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    Triennale Milano celebrates Alessandro Mendini at Milan design week

    Cultural institutions Triennale Milano and Fondation Cartier are hosting a retrospective show of Italian designer Alessandro Mendini at this year’s Milan design week, showcased in this video produced by Dezeen for Triennale.

    [embedded content]The exhibition takes place at Trienalle Milano
    Triennale Milano partnered with the Fondation Cartier pour l’art contemporain to host the exhibition, which explores Mendini’s work across the fields of architecture, art, design and theory.
    Titled Io Sono Un Drago (I am a dragon), the show brings together over 400 different works and intends to explore Mendini’s philosophical approach to the world around him.

    Mendini was an Italian architect and designer known for his role as a key figure in the radical design and postmodernist movements of the 1960s and ’70s.
    Through his 60-year career he created some of the most iconic design pieces of the 20th century, such as the Proust armchair, which combined baroque references with pointillist patterns. Mendini passed away at the age of 87 in February 2019.
    The exhibition is named after a self-portrait Mendini drew depicting himself as a dragonSplit into six thematic sections, the show looks back on Mendini’s life and work, with the first section, titled Identikit, showcasing a series of self-portraits Mendini created over the course of his life.
    The following sections explore aspects of his work including his firm Atelier Mendini, which designed buildings such as the Groninger Museum and the Arts metro stations in Naples, as well as exploring his research in radical design theory.
    The last section of the exhibition consists of three immersive installations that Mendini created towards the end of his life, which play with the concepts of dreams and nightmares.
    The exhibition covers Mendini’s contribution to the postmodernist design movementAs part of the wider exhibition, French designer Phillipe Starck will also debut an immersive installation created in homage to Mendini during the run of the design week.
    Titled What? A homage to Alessandro Mendini, the installation aims to take visitors into a sensory journey through Mendini’s subconscious.
    Speaking on the installation, Starck said “before being a human, [Mendini] was an idea, a sensation, an osmotic vibration that I wanted to recapture through the installation, conceived as an immersive experience in Alessandro Mendini’s brain”.
    Starck’s installation will be located in Triennale Milano’s Impluvium space.

    Triennale Milano brings together iconic works of Italian design at Museo del Design Italiano

    Io Sono Un Drago is open to the public at the Trienalle Milano 13 April to 13 October. What? A homage to Alessandro Mendini runs from the 16 April- 13 October. See our Milan design week 2024 guide on Dezeen Events Guide for information about the many other exhibitions, installations and talks taking place throughout the week.
    Partnership content
    This video was produced by Dezeen for Triennale as part of a partnership. Find out more about Dezeen’s partnership content here. 

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    V-Zug unveils neutral-toned showroom during Milan design week

    Swiss homeware brand V-Zug has opened its inaugural Milan showroom, combining soft hues and natural materials with high-tech appliances, as captured in this video produced by Dezeen.

    Called V-Zug Studio Milan, the showroom was designed by Italian architect and interior designer Elisa Ossino to encapsulate a “poetic simplicity” through blending objects crafted from natural materials with appliances featuring reflective surfaces.
    [embedded content]V-Zug Studio Milan has opened its doors during Milan design week
    The studio showcases V-Zug’s homeware products and kitchen appliances, such as ovens, cooktops and steamers, which are contrasted by furniture pieces created by Ossino in collaboration with artist Henry Timi.
    According to V-Zug’s global interior art director Gabriel Castelló Pinyon, the open-plan interiors are designed to evoke a “sense of hospitality” for its visitors.

    V-Zug’s minimal Milan showroom showcases its home appliancesThe space is characterised by a neutral colour palette of soft hues, which create a subtle contrast with the materials incorporated throughout the space, such as sculpted stone and mirrored surfaces.
    The showroom is flooded with ample natural light emanating from large glazings, while an off-white monolithic staircase with large circular openings cuts through the space.
    The showroom features sculptural objects and artworks by Ossino and TimiOverlooking the Piazza San Marco, the studio marks the company’s flagship showroom located in Italy, following the recent openings of its studios across Germany, Austria and Australia.
    V-Zug Studio Milan is open to visitors from Monday to Friday during this year’s Milan design week.
    The showroom’s open-plan interiors are defined by a soft colour paletteIn addition to hosting a series of talks throughout the week, V-Zug has also created a sculptural installation titled Time and Matter at Pinacoteca di Brera, which further explores the relationship between human experiences, design and technology.
    See our Milan design week 2024 guide on Dezeen Events Guide for information about the many other exhibitions, installations and talks taking place throughout the week.
    Partnership content
    This video was produced by Dezeen for V-Zug as part of a partnership. Find out more about Dezeen partnership content here.

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    “True trends always answer a need”

    As TikTok and other platforms become increasingly flooded with home-styling ideas, Michelle Ogundehin shares advice on how to navigate changing trends in the era of ubiquitous social media.

    Newspaper journalists are often keen for a quote on “the latest trends”. What do I think of polka dots? What about red paint: hot right now, non? It depends. Or recently, what could I say about the TikTok trend “bookshelf wealth”? Hmmm, interesting.
    Obviously, just because images of a lot of spotty things have been cobbled together by someone on Instagram, or an influencer declares in breathless tones that poppy has surpassed magnolia in the paint stakes, does not make it universally true. But this is not to flagellate the notion of “trends” per se – the stylistic movements that visualise our cultural climate can be genuinely intriguing.
    Here-today-over-tomorrow fads can be noxious
    True trends always answer a need. Emerging from an alchemy of desire, available resources, and cultural resonance, they have the power to make visible unspoken truths. However, the here-today-over-tomorrow fads can be noxious. The thing is, true trends don’t occur in a vacuum; you can always trace their roots. In short, no roots = no relevance = fad. And I’ll come back to the bookshelves.

    Alternatively, it’s called marketing. Because someone, somewhere will make money from you feeling compelled to throw out your perfectly good cushion, frock, phone, or sofa to replace it with a newer, more “on-trend”, faster, smaller, prettier, or any other adjective you care to insert here, model.
    Social media platform-time is bought to advance the cause and propel the message. Whether it has staying power though, is entirely another matter. This is where the aforementioned relevance and roots come in.

    Eight interiors celebrating the curated clutter of “bookshelf wealth”

    Arguably there are moments when it seems as if one creative camp has agreed on a singular approach. The spring special April issues of the fashion magazines collectively trill that “it’s all about pastels!” But is it? Or did the picture desks just pull together all the sugary-coloured images from across the collections of 20 different designers and call it a moment?
    After all, it’s habitual for colours to lighten in the spring and darken as we approach winter. More of note would be if everyone went grey for April. But that probably wouldn’t make for an uplifting (ie sales-savvy) coverline.
    It’s the same in interiors. When I was editor-in-chief of ELLE Decoration, occasionally I’d receive a letter from a disgruntled reader bemoaning the season’s hot new look. Why had it changed from last month’s look, which they loved?
    As consumers and designers, we must self-interrogate
    My reply was always the same: my job is to show you what’s out there, your job is to decide what you like, and then stick to it. Or change if you want to. But the key is that it’s your choice. What I always wanted to add was: and don’t devolve the responsibility for your taste!
    It’s also true that there used to be a bit of a journalistic mantra that went along the lines of: one’s an oddity, two’s a coincidence, but three’s a trend! So, if three of a similar thing plopped into the inbox, then it was worth looking into.
    However, the follow-up question is always: why? Why is this happening? Is there anything behind it? Just because something is new doesn’t make it news. And, crucially, is it adding anything to the cultural conversation?

    “We must abandon the ordered, rational, learned good taste and comfort we’ve become used to”

    I think this latter point is ever more relevant today. It can no longer be justified to create for the sake of it (that is arguably the purpose of art). Instead, as consumers and designers, we must self-interrogate.
    Has this product genuinely improved the models that precede it by using less resources, demanding less energy, eradicating plastic, and thus being less likely to end up as waste? If not, then why make it?
    That aside, sometimes a “trend” reflects more of a mood than a whole “moment”. Take the unexpected red “trend”. We could post-rationalise this as being rooted simply in a feeling of dark times drawing us to colour. It makes us happier.
    Engaging your own inner critic becomes ever more vital
    On the other hand, red is a deeply emotive hue, one of the most visible of the spectrum, thus a colour that intrinsically demands our attention. This is why it’s used for both stop and sale signs. We’re literally hardwired to see it. So, is this a verifiable trend, or merely the power of colour theory? Maybe it doesn’t matter?
    However, when considering social-media trends, we generally only see more of what we think we already like. This is fine when we’re talking pops of colour, a lot less so regarding deep fakes deliberately designed to thwart opinions.
    Bottom line, engaging your own inner critic becomes ever more vital. The platforms will always deliver a constant stream of fodder, but to paraphrase the inimitable Coco Chanel: content is what’s out there – but it’s up to you to choose what to believe.

    Explore all 17 Tokyo Toilet projects featured in Wim Wenders’ film Perfect Days

    Now back to those bookshelves. The images themselves are irrelevant. If someone was to go out and buy books by the metre to “get the look” then they’ve missed the point entirely; let’s not reduce the notion of home to a mere backdrop – it should be your personalised space from which to thrive.
    Thus, to me, “bookshelf wealth” is the visual expression of the authenticity that we’re currently craving in a world that appears to have gone right royally tits up. Homes with shelves bursting with well-read tomes, curiosities and the talismans of life, however quirky, are an antidote to the virtual.
    It dwells firmly in the tactile and tangible world of the analogue as so beautifully depicted recently in Wim Wenders’ latest film, Perfect Days, wherein the main protagonist lives contentedly in his chosen world of flip phones, cassette tapes and simple routine.
    Stop the press! A trend that reflects the rejection of the maelstrom of modern life
    It’s about honouring yourself, your journey, your interests, and proudly displaying it all. It stands on the shoulders of the movements we’ve seen already towards fermenting, knitting, and baking sourdough. It’s about truth-telling and slowing-down; renovating not relocating; ditching the work/spend cycle and stepping off the consumer conveyor belt.
    It’s not so much a look as a potent signifier of a shifting of priorities. It’s back-to-basics and living on a human-needs-first scale, as an antidote to the prevalent norm of life being voraciously consumed at technological pace to maximise productivity for someone else.
    Stop the press! A trend that reflects the rejection of the maelstrom of modern life, indicating long-term thinking and emotional evolution to be the way forward. That may not make for a super snappy soundbite, but it certainly bodes better for our future than crimson walls, or polka dots.
    Michelle Ogundehin is a thought leader on interiors, trends, style and wellbeing. Originally trained as an architect and the former editor-in-chief of ELLE Decoration UK, she is the head judge on the BBC’s Interior Design Masters, and the author of Happy Inside: How to Harness the Power of Home for Health and Happiness, a guide to living well. She is also a regular contributor to publications including Vogue Living, FT How to Spend It magazine and Dezeen.
    The photo, showing House M by Studio Vaaro, is by Scott Norsworthy.
    Dezeen In DepthIf you enjoy reading Dezeen’s interviews, opinions and features, subscribe to Dezeen In Depth. Sent on the last Friday of each month, this newsletter provides a single place to read about the design and architecture stories behind the headlines.

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    Barbican’s Unravel exhibition explores the subversive power of textiles

    Curator Lotte Johnson discusses the transformative power of textiles in this video produced by Dezeen for the Barbican’s latest exhibition.

    Titled Unravel: The Power and Politics of Textiles in Art, the exhibition examines how textiles have been employed to explore themes spanning power, oppression, gender and belonging.
    It features over 100 works that make use of textile, fibre and thread from over 50 artists from across the globe, spanning from the 1960s to the present day.
    The exhibition explores how artists have used textiles to express their lived experienceThe exhibition is designed to challenge the perception of textiles being solely domestic or craft practices and instead features textile works that relate a story of resistance and rebellion as well as pieces that present narratives of emancipation and joy.
    Johnson explained that textiles offer a meaningful medium to express personal and political issues due to their tactile nature and intimate connection to daily life.

    “Textiles are one of the most under-examined mediums in art history and in fact history itself,” Johnson said. “They are an intrinsic part of our everyday lives. When we’re born, we’re shrouded in a piece of fabric. Everyday we wrap ourselves in textiles,” she continued.
    “They’re really this very intimate, tactile part of our lives and therefore perhaps the most intrinsic, meaningful way to express ourselves.”
    Feminist artist Judy Chicago’s Birth Project depicts birth as a mystical and confrontational processThe exhibition is structured into six thematic sections. The first, called Subversive Stitch, presents works that challenge binary conceptions of gender and sexuality.
    The section includes feminist artist Judy Chicago’s Birth Project, which vividly depicts the glory, pain and mysticism of giving birth, as well as a piece from South African artist Nicholas Hlobo, which, despite initially appearing as a painting, is made using ribbon and leather stitched into a canvas.
    Another section of the exhibition is titled Bearing Witness, which brings together artists who employ textiles to confront and protest political injustices and systems of violent oppression.
    Artist Teresa Margolles creates collective tapestries that trigger conversations on police brutalityIncluded in this section are tapestries by Mexican artist Teresa Margolles that commemorate the lives of individuals including Eric Garner and Jadeth Rosano López.
    Garner was an African-American man killed in 2014 by NYPD police officer Daniel Pantaleo, who put Garner into a chokehold during arrest. López was a seventeen-year old-girl assassinated in Panama City.
    Margolles used fabric that had been placed in contact with the victims’ deceased bodies and collaborated with embroiderers from their respective local communities to create the tapestries.
    The Wound and Repair sections includes work from American artist and activist Harmony Hammond’s Bandaged Grid series, in which layered fabric is used to evoke imagery reminiscent of an injured body.
    Tau Lewis’ fabric assemblages offer new narratives of black historiesWhile violence and brutality are key themes examined in the exhibition, it also showcases how textiles can be used to create narratives of hope. The final, most expansive section of the exhibition is titled Ancestral Threads, which encompasses works created to inspire a sense of optimism and reconnect with ancestral practices.
    “This section not only explores artists processing exploitative and violent colonial and imperialist histories, but also celebrates the artists who are re-summoning and relearning ancient knowledge systems to imagine a different kind of future,” Johnson explained.
    Canadian multimedia artist Tau Lewis’s work titled The Coral Reef Preservation Society is a patchwork assemblage of recycled fabrics and seashells including fragments of textured denim.
    The work pays homage to the enslaved women and children thrown overboard in the Middle Passage, the historical transportation route used during the Atlantic slave trade. These women and children have been reimagined as underwater sea creatures to transform the narrative into one of regeneration.
    Vicuña revives the art of the quipu in her installation Quipu AustralA large installation by Chilean artist Cecilia Vicuña titled Quipu Austral is situated towards the end of the exhibition. The installation takes the form of billowing ribbons hanging from the ceiling.
    Vicuña references quipu, a form of recording used by a number cultures in Andean South America. Quipu was a ancient writing system which used knotted textile cords to communicate information.

    Resolve Collective reimagines role of institutions in Barbican installation

    Other sections in the exhibition include Fabric of Everyday, which explores the daily uses of textiles, as well as Borderlands, which examines how textiles have been used to challenge ideas around belonging.
    These sections feature works such as Shelia Hicks’ colourful woven bundles and Margarita Cabrera’s soft sculpture cacti crafted from reclaimed US border patrol uniforms.
    Mexican-American artist Margarita Cabrera uses reclaimed border patrol uniforms in her work”We hope that people might come out of this exhibition feeling invigorated and moved by the stories of resilience and rebellion embedded in the work but also hope and emancipation,” Johnson said.
    “I hope that the show might inspire people to pick up a needle and thread themselves and use it to express their own lived experience.”
    The show is a partnership between the Barbican and the Stedelijk Museum in Amsterdam and was co-curated by Barbican curators Johnson, Wells Fray-Smith and Diego Chocano, in collaboration with Amanda Pinatih from the Stedelijk.
    Unravel: The Power and Politics of Textiles in Art is at the Barbican Centre until 26 May 2024. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.
    Partnership content
    This video was produced by Dezeen for the Barbican Centre as part of a partnership. Find out more about Dezeen’s partnership content here.

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    Gallery Collectional exhibition spotlights contemporary Asian craftsmanship

    Gallery Collectional, a collectible design gallery in Dubai, has presented its inaugural exhibition featuring furniture and lighting crafted by seven Asian designers.

    For Urban Fabric Series 001, Gallery Collectional invited seven designers to create designs informed by the urban settings from which they hail, including Tokyo, Seoul and Hangzhou.
    The Urban Fabric exhibition included recycled plastic seats by Kuo Duo. Photo by Mario Tsai StudioCurated by Yoko Choy, the collectible design exhibition features 28 pieces that showcase the diverse range of crafts honed by the designers.
    It includes 3D-printed chairs, woven sculptures, metal light sculptures and furniture made from reclaimed architectural elements.
    Teo Yang repurposed remnants of traditional Korean houses. Photo by Mario Tsai Studio”Since the inception of Gallery Collectional, its desire has always been to create a multicultural, cross-functional platform that fosters disruptive and worldly conversations across design and art,” the gallery said.

    “The 28 artworks commissioned and created for this inaugural series epitomise the juxtaposition between industrial precision and artisanal finesse, the nuanced interplay between vulnerability and resilience, and the seamless fusion of rationality and emotion,” Gallery Collectional continued.
    “They delve into the dynamic interplay of light and shadow, the relentless passage of time, and the subtle balance between ruggedness and sophistication, encapsulating the essence of contemporary urban life and inspiring our collective vision for the future.”
    Cutting Lines is a collection of 3D-printed chairsKorean designer Teo Yang used remnants of traditional Korean houses known as hanoks – including glass, rubble, marble and veneer – to create a series of furniture pieces.
    The collection, named Remaining Things, includes a room divider made from hanok panels and a table made from a repurposed column with a metal base and glass tabletop.

    StudioTwentySeven opens “monumental” flagship gallery in Tribeca

    Koren design studio Kuo Duo, founded by Hwachan Lee and Yoomin Maeng, is showcasing a pair of chairs with a matching ottoman made from recycled plastic.
    The Kerf Plastic seats were designed to showcase the “untapped potential” of the material to form three-dimensional objects, according to the duo.
    The Sparks pendant light moves from side to sideThe exhibition also featured the 3D-printed Cutting Lines chair by Korean designer Kwangho Lee, with textured surfaces inspired by the act of tying knots.
    Sparks is a pendant light created by Chinese designer Mario Tsai, comprising brass chimes that sway and collide.
    A woven sculpture by Tiffany Loy hangs from the ceiling”Within this kinetic light installation, the transformative power of collision becomes palpable,” said Gallery Collectional. “It is as if the energy from each collision is harnessed and channelled, manifesting as both visible light and audible sound.”
    Also in the Urban Fabric series were tables made from white, green and pink onyx by Japanese designer Kensaku Oshiro, neon light artworks by Tokyo-based Studio Swine and a pair of woven silk and cotton sculptures by Singaporean artist Tiffany Loy.
    Gallery Collectional is located in Dubai. Photo by Mario Tsai StudioOther furniture showcases that have recently been featured on Dezeen include a furniture exhibition in a converted Bogotá townhouse and StudioTwentySeven’s newly opened flagship gallery in Tribeca.
    The photography is courtesy of Gallery Collectional.
    Urban Fabric is on show at Gallery Collectional in Dubai from 2 to 31 March 2024. For more events, talks and exhibitions in architecture and design visit Dezeen Events Guide.

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    Lissoni Architecture creates expansion for Design Holding with “melting pot attitude”

    Local studio Lissoni Architecture has expanded the Design Holding flagship in New York City, creating an entirely new floor outfitted with light displays and curving metallic installations.

    Lissoni Architecture, the US branch of Italian studio Lissoni & Partners, created an entirely new second floor and redesigned a portion of the first floor for the Design Holding showroom, which displays furniture and lighting brands including B&B Italia, Flos, Louis Poulsen, Maxalto, Arclinea and Azucena.
    Lissoni Architecture has created an expansion for the Design Holding showroom in New YorkLighting and design elements from the brands were distributed across the second-floor space, spread out amongst vertical stone-clad panels, transparent, metal showcases, and curving chrome benches and walls.
    Each area of the floor was dedicated to a specific brand and the interior architecture was tailored to each brand’s identity, according to the studio.
    The project encompasses a new second floor and an expansion and redesign of the first”We wanted to share the melting pot attitude of New York City where everyone and everything can blend together holistically so we went to the essence of the iconic brands,” said Lissoni Architecture founder Piero Lissoni.

    “[We highlighted] their DNA and proposed a common ground that could host and enhance the design codes of each identity.”
    The studio created dedicated areas for brands including Flos and B&B ItaliaFor lighting brand Flos, the studio created a series of display cases backed by a transparent mesh. A magnetized, geometric Bilboquet light by designer Philippe Malouin is on display, as well as the Almendra chandelier affixed with almond-shaped flakes by Patricia Urquiola.
    A testing room for clients was also created for the brand, which consists of a curved, metal wall that meets a series of angled panels that act as an entrance for the room.
    The various displays were informed by the “melting pot” attitude of New York CityAnother corner of the floor was dedicated to the display of the Skynest chandelier by Marcel Wanders, which resembles an inverted basket interlaced with cords of light.
    Displays for Flos and Louis Poulsen consist of inserted panels and curving planting beds that are populated with a number of lighting fixtures from both brands.
    Metallic panels, warm wood, and dark cladding were used throughout the second-floor spaceDark, metal cladding used in the Flos displays contrasts the off-white and beiges used throughout the Louis Poulsen space, but both flank a B&B Italia lounge that sits at the centre of the floor, which features a bright-red chair from the Up series by Gaetano Pesce.
    A B&B Italia wardrobe was also created for the showroom, which sits next to an Arclinea kitchen display.

    US becoming more open-minded says Piero Lissoni as he announces New York architecture office

    A black ash finish was used to clad a large cabinet unit, which sits behind a Thea island topped with a quartz waterfall countertop.
    Lighting by Louis Poulsen, including the Patera Oval pendant by designer Øivind Slaatt, was tucked into the furthest corner of the space, with pieces distributed amongst wooden tables and a low-lying display unit.
    A separate entrance leads to a Maxalto space on the first floorOn the first floor, a new space dedicated to Maxalto is accessible through a separate entrance, with pieces such as the brand’s Arbiter sofa system positioned against walls clad in black.
    Design Holding, a global retailer founded in 2018, recently added furniture brands Menu, By Lassen and Brdr Petersen to its portfolio after an agreement with Denmark-based company Designers Company.
    Piero Lissoni announced the founding of the US branch of his studio last year, saying that the US has become more “open-minded” in terms of architecture.
    The photography is courtesy Design Holding.

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    Colombian designers transform Bogotá townhouse for furniture exhibition

    Gallery NC Diseño has renovated a townhouse in Bogotá, commissioning 10 Colombian designers to redesign its bedrooms, kitchen and other spaces in different styles for an inaugural exhibition.

    NC Diseño features five floors, two of which contain previously uninhabited apartments renovated over three months for the opening Design House Colombia exhibit. It is located down the street from sister institution NC Arte studio in Bogotá.
    NC Diseño has opened an inaugural exhibit of collectible design in BogotáFor the exhibition, curator Mónica Barreneche commissioned 10 local designers and studios to select a room within the apartments to furnish with collectible design pieces, prompting each studio to design a space informed by personal experience.
    “For the first edition of Design House Colombia, the ten participating design studios were invited to delve into the typological significance that represents the space in which each one intervened,” said Barreneche.
    Martín Mendoza created a wood and steel studio clad informed by his father’s own officeThe brief was for the designers to connect personal experiences with the different spaces in the home.

    “As a result, each of them left an emotional imprint of what it means to connect with space,” said Barreneche.
    NC Diseño director Estefania Neme also added locally created art pieces to each space.
    Julián Molina of Refugio Arquitectura created a minimal kitchen with a custom illusionary tiled floorArchitect Martín Mendoza outfitted an office in chocolate-coloured wooden cladding by Woodbox Colombia and steel bookshelves by Guarida, illuminating the space with lighting by Alta Estudio and La Nuit as an homage to his father’s studio.
    “When I observe a studio, my mind immediately goes to the memory of my father’s studio. That space, for me, embodies the authentic meaning of intimacy and privacy. It’s a completely personal refuge,” said the designer.
    Mendoza filled the space with furniture of leather, steel and wood. A metallic-legged daybed topped with a woven leather cushion by his studio MM & Co was centred, while a steel desk by designer Daniela Duarte sat in a corner.
    Artwork by Julian Burgoss and charred-wood figures in the shape of books as well as stools by designer Camilo Andres Rodriguez Márquez complete the space.
    Estefania Neme centred a teddy bear wrapped in the Ikea Stockholm rug for a nurseryArchitect Julián Molina of Refugio Arquitectura outfitted a kitchen for the project, which will be the one permanent space in NC Diseño.
    The designer centred a large wood-and-steel island and placed an illuminated yellow shelving unit by design studio Octubre just above it.
    Jotaele Arquitectura created an “infinite” dining room with original wood panelingThe floor was clad in a custom black-and-white tile pattern by artist Ramon Laserna, which creates an optical illusion.
    Medellín-based designer David Del Valle created a minimal living room informed by his warm, plant-filled city, taking advantage of the views from the three arched windows in the room.
    Camila Buitrago Estudio and Granada Gárces Aquitectos created a bedroom cast in greyTwo scooped metal armchairs, placed at the centre of the room face the terrace and an amoeba-shaped bronze table was placed in between them.
    The El Secreto table was designed exclusively for the exhibit to pay homage to a Colombian national park.
    Moblar created a therapist’s office with a daybed at its centre and steel bookshelves”This table represents Colombia’s best-kept anthropological and territorial treasure; Chibiriquete National Natural Park. From its natural form to all the meaning it holds, this table narrates the mystique of this natural gem,” said Del Valle.
    Upstairs, a room curated by Neme brought together a number of designers for a nursery.
    Cruz de la Pava played created a “man cave” with a light that dims when visitors sit in a central armchairA rug created by Cosí and NC Diseño and informed by tatami mats consists of off-white patches sewn together with a colourful crocheted web.
    A crib by artists Colectivo Mangle was made of wooden slats that fan out from connection points on either end with geometric, yellow chairs by Jimena Londoño y José David del Portillo placed beside it.
    Basalto Studio filled a room with interchangeable totems and concentric chandeliersA giant teddy bear wrapped and emerging from Ikea’s popular Stockholm rug by artist Ivan Castiblanco was placed on the wall.
    “When children are surrounded by a friendly, creative, imaginative and happy environment, their behaviour is undoubtedly different, and they learn to take care of their environment and value themselves,” said Neme.

    Design House in Mexico City showcases local designers in mid-century home

    Jotaele Arquitectura created an “infinite” dining room, which included original wood panelling and chairs by Jaime Gutiérrez Lega upholstered in wool, and Cruz de la Pava played on the idea of a “man cave” where lights dim when visitors sit in a central armchair.
    Finally, Moblar created a therapist’s office, including a daybed and steel bookcases with curved profiles by the studio.
    Pedro Bermudez created a courtyard with a green metal screen and clay pots informed by the layers of Colombian soilOther spaces throughout the exhibition include a bedroom cast in an all-grey hue, including the floors, by Camila Buitrago Estudio and Granada Gárces Aquitectos; a room filled with interchangeable totems and concentric chandeliers by Basalto Studio; and terraces by designers Pedro Bermudez, Terreno Paisajismo and Menguante.
    Similarly, designers in Mexico City outfitted a whole house with custom interiors and furniture for Design Week Mexico.
    Elsewhere in Bogotá, Lorenzo Botero and Martín Mendoza created a brick-lined restaurant and Alsar Atelier and Oscar Zamora created a translucent fog catcher.
    The photography is by Monica Barreneche
    Design House Colombia is on show from November to 14 March in Bogotá. For more events, exhibitions and talks in architecture and design visit the Dezeen Events Guide. 

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    Interior designer Iris Apfel dies aged 102

    American interior designer, fashion influencer and “geriatric starlet” Iris Apfel has passed away at the age of 102.

    The death of the multidisciplinary creative, who was recognised for her flamboyant personal style, was announced on her Instagram account with an image of Apfel in her trademark oversized glasses.
    Apfel, who worked in the interiors and fashion industries throughout her career, shot to international fame in her 80s and 90s after New York’s Metropolitan Museum of Art exhibited a show of her eclectic clothes and accessories in 2005.
    Titled Rara Avis: Selections From the Iris Apfel Collection, it was the first time the museum had dedicated an exhibition to someone’s wardrobe.
    Born Iris Barrel in 1921 in Queens, Apfel studied art history at New York University and art at the University of Wisconsin.

    After graduating, she worked for fashion magazine Women’s Wear Daily before interning for interior designer Elinor Johnson.
    Together with her late husband Carl Apfel, whom she married in 1948, she set up the brand Old World Weavers – a company that specialised in striking textiles informed by things found on the Apfels’ travels.
    Under Old World Weavers, the duo completed high-profile projects such as restoring the White House interiors for nine presidents including Harry Truman and Bill Clinton.

    Remembering the architects and designers we lost in 2023

    The designer became a visiting lecturer at the University of Texas in 2011, where she taught fashion students about textiles and crafts.
    In later life, Apfel became a staple of the fashion industry.  In 2018, toy manufacturer Mattel created a Barbie doll in the designer’s image, although it was not for sale. At the age of 97, she signed a modelling contract with IMG Models.
    Apfel playfully called herself a “geriatric starlet” and described the prospect of retirement as “a fate worse than death” shortly after turning 100.
    Following the news of her passing, designers around the world paid tribute to Apfel’s legacy. “Iris Apfel has become a world-famous fashion icon because of her incredible talent not only as an artist but as an influencer,” said fashion designer Tommy Hilfiger.
    The photography is by Ron Adar courtesy of Shutterstock.

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