that outlined a place 'to achieve an environment of peace, tranquillity, serenity and silence, like the feeling of peace that a chapel provokes'. It was this sense of calm and retreat within the bustling Mexico City context that defined the design solution.

Playing with volume inside and out, the design team placed large windows high up on the peripheral walls, ensuring interiors were illuminated throughout the day. It's this kind of indirect light, coming from above, which most befits the typology of an artist's atelier, and here, it is found in abundance. 

Meanwhile, a simple and raw material palette of exposed concrete, timber and steel craft an environment that feels refined but also durable – perfect for art production and flexible use, and low maintenance. 

jjrrarquitectura.com

stefanbruggemann.com

Taquería Los Alexis, by chef Alexis Ayala, is a delightful addition to the vibrant streets of Chiapas, in Mexico City’s Colonia Roma – a district steeped in history and renowned for its culture, gastronomy, and architecture. Los Alexis pays homage to informal street commerce, encapsulating the charm of a traditional changarro (a small business) within a modern setting, and serves up a straightforward menu featuring two taco varieties: los taurinos and los de Asada.

Step inside Taquería Los Alexis, designed by RA!

Mexican design studio RA! was enlisted to transform the modest 15 sq m property by manipulating colours, textures, and aromas. The interior architecture revolves around a joyful mosaic, embracing the open kitchen and serving as the space’s focal point. Drawing inspiration from the art deco legacy of Roma Norte, the design harmonises opposing hues and sleek, curved lines, with strategic lighting to add dynamism.

The detailed craftsmanship evident in the taqueria’s construction began with the renovation process, which involved the removal of worn finishes to make room for intricate mosaic tiling. The design connects the past and present by integrating new elements with the original industrial structure, which previously housed a beer depository.

Combining aesthetic appeal with functionality, the bar and kitchen area showcases a sleek, low-profile steel structure adorned in a vibrant green hue, contrasting with the surrounding minimal decor. Suspended storage units give the illusion of weightlessness, infusing a whimsical touch to the space. Even the restroom receives a makeover, echoing the taqueria’s signature aesthetic.

raarq.com

Nilufar takes over the home of Pedro Ramírez Vàzquez, in Mexico City, for a design showcase in collaboration with rug company cc-tapis and Mexican design retailer Studio 84, which makes its debut with this project. Staged during Mexico City’s Art Week 2024, the exhibition is a display of gallery founder Nina Yashar's Open Edition project, a curated selection of contemporary furniture, objects and artworks that the gallery introduced in 2023. 

Nilufar Open Editions and cc-tapis at Casa Pedro Ramírez Vàzquez

A key figure of Mexican architecture and culture, Ramírez Vásquez (1919-2013) was a modernist architect whose impact on Mexico City and beyond included iconic commercial, residential and public buildings. He was also committed to help preserve Mexico's cultural heritage through projects that would encourage social change and improve life in rural communities. 

'I am honoured to have been welcomed into someone's home, invited to linger and be heard,' says Yashar. 'Javier [Ramírez Vásquez] recalls his father as a captivating conversationalist, and I see this showcase as a tribute to that legacy.'

The displays take over the house's wood-panelled rooms, in conversation with the unique architectural features, furniture and artwork. Among Nilufar's selections is the ‘Necklace’ ceiling glass lamp by Analogia Project, ‘Piero’ wall lamps by Vibeke Fonnesberg Schmidt, 3D-printed objects by Dutch artist Audrey Large, vases by Sophie Dries and a selection of modular pieces by Lebanese studio David/Nicolas. 

Throughout the house, the design collections are accompanied by a series of unique rug designs created for cc-tapis by Bethan Laura Wood and David/Nicolas. A company known for its wide creative sensibilities, and collaborations with some of today's most exciting names in design, cc-tapis is a fitting companion for Nilufar's Mexican showcase. 'To be able to combine cc-tapis rugs, which are made in Nepal and designed by Lebanese and English designers, in the home of one of the most iconic Mexican architects, together with Nilufar is what makes this exhibition so unique,' says Daniele Lora, cc-tapis art director and partner. 'It’s an incredible combination of nationalities, cultures, aesthetics and history.'

'Design, at its core, is a dialogue – about society, the convergence of eras, routines and aspirations,' adds Yashar. 'It is a conversation that must unfold among its creators. This collaboration provides exactly that opportunity, affirming that the timeline of design is endlessly unfolding, navigating an imprecise and concurrently precise path through time. This scenario offered the ideal opportunity to announce our collaboration with Studio 84, whose work I've always admired and consider to be representative of our values.'

Until 11 February 2024

Casa Pedro Ramírez Vàzquez
Granizo 145 Colonia Jardines del Pedrega
Mexico City, Mexico

nilufar.com
cc-tapis.com
studio84.mx

Built on Aztec history, Mexico City has a rich cultural history worth recounting over and over again. Highlighting this cultural legacy is the latest addition to Assouline’s ever-growing ‘Travel Series’, Mexico City by Aleph Molinari and Anfisa Vrubel.

The beautiful monograph, filled with stunning images and interesting stories, covers the vast cultural landscape of one of the oldest inhabited settlements, and celebrates its contemporary cinematic appeal.

Mexico City book by Aleph Molinari and Anfisa Vrubel

Mexico City is wrapped in folklore and creativity, a constant source of inspiration for artists and creatives alike. The new book guides readers on an in-depth tour through boldly painted architecture in a rainbow of warm colours, shaded side streets hosting make-shift altars, and intricate textiles draped in local markets.

Molinari, who was born in Mexico City and is now based in Paris, and Vrubel, who lives between the Mexican capital and New York, delve into Mexico City’s indigenous, pre-Hispanic beginnings in the 14th century, and explore its distinctive colonial architecture with a Spanish baroque aesthetic, and the use of native materials such as cantera and tezontle (types of volcanic stone).

Also celebrated are landmarks such as Diego Rivera’s Anahuacalli Museum and architect Juan O’Gorman’s Cave House, along with local cuisine, the city’s art scene, and festivals such as Día de los Muertos.

‘Mexico City’ by Aleph Molinar and Anfisa Vrube is available from Assouline.

Bosco Sodi is a busy man. In the last two months, he has opened a new studio and exhibition space in Mexico City (his third worldwide), unveiled his fourth solo show at Galería Hilario Galguera in the Mexican capital, opened other solo exhibitions in Madrid’s Fundación Casa de México en España and the Harvard Art Museums in Cambridge, Massachusetts, and is in the process of building a new studio in Greece and working towards a major show at China's He Art Museum in November 2024. We also recently showcased Casa Primitiva, a new space by architects Hanghar on the wine estate Sodi owns with his brother Claudio, just outside Madrid.

But Sodi, who, when I call him at 8 am, tells me he has already been up for hours in his home in New York, clearly thrives on spinning numerous plates. Even his new studio space in the Atlampa neighbourhood of Mexico City is a feat in multitasking. Sodi wanted to prepare for an eventuality where he might have to move back to Mexico to look after his parents while ensuring he also had somewhere to work. But in typical Sodi style, Studio CMDX rapidly became much more than just a studio. 

With the help of his friend, architect and long-term collaborator Alberto Kalach (a 2022 Wallpaper* Design Awards winner for Hotel Terrestre in Puerto Escondido), the two have created a vast exhibition space housing an art gallery, artist residency, kitchen and terrace as well as Sodi’s personal workspace. The building was originally an old warehouse in the industrial Atlampa colony that was demolished to make two separate structures. As with Sodi’s previous forays into the world of architecture, the resulting space is almost monastic in its simplicity, a love letter to humble materials like red brick, concrete and wood with huge windows that bathe the rooms in warm Mexican light. 

‘We wanted a space where the art wasn’t competing with the architecture,’ Sodi explains, ‘something with simple materials; we love wood, we love plants, we love concrete and bricks.’ The terrace and exhibition space are filled with Sodi’s own work that until recently had been languishing in storage. Newly dusted off, the pieces dotted around the space create a sort of interactive map of Sodi’s CV over the last two decades. His signature paintings made from layering pigment, sawdust, water and glue adorn the walls and more recent golden clay sculptures are scattered around, creating pops of shiny opulence against muted grey breezeblocks.    

Since its opening in early February 2023, more than 2,000 visitors have already visited the Mexico City studio, something that surprises Sodi. ‘We never thought we would have so many visitors. In the first month of February, we opened it every day, but because of the number of people we’ve had to cut it down,’ he marvels. Perhaps it isn’t that surprising but rather the exact manifestation of Sodi’s mantra that art has the power to bring communities together unlike anything else.

For Sodi, who was born in Mexico City in 1970, it was important to create a democratic artistic space and gallery in his hometown, particularly in a less affluent part of the metropolis: ‘I believe in the power of art to change places, it can completely change the tone of a place and inspire people to reconnect with themselves.’ This is something Sodi has witnessed first-hand at Casa Wabi, his first large-scale studio project that he designed with Japanese architect Tadao Ando in 2014 on Oaxaca’s wild Pacific coastline. In the eight years since it opened, Casa Wabi has attracted a thriving community of creatives and fostered a new generation of local youths with access to and an interest in art.  

The healing effect of creativity in childhood is something Sodi understands intimately. As a child, he was diagnosed with ADHD and dyslexia and was encouraged by his mother to try art classes to help calm his mind. This, it turned out, was the medicine he had needed all along. Inspired by art’s healing balm for his own life and perhaps a strong sense of social conscience impressed upon him by his mother, a Marxist philosopher, Sodi has always felt compelled to share his good fortune. ‘I think when you are a successful artist you have the responsibility to give back. I am a very lucky guy; I am able to do what I love the most and it's a necessity for me, it’s like therapy. When I think where to give back I first think about my country and then also my fellow colleagues, the artists of this world.’

Sodi has lived and worked in many different places, from New York to Berlin, Barcelona to Mexico, but no matter where he is in the world two things remain constant in his work: creating and nature. His use of crude natural materials like volcanic ash, resin and clay is more than just an aesthetic penchant, they are a way of communing with and honouring the natural world. 

‘Art and nature help us to better understand the universe’ he says. ‘If you understand the universe you understand yourself and other human beings.’ The new studio in Mexico City allows communities to take a break from the chaos outside and take a moment to observe the beauty of simple natural materials and thereby reconnect with the stillness in ourselves. ‘Right now we are at a crunch point', Sodi warns. ‘If we don’t learn to connect with ourselves and what nature is, it will be a disaster.’

To make an appointment to visit Studio CDMX visit boscosodi.com/studio-cdmx.

‘Bosco Sodi: Origen’, until 9 June 2023, Harvard Art Museums, Cambridge, Massachusetts. https://harvardartmuseums.org/exhibitions/6298/bosco-sodi-origen

Alabanzas, until 7 April, Galeria Hilario Galguera, Mexico City https://www.galeriahilariogalguera.com/exhibitions/alabanzas

Masa Gallery is marking its fifth anniversary with the launch of two solo exhibitions, taking place at the art and design collective’s first permanent space in Mexico City (on view 8 February – 8 April 2023). The vast colonial house, previously owned by art patron Federico Sánchez Fogarty, makes a historic base for Masa to continue to champion motifs of conceptuality in Mexican design, having first launched as a nomadic gallery in 2019.  

Artist and designer Brian Thoreen and multidisciplinary conceptual artist Mario García Torres muse on these themes in shows which challenge the traditional functions of materiality. Thoreen nods to his reputation for challenging the status quo in 'Non-Zero-Sum', a collection of ten functional and six non-functional works. 

Thoreen delights in a juxtaposition of materials in pieces which may not be as they first appear. A chair, fully crafted from folded and stacked neoprene, weighs in at nearly two tons yet makes a temptingly tactile place to perch. Large candles made from raw cast beeswax become sensual sculptures, while a table in free-form rubber with cast bronze boxes and hammered copper celebrates both texture and functionality. The dichotomy continues in artworks which link the digital and analogue worlds, with charcoal sticks on paper becoming a landscape in binary code, forming a triptych of coded information the viewer can’t access.

For García Torres, function is also rethought in 'The Space Under My Chair & The Music I Was Listening To'. García Torres is directly inspired by Bruce Nauman’s concrete creation  'A Cast of the Space Under My Chair' for an aluminium stool which reflects on how the body interacts with negative space, imbuing the classic sculpture with a new functionality. It is a consideration carried through to ‘The Work I Painted This Monochrome While Repeatedly Listening to Gasolina by Daddy Yankee',  electrically plugged monochrome paintings which are both aesthetic items and pieces of silent sound equipment thanks to an LED light.

The exhibitions build on Masa founders Age Salajõe, Brian Thoreen and Héctor Esrawe’s preoccupation with collaborative design, which becomes a celebration of local contemporary artists. They add: ‘Counterbalancing the preconceptions surrounding the dialogue between art, design, space, function, or lack thereof is the essence of what we do.’ 

mmaassaa.com

The exhibition takes place from 8 February to 8 April 2023 at Masa Gallery 

Address: Joaquín A. Pérez 6, San Miguel Chapultepec I Secc, Miguel Hidalgo, 11850 Ciudad de México, CDMX, Mexico

Against all odds, a boutique, modern Mexico City housing complex has been born out of the transformation of a 19th-century home into four apartments by architecture studio Pedro y Juana. The new design successfully negotiated community demands and its complex inner city context, balancing heritage preservation with the city’s need for new housing and densification. Yet it was also uncompromising in terms of local architects Ana Paula Ruiz Galindo and Mecky Reuss’ vision for a generous, liveable and locally authentic architecture. 

Mexico city housing T42 by Pedro y Juana 

The pair discovered the once-abandoned house for sale on a walk through their own neighbourhood of La Colonia Juarez, an increasingly gentrified community of car mechanics and digital nomads. After recruiting investors, they bought the property and took on the ambitious role as novice developers and dynamic architects of its new future, keen to better understand the political dynamics of their locale. It’s safe to say they became initiated – collaborating over eight years with indigenous activists hosting organised squatters to their left, a newly protected heritage house to the right, as well as city bureaucracy. 

Beyond and above its façade, the house opens up into a totally contemporary five-storey apartment building set around a traditional courtyard plan. Large square windows bring dual-aspect light and ventilation into every apartment. Each one also has a unique outdoor space, contributing to urban wellbeing.

'The city should have a memory, but there is also a future of architecture and creativity in Mexico City and that is a conversation that needs to be had – the city can’t be frozen in time,' says Galindo.

Suggesting a direction to this creative vision, the architects took an experimental approach to Mexican craft using cheap, readily available local materials. A volcanic rock aggregate clads the rear exterior, giving it a velvety, brutalist nature inspired partly by Mexico City’s Tamayo Museum. Custom teardrop-shaped clay tiles and traditional rectangular bricks clad the new volumes and terraces, while green-glazed Talavera tiles and exquisite board-marked concrete window ledges bring texture and depth to the minimal open-plan interiors. 

pedroyjuana.com 

This Condesa house is the brainchild of the collaboration of two Mexican studios – featuring architecture by the established practice TAX, headed by Alberto Kalach, and interiors by the emerging outfit Tow Va Bow, founded by architect Emilio A Cohen. The result? The project is a harmonious blend of rawness and greenery, soft and hard surfaces, and an urban approach that touches upon the experience of living among nature. 

A modern Condesa house: Casa Parras

The project, titled Casa Parras, is a single-family home, which is unusually spread across five storeys, because of its awkward, small plot – a mere 70 sq m. The home is situated in the Condesa neighbourhood of the Mexican capital, a short stroll from the verdant expanses of Parque México. The architects drew on this nearby green element when composing their solution – consequently engulfing the minimalist, concrete home in lush planting that dominates its otherwise brutalist façade. 

Beyond the green element and outdoor spaces that define the street-facing frontage, the home features clean spaces, minimalist architecture and raw surfaces throughout. Internally, concrete meets timber details and fittings, and a careful selection of furniture that mixes modern and vintage pieces. 

Navigating the small plot, the architects chose for each floor to contain a single, flowing room, in order to emphasise spaciousness and create a sense of generosity within the domestic space. A different function on every floor makes for a rich internal programme that covers all the residents' needs, while a central circulation core with a staircase unites all levels, also acting as the dividing element between the different areas. 

The ground floor contains a garage and a green courtyard and leads up to two levels of living spaces. Two floors of bedrooms and a home office are situated above. At the top of the structure, an accessible roof terrace becomes an al fresco living room, making the most of the Mexico City views that this slim and tall Condesa house has to offer. 

kalach.com 

‘Mexico City is a phenomenon in which there is room for all imaginations,’ wrote the novelist Carlos Fuentes. This oldest (1325AD), highest (2,240m) and largest (22 million inhabitants) metropolis in North America is full of contradictions, question marks, and undoubtedly magic. Marfa-based arts and culture writers Molly Mandell and James Burke, who called the Mexican capital home before landing back just north of the border, give a glimpse of its allure with a Mexico City tour that spans from a modernist guest house to a compelling craft showroom, mindful cold plunging to mouthwatering dining.

Mexico City tour: the insider’s must-sees

Casa Pani guest house

With its thoughtful details, intimate character and design-forward clientele, Casa Pani – the guest house founded by architect Miggi Hood, entrepreneur Marie Cazalaa and mezcal brand owner Yola Jimenez – fills a much-needed gap in the city’s accommodation offerings. Originally designed by the oft-overlooked modernist pioneer Mario Pani, the building has been thoughtfully updated, with its architectural identity intact. A new building at the rear, marked by a circular staircase and attention to natural light, only echoes Pani’s design language. ‘It is close to everything but not slap bang in the cacophony and chaos of Roma and Condesa, nor the shopping district of Polanco,’ Hood says of the location. In the same spirit, the rooms ‘encourage interaction whilst also allowing for privacy’. With only six suites and communal spaces that include living and dining areas, a kitchen, and a dipping pool inspired by sculptor Valentine Schlegel, Casa Pani feels more like someone’s particularly tasteful home. Amenities including a complementary Oaxacan-style breakfast, in-room massages and an art concierge programme elevate the experience. You’re likely to leave the hotel full of creative rejuvenation and better yet, with a fresh set of friends.

casapani.com

Martínez restaurant and wine bar

While we typically advocate for exploring Mexican cuisine while in Mexico, Lucho Martínez has a unique way of paying homage to both the country he’s from and those that inform him, justifying the deviation. The menu of his just-opened eponymous restaurant and wine bar takes inspiration from Parisian bistros but uses in-season Mexican ingredients. The drink selection includes vermouths, spritzes and beers, but the assortment of 150 wines steals the show. ‘I wanted a place that showcased my approach to food and hospitality in a more casual way,’ says Mártinez, who is also behind the buzzy but more formal Em and its upstairs 686 bar. However, he is quick to note that the new endeavour goes far beyond an individual philosophy. At its heart, the project is part of a family business – his mentors, Eduardo García and Gabriela López of the acclaimed Máximo, are partners, his wife Fernanda Torres runs operations and their daughter Emilia acts as taste-tester extraordinaire. Interiors came to life in collaboration with Sonora-based ET Studio and Chloé Mason Gray, but the little details – wine glasses and plates emblazoned with a logo designed by Carlo Canún – are what evoke the atmosphere of France’s best in this city across the pond.

@martinez.rest

M.A Estudio craft showroom

The brainchild of Melissa Ávila, our former neighbour, this by-appointment showroom offers everything from textiles to ceramics and woven baskets created in collaboration with over 30 artisans, marrying traditional handicrafts with modern sensibilities. A studio visit will leave any buyer with more than a great object but also a meaningful story. Ávila cares deeply for the craftspeople she works with – from Oaxaca, Chiapas, Guerrero, Michoacán and Mexico City. ‘It’s not only about supporting the artisan sector, but also ensuring good practices between designer and artisan and preserving ancestral knowledge and processes,’ she says. She moved into her bright, airy space located in Edificio Humboldt earlier this year. The 1922 art deco building is an artistic refuge of sorts – the magazine Terremoto, fashion designer Carla Fernández and architecture firm O’Brien Van Der Steen, which has been tasked with designing the rooftop extension, can all be found within. M.A Estudio’s playful colours, organic shapes and ingenious ideas bring a certain radiance to the already-cool collection of creatives.

@____m.a____

Ticuchi bar & restaurant

It’s no secret that Enrique Olvera is a talented chef, but in our opinion, one of his greatest talents lies in sourcing collaborators. Ticuchi, located in the original Pujol space, stands out for its always-exceptional music, small-batch Mexican spirits and mouthwatering menu of shared plates, but above all, for its staff. The bar’s manager Karina Arellano, who hails from Oaxaca, draws on her comprehensive knowledge of mezcales and sotoles to highlight the industry’s most skilled producers. For the full experience, these spirits are best consumed in their purest expressions (with a beer on the side), but skipping one of the bar’s expertly-made cocktails would also be a miss. Try both – alongside dishes like mole negro with squash and a succulent octopus taco – and make an evening out of it, preferably on a Wednesday. The bar-restaurant hits its stride mid-week when DJs like Bógar Adame Mendoza spin norteño classics or Ritmonzón plays cumbia, getting everyone out of their hump-day funk.

ticuchi.mx

El Club del Hielo cold plunges

Winter swimming, a practice with deep roots in Eastern European and Nordic countries, can be exhilarating, but also meditative and revitalizing. In Mexico, where the water is always warm, Begoña García, a certified Wim Hof method instructor, organises classes and cold plunges in unsuspecting locations. In the city, they take place at early 20th-century gems like Casa Versalles and Edificio Vizcaya, as well as modern outposts including Grupo Habita’s Hotel Condesa. García occasionally takes her work on the road, offering retreats elsewhere, like the new Hotel Terrestre in Puerto Escondido. ‘Cold exposure and breathwork changed my life,’ García muses. ‘From my health to my wellbeing, my thoughts, goals and relationships with others but namely, with myself.’ Instructors and participants all wear black, to encourage a sense of community. Enrol in a workshop on Instagram, join the club for weekly access to plunge and sauna sessions and per their motto, seek discomfort. ‘Anyone, regardless of their age, gender or physical condition, can become a member,’ García insists. ‘All you have to do is come with an open heart.’

@elclubdelhielo

Lago / Algo, restaurant / gallery

On the banks of a man-made lake in Bosque de Chapultepec – the sprawling 1,600-acre park in the middle of the city – is a new, free-access cultural space. Flanked by triangular walls of towering windows, the concept has taken up residence in the brutalist paraboloid dreamed up in 1964 by Leónides Guadarrama and Alfonso Ramirez Ponce. Recently, the design firm Naso stripped the interiors to their core, shedding light on the raw concrete and patina of the original structure while also paying tribute to its different expressions over the years. Lago, a farm-to-table restaurant helmed by Micaela Miguel, makes up one half of the project. The chef lives part-time in the verdant Valle de Bravo, two hours south of the city, where her partner Lalo Perez Varona manages Reserva Peñitas – leafy greens, duck and lamb from the farm will feature on the menu that she’s launching in February for Zona Maco. ‘It’s customary to think of an idea and then look for the ingredients,’ she says. ‘Here, the dishes are inspired by the ingredients – their producers and seasons – themselves.’ Algo, which constitutes the other half, offers rotating programming spearheaded by prominent modern art gallery OMR. Like its restaurant counterpart, the space is envisioned as one of constant transformation, guided by artists, visitors and the surrounding nature.

lago.com.mx

Mercado Jamaica

Mexico City’s culinary scene – from fine-dining restaurants to cantinas and taco stands – may be as expansive as the city itself, but shopping for a night in constitutes an experience on its own. In addition to stalls that sell produce, meat, medicinal herbs, candles and piñatas, Mercado Jamaica is home to over 1,000 vendors who specialize in more than 5,000 varieties of plants and flowers. This place is a dinner party planner’s dream. Baker and Mexico-City native Odette Alpuche frequents Mercado Jamaica, a one-stop-shop for the fruits, vegetables and floral touches that she puts to use at her café Elly y Gatsby. ‘I love it for many reasons,’ she says, ‘the most logical being the prices, but for me, it’s really the whole experience – the colours, the smells of the flowers and plants, the quality.’ Her tip? Grab a bite while you peruse. ‘I never miss the quesadillas, especially the ones with flor de calabaza, which are my favourite in the city!’

Guillermo Prieto 45, Jamaica, Venustiano Carranza, 15800 Mexico City, Mexico

Escorpio wine shop

​​Mexico possesses a rich cultural heritage, predicated on a sense of place and artisanal processes, so it is perhaps no surprise that a young, creative Mexico City crowd increasingly champions wines celebrating small producers, local grapes and traditional styles. Escorpio, run by importer Alonso Maldonado and restaurateur Jake Lindeman, is the city’s first dedicated low-intervention wine shop. Located in Colonia Juárez, the establishment, which features visionary vintners from Mexico – like Aldo Quesada and Silvana Pijoan – and around the world, proves at once fun and educational. While groovy tunes play in the background, Maldonado, Lindeman and their small staff share their expertise with anyone who is willing to learn and listen (their Thursday tastings are the highlight of the week). The space features custom-made tiles, furniture from local design studio La Metropolitana and occasional window signage by artist Ricardo Gonzalez of It’s A Living. More importantly, however, is its casual and relaxed environment, which according to Maldonado, aims ‘to create and reinforce our city’s natural wine community’.

@escorpiocdmx

This spectacular Mexico City apartment is a true transformable space, a complex assemblage of sliding walls, moving partitions, and blinds. Archetonic Architects, founded by Jacobo Micha Mizrahi in 1991, and including Alan Micha Balas and Jaime Micha Balas, set out to turn this generous double-height apartment into a place of endless opportunities. 

Creating the Mexico City apartment

‘We sought to take advantage of the double-height space, insert maximum natural light and permeate the interior with the exterior environment through large windows,’ the architects explain.

The rectangular plan is bisected by a long corridor running the length of the space. At one end, living and dining, at the other, a pair of en-suite bedrooms. A guest bedroom is tucked away in a marble-clad box in the centre of the space, with upper-level folding wooden walls that concertina aside to open up the space when no one is in residence.

It's these half-height elements that give the apartment its dynamic character. The dark marble walls are paired with an upper level clad in light wood. ‘The design invites you to decipher light and space, volume and void,’ say the architects. 

‘The limits are composed by the duality between the absence and presence of half-height bodies that generate attics and the possibility of using another plane of the apartment.’ 

Not all of these spaces are accessible; some are just voids that hang there to create a generous sense of space. 

Above the kitchen is a utility area and bathroom, while two of the downstairs bathrooms are topped with storage. The main bathroom has a hidden study area above it, reached from a ladder and clad in light-scattering mirrors.

The rest of the space can be open or closed by a series of large sliding wooden doors, with illumination cunningly hidden in the joins and junctions between material, backlighting planes and washing light across surfaces. 

Two sides of the plan are fully glazed, with a secluded surrounding garden providing a backdrop of green against the material palette.

The exacting requirements also extended to the furniture and storage, much of which was custom made for the space. 

The architects describe the completed project, which covers 322 sq m, as a ‘compelling and pure space in which materiality, light and nature were the protagonists’. 

architetonic.mx

In the Lomas de Chapultepec neighbourhood of Mexico City, a low, linear volume lies nestled in the leafy greenery. This is Ventana House, the Mexico City home of local architect José Juan Rivera Rio, who crafted the elegant residence as a live/work space for himself and his boutique practice JJRR/Arquitectura. Ventana House, as the project was called in a nod to its street name, was inspired by Mexico City's architectural history and in particular its rich 1950s modernist architecture legacy – which Rivera Rio blended here with 21st-century style and sensibility. 

The architect placed his new-build house in the middle of its generous plot – a space measuring roughly 800 sq m. This way, he was able to ensure all four sides can look out to nature and are open to allow for air circulation and views. At the same time, inspiration was drawn ‘from the beginnings of modernism, Bauhaus and brutalism, as well as midcentury modern movements. And for this house in particular, the modern styles of some residential parts of Mexico City, but without losing sight of the basic guidelines of modernism.'

A fairly restrained material palette, including brick, volcanic stone and concrete, as well as steel for the window frames, creates a durable and low-maintenance composition, but also gives the home its hardwearing and utilitarian feel. This is mixed with midcentury references throughout. Inside, furniture by designers such as Don Shoemaker, Frank Kyle, Johannes Andersen, Peter Løvig Nielsen, and Serge Mouille further highlight the project's 20th-century influences. 

The property is used as both the home of the architect and his four-strong family, and a workspace, where Rivera Rio's studio can meet and produce its striking Mexican architecture offerings such as 2019's Casa Vertientes. Three double bedrooms and ample open-plan living space complement the generous home study area – all arranged across two levels, one above ground, and one delicately semi-sunken into the earth. 

‘The project's biggest challenge was adapting the architecture and the residential way of life of the 1950s, as seen in examples found in Mexico City, to the present, while of course always keeping in mind the key principles of modernist architecture,' Rivera Rio explains.

INFORMATION

josejuanriverario.com

Mexico City’s Paseo de la Reforma may be best known as one of the city’s major, historic thoroughfares, but as it climbs westwards, it transforms and incorporates a leafy, linear park where ash, eucalyptus and jacaranda trees offer abundant shade and shelter from both natural and manmade elements. It’s here that Parque Vía House, a family residence completed earlier this year by Soler Orozco Arquitectos (SOA), is located. Encased in an elegant, concrete structure, the Mexican house boasts slender volumes, a rhythmic organisation of windows, wooden shutters and marble sills that convey a transparency while highlighting the repetition of the facade. Surrounded by its own flowering garden and shielded from passing traffic by greenery, the verdant haven easily makes one green with envy.

‘What inspired the design was to create a house that sat in a garden that seemed to have always been there, while granting every space of the house its own relationship to it,’ says Juan Soler, the firm’s principal. ‘We brought the garden into most of the spaces and were able to include water features, double-height spaces and greenery into our design.’

Modern Mexican house embraced by its green setting

Each room of the house blurs the line between interior and exterior, be it the entrance lobby with a single tree rising up through the double-height space and flanking the sculptural, winding staircase, to the open-air colonnade that faces a shallow reflecting pool. Even the garden exudes a similar quality, with landscaping overflowing from the central courtyard, blending the flowerbeds with plants that entwine upwards to connect the ground level with the green roof above the house’s reception room, which serves as a connection to the leafy canopy of the avenue, beyond the site itself. 

The statuesque composition of concrete, marble and lofty spaces means the house is well-ventilated and filled with natural light. Oriented around the reception room, the heart of the home where the clients can socialise with family and friends, the ground floor consists of an open-plan kitchen and multiple living areas, while the bedrooms are located upstairs. A separate gym and studio are located on the other side of the entrance lobby, and can be accessed via the terrace. 

‘The thinking behind the material palette was to use materials that are honest and authentic, whose qualities would help us bring light warmly into the house,’ says Soler. ‘We had a custom, warm light-grey coloured concrete designed for us, [that stays away from] falling into the white concrete category. We also chose natural oak in oil finishing, to expose the natural colour and texture of the grain, reflecting a warm light off their surface. Volcanic stones were chosen to bring out each other’s contrasting colour and texture.’

Throughout the home, well-considered details repeatedly unite form and function. The curvature of the staircase on the second floor, clad in vertical strips of Encino oak, offers an eye-catching contrast to the house’s otherwise linear design. Similarly, a round skylight embedded in the pitched roof filters soft, indirect light into the interior during both day and night for an ethereal effect at all times. Finished with large glass windows that can be opened to the outdoors, the Parque Vía House truly makes the case for tropical living. 

INFORMATION

soa.mx

Located on a tree-lined street in the Lomas de Chapultepec neighbourhood of Mexico City, this striking, monolithic concrete design is the Swiss Ambassador's Residence in Mexico. The majestic – if somewhat enigmatic – volume has recently been renovated and redesigned by Lausanne-based architects Fruehauf, Henry & Viladoms (FHV) and Mexico City studio Blancasmoran. The urban retreat's minimalist architecture takes its cues from the topography and residential identity of the site and the wider area. 

Placed in a relatively narrow, elongated plot, the residence’s reworked shape is defined by the neighbouring structures as well as the footprint of the existing home on site, which the team respected. The new house is located on a plinth and crafted within thick concrete walls, creating a physical and acoustic distance from the street – as the architects treated the residence as a calm domestic retreat, away from the noise of the street. 

‘This sense of calm is reinforced by the omnipresence of the plant element,' say the architecture team, pointing towards the gardens, planted courtyards and indoor greenery everywhere. ‘On the avenue side, the wall becomes a façade. A horizontal folding gives it an austere, intriguing and sophisticated presence.'

Inside, concrete meets light grey terrazzo floors in a graceful, uncluttered interior. Black granite blocks contain service spaces, visually separated from the main living spaces' concrete slabs. Large eucalyptus-wood swing doors separate different spaces. The harder, minimalist surfaces are juxtaposed by greenery everywhere, inside and out, balancing nature and architecture. 

Large glazed surfaces visually connect the home with its surroundings, while at the rear, cascading terraces lead residents out of the house and through the gently sloped urban gardens towards the ravine at the bottom of the site. ‘The topography is a geographical element that strongly defines the site. The area's ravines create wooded natural corridors,’ say the architects, who cleverly juxtaposed the softness of this landscape with a strong, clearly defined volume in this renovation project.

INFORMATION

fhvarchitectes.ch

blancasmoran.com

In Mexico City, a new, multifaceted arts hub has arrived on the scene. JO-HS, founded by Danish curator and gallerist Elisabeth Johs, is a new exhibition space, artist residency and shop that will spotlight a cross-section of local and international contemporary creativity, and offer studio and living space for emerging artists in Mexico City. Johs, who was formally based in New York and is co-founder of the city’s Trotter & Sholer gallery, moved to Mexico City last year after finding herself unable to return to the US due to coronavirus travel restrictions. 

JO-HS occupies an architecturally significant building in San Miguel Chapultepec, Mexico City, a former residence and architectural studio designed by Mexican architect Carlos Herrera and constructed in 1981. This light-filled modernist gem has been sensitively and elegantly renovated to adapt to a platform for contemporary art.

JO-HS’ inaugural show, ‘Vivarium’, features work by eight contemporary Mexican artists: Alicia Ayenegui, Carlos Garcia Noriega, Carla Hernández, Celeste, Emilio Chapela, Fernando Ocaña, Miguel Pedroza, Alonso Leon-Velarde, Perla Krauze and Tania Ximena. 

Participating artists responded to two fundamental questions: ‘What does art need to survive? How does art escape the contemporary?’ In its purest sense, the vivarium is an environment in which to maintain life; the show is an art ecosystem in which to cultivate contemporary discourse.

Through his exploration of automobility as a psychological condition, artist and car designer Fernando Ocaña delves into the anthropology of speed. Elsewhere, Carla Hernández homes in on the synergy between humans and plants, and conceptual artist Tania Ximena takes a distinctive approach to the landscape genre, combining volcanology, and scientific and historical research with spirituality to pose the question: ‘How does one move from experience to image?’

‘I’m thrilled to debut JO-HS and to fulfil a long-held vision for a place to slow down, create and appreciate art in Mexico City,’ says Johs. ‘I have long admired the vibrancy and creativity of this city and aim for JO-HS to be a hub for international creativity where we celebrate the work of Mexican artists in particular.’

INFORMATION
’Vivarium’, until 4 December 2021, JO-HS, jo-hs.com

A gallery serving as a global platform for Mexican design, Masa presents its fourth exhibition, titled ‘The Last Tenant’ and curated by artist Mario García Torres. Set against the backdrop of the gallery’s modernist white villa HQ in Mexico City, the exhibition features works by Mexican and international designers and artists, including Héctor Esrawe, Brian Thoreen, Ewe Studio, Rooms, Jorge Yázpik as well as Torres himself.

The exhibition displays were arranged to imagine the house’s past lives, its inhabitants and their stories. ‘Little information is available from the modern white house at Palmas 1145 in Mexico City; but while entering it, it's not difficult to start imagining daily routines, celebrations and singular moments,’ says Torres. ‘One starts to connect little details that transpire from the materials used and left behind in it.’

Pieces on display include Georgian design studio Rooms’ ‘Butterfly’ chair in stainless steel, created in collaboration with Masa; Torres’ carved stone furniture; and lighting by Esrawe, among some of the Mexican designer’s more experimental pieces. Artworks and furniture design coexist in the space, which despite having been left raw and untouched, has maintained its modernist charm.

For Torres, showcasing contemporary furniture, objects and art in this place suspended in time forms an important curatorial statement. ‘After an extraordinary year that has largely questioned our lives' rhythms and values, this experience seeks a deeper understanding of our artists’ and designers' practices,’ he says. ‘If some works demand the audience to stop for a moment to be considered, others have been themselves waiting for us to catch up with them, and make them pertinent to our time.’

The gallery opened in 2019 as a platform for collectible and limited-edition design in Mexico, and has since evolved with regular exhibitions celebrating art, design and architecture.

INFORMATION

Until 9 May 2021. instagram.com/masagaleria

ADDRESS

Av. Paseo de las Palmas 1145
Lomas de Chapultepec
11000 Mexico City

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A series of internal courtyards defines the architecture of a new Mexico City home in the capital's north-western suburbs. The house, designed by studio ASP Arquitectura Sergio Portillo, was built using local materials and taking into account the region's climate, which favours a healthy blend of indoor and outdoor experiences within daily life. 

The house, called Casa Mika, is a relatively low (at two-storeys) brick structure, organised in a pair of rectangular, boxy volumes arranged around paved clearings. The minimalist interiors spill out into these patios, which are partly planted, allowing the residents to easily transfer their activities outside. A series of terraces and openings create further connections and opportunities for appreciating the garden and the world beyond the home's walls. 

The project is located on a busy avenue, yet the clever design means stepping inside gives the feeling of serenity and seclusion. The architects placed the house's more public areas in the volumes facing the street. Meanwhile, bedrooms and more private rooms (such as a guest suite and a study) are situated towards the rear, with the courtyards effectively creating a form of ‘privacy buffer'. 

A circulation link connects the two volumes. ‘On the first floor, a corridor connects the two bodies of the house by means of a bridge that functions as a transitional element while providing transparency and allowing access to the patios,' explain the architects. 

Materials are kept to a fairly restricted palette that emphasises natural textures and soft colour tones. The exterior skin's white clay brick is matched by exposed concrete and oak wood joinery inside, while quarry stone lines the internal courtyards' floor

INFORMATION

asp.mx

With travel restricted for the foreseeable future, the idea of journeying to the vibrant flavour and sensuality of Mexico City in person is all but a distant fantasy right now. Adding to that fantasy is the newly unveiled showroom space from the design firm VIDIVIXI, which had initially been scheduled to open in March. While it will only be able to welcome visitors in person once lockdown measures are eased, VIDIVIXI – which takes its name from ‘I saw, I’ve lived’ in Latin – has still decided to forge ahead and share the cinematic environment that its created, even if only virtually for now.

VIDIVIXI, which was originally established in Brooklyn by designer Mark Grattan in 2014, has has been a Mexico City-based operation since he moved there in 2016. Together with studio partner Adam Caplowe, who manages the studio while Grattan serves as creative director, the company’s output has risen to new levels of sophistication with its new physical space and accompanying showroom collection.

Remodelling an artist’s studio

Located in Colonia San Rafael, directly opposite the abandoned Cine Opera that was built in 1949, VIDIVIXI’s open plan one-room vision has been divided into a series of three chambers. Because it had been previously used as an artist’s studio before it came into Grattan and Caplowe’s hands, a large amount of renovation had to be done to reflect VIDIVIXI’s ethos, which celebrates contemporary living in its pastiche of design styles that brings classic, vintage and modern all nearly together as one.

‘We remodelled all the walls [and tore] up the floor, which we then finished with micro-concrete,’ says Caplowe. ‘The windows were small and had prison-style bars attached when we first arrived, so we removed them and installed new custom window frames to make the best use of the light.’

‘We wanted to create a warm, saturated feel to the room, which we achieved with the palette choice and materials used,’ Grattan explains. ‘From the tatami-style mats to the Noren-style curtains, there is an Asian theme running through the space, which compliments the forms of the new collection. We feel [that] this, coupled with modernist and art deco overtones, creates a truly unique experience of the space.’

Group showcase at VIDIVIXI

To complete the picture further, Grattan invited artists and designers, all friends from former eras of his life, to contribute pieces to the showroom’s dream-like installation. Selected for their compatibility with VIDIVIXI’s own stylistic signature of bold, curvaceous forms that are typically realised in glass, chrome and leather, the additions include a richly saturated panoramic painting by Kristen Giorgi that hangs next to VIDIVIXI’s dining table topped with an elliptical glass pane.

Elsewhere a geometric table lamp with a rectangular paper shade by Adam Otlewski sits elegantly atop a low VIDIVIXI side table, while a graphic configuration of custom-designed mirrors by Bower Studios brings a Barragan-like quality to the space.

‘As we knew we were going to be presenting our collection in a new space, we had obvious gaps which we wanted to fill, such as wall space and lighting,’ Grattan explains. ‘Instead of sourcing props or loaning work, we decided why not make it a group show and include some of our friends. We reached out to a select group who’s work we really respect and asked if they would be interested in creating new work for the show.’

In total, VIDIVIXI’s new showroom collection is impressively comprised of the credenza, a sofa, a club chair, a figure four side table, and reworking of its signature bed (this time wrapped in green and black velvet upholstery) and coffee table.

Locally-made products

The space also features a custom-designed curved table lamp - a single orb sitting on a serpentine axis - by Farrah Sit, which was manufactured locally, alongside Bower Studios’ pieces, bringing yet another layer of cultural dialogue.

‘[The showroom] cements us literally into the landscape of Mexico, which is very important to us,’ Caplowe concludes. ‘It has also opened us up to possibilities of collaboration and using our new space as a design hub for exchange between the US and Mexico.’

INFORMATION

vidivixi.com

Mexican architecture studio Manuel Cervantes has a growing portfolio of context-sensitive work under its belt, including private houses, infrastructure and commercial projects; all schemes designed with particular attention to their site and built and natural environment, employing generous proportions, natural, local material and architectural cues rooted in their locale. The firm's latest residential offering, a private house in a busy, Mexico City neighbourhood, is no exception. 

The project sits on a narrow fronted plot, sloping towards a nearby ravine. With a site spanning just 14m on the street side but a striking 77m long towards the ravine, the architects were immediately faced with a key problem: how could they bring natural light deep into the building, while making the most of the surface that was available to build on?

The answer was breaking up the house into different volumes, while working with the site's existing flora – notably an old Jacaranda tree – to create open air courtyards filled with aromatic plants and a rich garden that would allow the internal spaces to breathe and interconnect. The composition includes three discrete volumes.  

One volume's ground level contains living spaces that overlook and merge with the outdoors via openable glazing; while upstairs are a family room and several bedrooms. A second volume contains the kitchen, and a third one hosts a study. Warm woods line the interior, also framing some of the key openings. 

The complex is clad in soft, cream coloured ceramic tiles, bringing all the volumes together in a coherent whole; a treatment that creates a tactile, natural backdrop for the foliage that takes centre stage outside, engulfing the house in nature. 

INFORMATION
manuelcervantes.com.mx

The Hilton group could not have picked a better spot in which to debut its Curio Collection in Mexico City, the Metropolitan Cathedral, Zocalo and the 13th century Museo del Templo Major all within easy reach of the Umbral.

Housed in a heritage pile dating to 1924, the 59-room hotel makes the most of the original high ceilings, long corridors and tall windows to create a sequence of grand moodily lit spaces that local architect Javier Sanchez, and interior design firm Nomah have conspired to unfold like cinematic set-pieces.

This sense of drama is especially evident in the bedrooms, each preceded by a shadowy ante-chamber, the titular umbral, that leads through a gold-lined arch into a lofty space dressed in blonde timber, modular furniture, and dripping pendant lamps.

An on-site art gallery of local artists is paired with a music library and cinema, but it’s the sun-lit rooftop terrace with its heated pool and wellness bar, and city views that had us at ‘Hola’.

ADDRESS

Calle de Venustiano Carranza 69
Centro Mexico City

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Located in northeast Mexico City, Oku is a new restaurant serving up muted, minimal interiors and freshly prepared Japanese cuisine in equal parts.

Conceived by local firm Michan Architecture, led by designers Isaac Michan and Alan Eskildsen, the space is defined by an angular cavernous layout that lends itself to an intimate yet contemporary mood.

Front and centre is a sushi bar from where both traditional and fusion dishes such as salmon tostadas, wagyu nigiri, and house made lychee and coconut sake are served up to patrons, while guests seeking lengthier dining sessions may prefer to retreat to one of the restaurant’s table seating arrangements, positioned both indoors and outdoors. Here, under a gentle blanket of linear shadows cast by a vertical window feature, oak wood tables sit with oak wood chairs lined with leather latticed seats and high backs made for lounging.

The defining feature at Oku, however, is the futuristic, angular terrain that forms the restaurant’s cement ceiling, marked by three ‘legs’ which extend from the top down. Just one connects the floor and ceiling, allowing it to host the restaurant’s bathrooms, while the remaining pair measure 2.4 metres each and hover over the sushi bar to create an artificial lighting element — courtesy of internal brass cladding. The outcome is another layer of texture and colour added to this space’s soothing palette of putty greys and ash, which combine to create a chic cocoon of calming modernism.

ADDRESS

Prado Sur 125

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Mexico City-based architecture firm Archetonic has overhauled a minimalist family home into a workspace in a western city suburb. Defined by its domestic previous life and verdant surroundings, the new design segues the pensive quality of nature into fluid working facilities.

To passers-by, the office's minimal façade and residential backdrop suggest no trace of the building’s professional occupation. ‘The idea of generating a more cosy and homely working experience naturally and unwillingly comes from recycling a residential structure,’ explain the architects, ‘otherwise the result would have been a more conventional office solution.’

From the wide sliding doors that open up to a patio, to the steel girders overhead, and the small dipping pond, the office indeed breaks convention. Daylight abundantly drapes over dark marble flooring and light wooden wall fixtures in the entrance, producing an interior ambience more akin to a spa or hotel lobby than a reception. Meeting rooms in various configurations orbit this central space, each with an individual outdoor terrace overlooking the east-facing garden flooded with sunlight and calming tree views.

Design drama unfolds beyond the western wall, which slides to a reveal a proportionate meeting-cum-living space. Furniture design by Esrawe, Blu Dot and Dejate Querer instills a homely character to the left, and a formal space to the right. A two-tone sculpture by Mexican artist Rodrigo Garagarza from the ‘Matatenas/Jacks’ series sits between the two, acting as a bridge between the room’s twin personalities. Gentle contrasts can be found on the first floor, where white furniture design and fittings are juxtaposed.

Focus is quickly shifted, however, to a façade of green woven plastic cables beyond a swivelling glass wall at the end of the corridor. This winds around to the building’s reverse, filtering in natural views to another set of private workspaces and their corresponding terraces. With a rooftop garden topping the space off, it would be easy to assume that the focus of the project is to encourage an outdoor working ethic. Archetonic rather sees this piece of office design acting as a stimulus for new ideas.

‘We didn’t quite want to inspire outdoor working, nor to deny it. The objective was to blur the limits between in and out, in a way that allow the user to enjoy the outside while inhabiting any space of the project. We wanted the vegetation, outside garden and terraces to be part of a strong contemplative experience.’

INFORMATION

For more information, visit the Archetonic website

At Mextrópoli 2019, Mexico City’s annual architecture and city festival (9-12 March 2019), many questions were posed around the theme ‘Where the City Ends’. During a round-table discussion between international architects David Chipperfield, Guillermo Hevia, Frida Escobedo and Mariam Kamara, Chipperfield addressed the topic of how the next generations could improve the life of cities.

‘The profession has to consider how we can be societally effective,’ he said. ‘Architecture doesn’t sit in a gallery or on a bookshelf. We are a service dependent on societal engagement.’ It’s a sentiment that a group of students confronted head-on at the festival’s outdoor-installation activation at Alameda Central, Mexico City’s oldest public park, where 18 projects were presented by various studios and architecture and design institutions.

One of the most popular ones, a collection of 31 doors placed in various sequences that allow entry from one to another in a haphazardous, free-flow manner, was the idea of three fourth-year architecture and urbanism students from the Federal University of Rio de Janeiro, aided by peers from the Faculty of Architecture at the National Autonomous University of Mexico (UNAM). ‘We’re presenting a city without limits,’ said Daniel Carvalho Mendonça, one of the Brazilian creators. His collaborator, Felipe Ross de Mattos Oliveira added: ‘Political limits in a city aren’t real. When people open doors, they’re transforming these limits.’ 

The doors were fitted with peepholes, displaying tiny photographed images of daily life in the city, blocking the real vista until one opened the door to discover that such a constricted view does not exist. Rather, one was confronted by the vibrant city park, its towering spring-time jacarandas, and a smorgasbord of citizens from all walks of life.

By sourcing doors from various suburbs in the city, each with its own economic and social implications, they were uniting contexts not often integrated, transforming Mexico City’s story to one where, as co-creator Gabrielle de Almeida Maia da Silva said, ‘architecture contributes to breaking barriers’. Besides its main two-day conference, where Chipperfield and Kamara formed part of the prestigious speaker line-up, Mextrópoli hosted workshops, discussions and film screenings, and included a variety of exhibitions openings, many of which will be running into the coming months.

Independent architecture platform Liga presents The Horizon is Ours! (until 31 May) by Pedro&Juana, again talking to the city’s imagined limits. Their ‘diorama’ presents a ‘window into the city’, where each object inside this scene represents an element of daily life in Mexico City, its scale and false perspective questioning the power of the subject and its ability to contain, compose and fragment a constructed world.

In addition, Skidmore, Owings & Merrill (SOM) – a global architecture, interior design, engineering and urban-planning firm that has defied city limits (it’s responsible for Dubai’s groundbreaking Burj Khalifa) – is also exhibiting in Mexico City. ‘SOM: Art + Engineering + Architecture' (on until 9 June at the historic Antiguo Colegio de San Ildefonso) is a display of over 30 structural models of projects that have created new dialogues within their urban environments – from the United States Courthouse in Los Angeles to Poly International Plaza in Beijing. Supported by sketches, sculptures and videos that demonstrate the company’s ethos of uniting engineers, architects and visual artists in its more than 80-year history, this exhibition provides next-generation architects even more lessons to learn from.

INFORMATION

For more information visit the Mextrópoli website

Artists have long tried to draw a connection between our physical plane and the enigmatic beyond. A new land art work by Bosco Sodi is perhaps among the most ambitious endeavours yet – if not the most colossal. The Mexican artist has erected a 700-tonne ‘city of cubes’ along Oaxaca’s shoreline, adjacent to the Tadao Ando-designed Casa Wabi (the foundation and studio established by Sodi).

Numerical data is by no means a measure of an artwork, though Sodi’s minimalist Atlantes is a pleasing intertwining of art and mathematics. Each of the 64, two sq m cube comprises 1,600 brick ‘timbers’ handmade by Sodi and a team of local craftsmen in a traditional rustic kiln with wood, coconut shells, and jacaranda seeds. There are a total of 102,400 terracotta-hued pieces, fired in 40 batches over nearly 1,000 hours and arranged in a gridded formation.

‘The many points of contact it creates between earth and sky suggests that the heavens are so heavy the weight must be distributed,’ notes Noguchi Museum curator Dakin Hart of the installation. ‘And that human ingenuity can replace divine heroics, but not without great effort.’ Its sheer scale is a spectacle in itself – the rugged Oaxacan landscape notwithstanding – alluding to the Greek myth of Atlas, condemned to hold up the sky for eternity at the ends of the earth.

A canvas for the shifting light during the day, Sodi’s perspective-bending pavilion may not prove as immortal as the titular Titan. The structure will weather over time, tracing ‘a sense of the land’s entropy through erosion and the flora and fauna that will eventually dwell in its corridors. Each of the 614,400 brick faces will slowly succumb to the mountains, desert and ocean that frame the artwork; the fate of Atlantes hanging in equilibrium. 

INFORMATION

For more information, visit Bosco Sodi’s website

Immersed in nature, the Bacatete House in Mexico City has been designed by Rima Arquitectura as an escape from urbanity into the wilderness. The single family home features cantilevering volumes, a first floor central courtyard and a subterranean garden bringing daylight into the basement level – all of which connect the interior with the outdoors.

A single pathway glides through the rectangular plot from the street, transporting inhabitants into a private paradise. The smooth, grey stone path runs over a subterranean garden at basement level bringing the illusion that you are really floating through a forest.

The building was designed to connect nature to the lived experience – textural finishes on the exterior of the building including wood, stone and concrete, let the building sink into its environment. The inner structural system of the house is built with steel columns and girders set at an angle, while Vierendeel truss frames support two cantilevered volumes that suspend the inhabitant into nature.

The sensory experience continues throughout the house across four levels and down into the basement that opens up to the lower garden, bringing daylight into the underground rooms that include a wine cellar, gym and utility spaces.

The ground floor is a social zone for living, dining, studying and cooking, surrounded by glazing and access to the outdoors. While above, on the first floor, three bedrooms are planned around a double-height terrace at the heart of the house. An extensive master suite on the second floor includes a lounge area, dressing room and terrace overlooking the view of the valley.

INFORMATION

For more information, visit the Rima Arquitectura website

It's often the most awkwardly shaped plots that offer the best opportunities for architectural experimentation and forward thinking; and this latest work by Mexico City-based Taller Hector Barroso is a case in point. The boutique residential development may sit on an unusually long and relatively narrow lot – at 10m wide but some 32m long – but the architect's masterful manipulation of volumes and play between open and enclosed spaces meant that each and every one of the residents will feel the same level of wellbeing and connection to the outdoors. 

Entitled LC710, the project sits within DF's Colonia del Valle residential district. Aiming to produce a complex containing six apartments, Barroso divided the overall massing into three distinct volumes. These alternate with three open-air patios, which provide external space for the residents and allow the four-storey structures to breathe. 

Inside, the three buildings are divided into two typologies. The two volumes closest to the street offer four units in total, which spread, one on each floor, across the two buildings. Front and back wings are connected horizontally through a circulation core on one of the long sides of the plot. Living spaces face the street, while private areas are located in the inner wing.

The third volume is arranged vertically, containing a further two apartments in a duplex formation. Roof gardens and terraces mean the residents have added access to the outdoors, overlooking the area's rooftops and Mexico City's skyline beyond.

Concrete and steel are the main materials used in the construction, with a particular colour aggregate offering the concrete its distinct, earthy hue. Soft balcony curves, a minimalist attitude to architectural decoration, warm timber floors and large openings create a series of light-filled interiors and a tactile, welcoming composition that has been tailormade to fit perfectly within its distinct urban context.

INFORMATION

For more information visit the website of Taller Hector Barroso

On a tree-lined street in Mexico City’s Juarez neighbourhood, stands a looming white building that looks like it belongs on the streets of Ginza.

With no windows and a large glass entry door, from the pearly ribbed facade, there’s little indication that Ryo Kan is a ten-room Japanese-style inn; an oasis in the centre of one of Latin America’s largest cities.The lofty sun-doused communal area, scattered with simple terrazzo stone benches and shelves decorated with minimalist ceramics, sits below a giant tree, reminiscent of a Japanese garden. Here, guests can lounge in the zen-like space or enjoy a simple daily breakfast of coffee, fruit and yogurt.

The ten tech-savvy rooms climb all the way to the top floor and have an automated management system operated by an application that does everything from close the sliding door to open the window blinds. The real clincher is the rooftop ‘onsen’ – an open-air space with a few giant round baths (masked by sliding shoji screens), from where you can wallow in the warm water and listen to the city beat below.

ADDRESS

Rio Panuco 166, Cuauhtémoc

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Interior architecture, branding and healthy eating collide in a new project in the heart of Mexico City’s Roma district. Designed top-to-toe by SAVVY studio, Hungry Beast juice bar and kitchen offers punchy flavours and a concise visual identity inspired by the riotous dotwork of artist John Baldessari.

‘It’s a matter of focus: if you believe your world is formed by what you look at, and you just don’t look at the usual things, then your world will change,’ Baldessari once said. ‘To this end, defying the rules becomes a sort of “learning by doing” situation.’ SAVVY used this quote as inspiration for its design concept, which flouts the so-called ‘rules’ of health food branding (which the brand argues all too often thrust ‘healthiness’ in your face). Instead, the graphic identity is ‘beyond a fad’; it is about the simplicity in providing quality products, healthy ingredients and creativity.

Baldessari’s ‘Connecting Dots’ and ‘Gemini’ series were the key inspirations for the branding. Packaging elements are stripped to their core, punctuated by pops of colour and visceral food shots. A half-eaten sandwich crumbles out of its box, a sunshine spill of orange juice rays across a table, a chocolate-slicked donut is imbibed by a bite mark. No mention of health in sight.

Yet healthy the offerings are. Sandwiches are gluten and dairy free; stuffed with organic ham and avocado, or steamed broccoli and lemon dressing. Dollops of light hummus are dropped over eggplant, alfalfa sprouts and kale pesto. Juices are probiotic, zingy and freshly made. Portions are generous, but calories remain low, and meals are balanced.

They can be enjoyed in-house, in the tiny seating area SAVVY was also in charge of. The interior architecture has been completed with the same sense of fun, visual economy and artful influence. Stucco, volcanic stone and solid wood add warmth across the floors and walls, while a metalic bar slices through the middle. Baldessari-shaped colours hang from a lamp on the ceiling; little drops of juice ready to be swallowed by the so-called ‘Hungry Beast’.

INFORMATION

For more information, visit the SAVVY website

‘From our first conversation with the client, we thought this would be a conventional weekend house,’ says architect Fernanda Canales of Casa Bruma, a remarkable retreat located just a couple of hours outside Mexico City. ‘However, when we visited the remote and rural site, it was hard to even work out the shape of the plot,’ she continues. ‘There were no markings and just so much vegetation.’

Canales, who collaborated on the project with architect Claudia Rodríguez, a former fellow student who now works with Taller de Operaciones Ambientales in Mexico City, realised they needed another strategy. ‘For a start, we couldn’t remove any existing trees, and it was hard to find a single space on the site longer than five metres,’ she recalls. ‘So we decided to develop the house as a series of small boxes or pavilions.’ The second conundrum was the climate. ‘It’s quite cold – almost freezing – in this part of the country in the early morning and late at night,’ she explains, ‘so every volume needed to make the most of morning and evening sunlight.’

The scene was set for an architectural puzzle. Tasked with creating the series of carefully orientated blocks, Canales and Rodríguez eventually settled on a very old-school approach. ‘We couldn’t do it on the computer. We tried with a simulation program, but it was useless because every tree had a different shape at different times of the year,’ Canales explains. ‘So we did it physically and set out the pavilions at full scale on the ground using bits of wood. Every time we went to the site we adapted the plan. Some views we only discovered when we were there – the angles were critical, as were the connections between each volume and the patios.’ The result is a residence comprising nine pavilions, all arranged around a central stone courtyard.

The main dining room, with ‘Swell’ pendants lights by Pablo, and an oak-clad ceiling designed to contrast with the concrete walls and grey basaltina stone floors. Photography: Rafael Camo

‘We have ended up with an exploded house,’ Canales concludes, ‘with views out to the landscape from within.’ Each structure was treated in exactly the same way; concrete specially mixed with a black pigment forms the external walls and minimal inward-looking fenestration. The overall effect is of stumbling across an abandoned village or a long-lost ruin in among the vegetation.

‘We wanted a natural feel,’ says Canales, ‘so that no one would know if the house had been there for one year or ten years.’ The effect was enhanced by the use of lowtech and readily available local materials; the remoteness of the site meant that everything had to be laboriously carried in and made with local builders. ‘You’ll never have to paint this house,’ the architect says of the zero-maintenance façades, while naturalistic planting is designed to emphasise the blurry distinction between site and landscape.

By creating a separate building for each function, the architects circumvented the need to change levels; the topography does all the work, with a few discreet external stone steps taking account of the slopes. The four structures at the west of the site are the lowest, with green roofs that allow them to blend in to the horizon. They include the garage, at the north-west corner, a utility room, a children’s sleeping block and the kitchen. The latter is linked by a glass walkway to the grand dining room, a two-storey pavilion with the family room above. A more formal sitting room is placed at the south-east point of the site, beneath a planted roof terrace up at canopy level.

The living room, with a leather sofa and butterfly chairs, and, in the corner, an ‘Amelia’ pendant lamp by David Pompa. Photography: Rafael Camo

The master bedroom suite is above the children’s bedroom, sitting alongside a further sleeping pavilion with another terrace above. Finally, the circle of structures is complete with a double guest room with a sleeping loft.

Privacy is key. The kitchen is the only pavilion with a window facing onto the internal patio, while the independent nature of each structure allows groups of guests to stay in the house without bumping into each other (except at breakfast).

The internal terrace is designed to catch the sun for outdoor dining (when it’s warm enough). ‘The life of the house is concentrated here,’ Canales says, ‘but when you’re inside you have a very different outlook. The courtyard is the only place you get a sense of all of the volumes together.’ Internal finishes include more dark stained concrete, together with stone, wood and traditional-style tiles in the kitchen. ‘The wood is a warm contrast to the exterior stone and concrete – it softens the space,’ Canales acknowledges. ‘Everything is designed to be simple and low maintenance.’

The Mexico City-based architect combines her practice with teaching, writing and curating, as well as collaborating with other local architects such as Rodríguez, and Saidee Springall and Jose Castillo of A|911. Canales’ written work includes biographies of the country’s most famous 20th-century architects, and she has also contributed to the Venice Biennale. Casa Bruma takes the typology of the private house to another level, artfully scattering its core components and creating a self-contained domestic world that begs further exploration.

As originally featured in the May 2018 issue of Wallpaper (W*230)

INFORMATION

For more information, visit the Fernanda Canales website

The Irish-born, American artist Sean Scully first visited Mexico in the early 1980s — a country which has continued to inspire him over the years. Coinciding with Mexico City’s art week, Scully’s work is celebrated at Cuadra San Cristóbal, one of Luis Barragán’s modernist masterpieces, on the outskirts of Mexico City. The site-specific exhibition is the first to take place at the equestrian and residential complex, completed in 1968 by the late Mexican architect. It features 15 recent paintings and three sculptures, installed in a bold yet poetic dialogue with the architecture of the estate.

‘Sean Scully — San Cristóbal’ is on view until 24 March, by appointment only; Cuadra San Cristóbal, Avenue Juárez 59B, Los Clubes, 52957 Ciudad López Mateos

For its 15th anniversary, Zona Maco opened with bang. Mexico’s leading art fair continues to bring the best of the international art world, with this year 170 exhibitors from 27 countries. While the main section features a number of blue chip galleries – including Gagosian, Lisson and Almine Rech – the New Proposals section, curated by Humberto Moro, puts emerging artists centerstage. There, some particularly memorable works included the queer paintings of Mexican artists Manuel Solano and Ana Segovia at Karen Huber Gallery, and some bonkers, food-inspired resin sculptures by Andrew Ross at Galleria Mascota. Meanwhile in the design section, curated by Cecilia León de la Barra, an incredible glass-centric collection (pictured) was presented at the booth of Studio Nouvel, designed in collaboration with the Mexican designers Esrawe and Emiliano Godoy, as well as the American Brian Thoreen.

Until 11 February; Centro Citibanamex, Miguel Hidalgo, Mexico City; www.zonamaco.com

Operating at the intersection of film, animation, graphics, performance and sound, Carlos Amorales’ work has oscillated between abstraction and figuration, reality and fantasy. For this untraditional anti-restrospective, the Mexican artist has invited the curator of El Museo Universitario Arte Contemporáneo (MUAC) to interpret his 22 years of artistic production based on conceptual axes, rather than chronology. The exhibition features the 2007 installation Black Cloud (pictured), consisting of 30,000 paper cut-outs of black moths individually glued to the walls, as well as his recent project Life in the Folds (presented last year at the Venice Biennale), which is centred around a silent, black-and-white film that narrates the story of a migrant family who is lynched by the community to which they’ve migrated.

‘Axiomas para la acción (1996 – 2018), Carlos Amorales’ is on view until 16 June; El Museo Universitario Arte Contemporáneo, Insurgentes Sur 3000, Centro Cultural Universitario, Coyoacán, Mexico City; www.muac.unam.mx

For the first monographic exhibition of the Welsh conceptual artist and sculptor in Mexico, the Museo Tamayo presents 12 pieces from the past ten years, installed to respond to the architecture of the museum – a 1970s, brutalist building made of concrete, steel and glass, nestled in the heart of Chapultepec Park. The show is centred around a large-scale, neon-based installation from 2015, suspended from the ceiling of the museum’s central patio.

‘CerIth Wyn Evans’ is on view until 6 May; Museo Rufino Tamayo, Paseo de la Reforma 51, Bosque de Chapultepec, Mexico City; www.museotamayo.org

Other exhibited works include pairs of ornate glass chandeliers that flash on and off; a series of glass-flutes, suspended in a radial arrangement and a directional speaker playing live-streamed extracts from radio telescopes.

‘Cerith Wyn Evans’ is on view until 6 May; Museo Rufino Tamayo, Paseo de la Reforma 51, Bosque de Chapultepec, Mexico City; www.museotamayo.org

Often labeled Mexico City’s ‘alternative art fair’, Material has consistently punched above its weight since its creation five years ago, becoming a key player of the art scene locally as well as internationally (in fact, a number of galleries have migrated from Zona Maco to Material over the past two years). For this fifth edition, the fair moves to a new venue: the Frontón México, a 1929 art deco sporting arena, facing the Plaza de la República near the historic centre. This year, 53 exhibitors from 17 countries are hosted in a space designed by the local architecture firm APRDELESP, and dotted with furniture pieces by the Mexico-based, French designer Fabien Capello.

Material Art Fair runs 8 – 11 February; Frontón México, De La República 17, Cuauhtémoc, Mexico City; www.material-fair.com

Pictured, Unnamed, by James Hoff, presented by Supportico Lopez

Mexico City’s most influential project space – operating out of a mini white-cube of only 21 sq m, in Roma Sur – Lulu presents the second edition of its infrequent, mock Biennial: The Lulennial. Following an acclaimed first edition in 2014, ‘A Low-Hanging Fruit’ continues to subvert the biennial format as a large-scale exhibition, which generally favours the morally bombastic and the topical.

‘The Lulennial II: A Low-Hanging Fruit’ is on view until 1 April; Lulu, Bajío 231, Colonia Roma, Cuauhtémoc, Mexico City; www.luludf.com

Aligned to that ambition, this year’s Lulennial takes fruit as its subject, featuring a number of international artists including Jef Geys, Yuji Agematsu, Rodrigo Hernandez, and Aliza Nisenbaum. It is curated by Lulu’s co-founder Chris Sharp and the Los Angeles-based writer Andrew Berardini.

‘The Lulennial II: A Low-Hanging Fruit’ is on view until 1 April; Lulu, Bajío 231, Colonia Roma, Cuauhtémoc, Mexico City; www.luludf.com

In this exhibition, the gravity-defying sculptures of José Davila are at once melancholic and romantic, confronting the rawness of materials like stone, volcanic rock and concrete with the lightness of an apple, napier grass or a even a balloon. The Guadalajara-based, Mexican artist refers to American minimalism while also pointing to Latin-American movements like Neo-Concrete and modern architecture, in what appears as a poetic conflict that oscillates between shape, environment, weight and strength.

‘Mecánica de lo inestable, José Davila’ is on view until 24 March; Galería OMR Córdoba 100, Roma Nte, Mexico City; www.galeriaomr.com

Taking place over the two floors of Galería OMR, in the hip neighbourhood of Roma Norte, ‘Mecánica de lo inestable’ is like a window into the artist’s position as a reorganiser of structures, in their delicate state of stillness.

‘Mecánica de lo inestable, José Davila’ is on view until 24 March; Galería OMR Córdoba 100, Roma Nte, Mexico City; www.galeriaomr.com

Ascensión Cautiva explores the history of aeronautics in Mexico with a site-specific installation at Museo del Chopo, a building designed by Bruno Möhring as a pavilion for a 1902 art and textile exhibition in Düsseldorf, Germany. For this exhibition, the Mexican artist Tania Candiani set up a sewing workshop within the museum, leading to the creation of a large air balloon which is now floating amid the central galleries.

Museo del Chopo, Doctor Enrique González Martínez 10, Santa María la Ribera, Cuauhtémoc, Mexico City; www.chopo.unam.mx

In addition to Cuadra San Cristobál, another building by Luis Barragán plays host to an incredible contemporary-art exhibition. Taking place at Casa Luis Barragán — the former home and studio of the late Mexican architect — ‘Parameters’ is the first solo exhibition in Mexico by the multi-disciplinary American artist Bruce Nauman. The show consists of five video works, displayed on monitors and projectors throughout the house and in the studio. Showcasing Nauman’s work in such an iconic landmark invites a new reading of the artist’s preoccupations with the body, architecture and space, present throughout his career.

‘Parameters, Bruce Nauman’ is on view until 15 April; Casa Luis Barragán, Gral Francisco Ramírez 12-14, Col Ampliación Daniel Garza, Mexico City; www.estanciafemsa.mx

One of the most influential contemporary sculptors today, the Iranian artist Nairy Baghramian has consistently pushed the boundaries of sculpture while addressing the political implications of design. For her first exhibition at the Mexican powerhouse Kurimanzutto, Baghramian shows recent sculptures, collectively titled ‘Maintainers’. Made of raw aluminium casts, coloured wax forms and lacquer painted bracesare, the works are presented in a disparate composition within the gallery, suggesting at once interdependence and connectivity.

‘Maintainers’ is on view until 3 March; Kurimanzutto, Gob Rafael Rebollar 94, Col San Miguel Chapultepec, Mexico City; www.kurimanzutto.com

Mixing the inside and outside takes a whole new meaning in this project in Mexico City by local architect Verónica González Zavala and her firm, VGZ Arquitectura. The luxurious family home, entitled House P29, not only opens up to a large garden and terrace that make the most of the region’s pleasant, warm climate, but also makes sure each that every main space has a direct visual connection to the outdoors and interiors are framed by greenery at every possible opportunity.

The generous plan spans four levels. A large lower ground open plan space plays host to the owner’s car collection, exuding an almost gallery-like feel, with its tall ceilings, polished floor and rough concrete walls. A separate parking space at the property’s front sits on a slightly higher level – the site is lightly sloped – and provides further accommodation for cars for the family and guests. Several bedrooms, service and facilities areas, including a dedicated security booth by the garage, sit on the same level, inside. 

Upstairs are the home’s main living areas, which spread across the whole level, unfolding in a striking sequence of five interconnected rooms. These include a more formal sitting room, a dining area, a kitchen and a separate study and library. From here, there is immediate access to the garden, which is planted with rich, mature trees, lawn and some lower foliage. 

A floating staircase forms the house’s main circulation core, situated right off the main entrance and leading up to the top level, where the master suite can be found – featuring its en suite bathroom, walk-in closet and an informal sitting room – as well as two children’s bedrooms and guest accomodation. All rooms have access to a decked terrace that runs the length of the building.

House P29’s material combination of board formed concrete, stone and dark timber ensures an elegant colour palette throughout, while the careful wood detailing hints to the house’s top construction quality. Add to this natural ventilation and sunlight, and you have a family home that is fully in tune with its location, while acting as the perfect modern urban haven for its residents. 

INFORMATION

For more information, visit the VGZ Arquitectura website