Mexico City-based architect Gerardo Broissin has created a jigsaw puzzle-like concrete structure for the courtyard of the celebrated Museo Tamayo. Built for Design Week Mexico this fall, the pavilion, known as Egaligilo (Esperanto for equalizer), forms its own porous microclimate full of ferns and shrubs. In order for the pavilion to successfully keep the plants healthy, it allows light and oxygen to enter through the large circular entrance and through gaps in the various puzzle piece-shaped segments of the exterior wall and the curving interior walls made of small white circles. Water filters in through the gaps in both the facade and the interior walls, which work together as interacting “skins.” The concrete panels and the circles are held together on a steel frame while bulbous outcroppings perch on the sides. Broissin sees Egaligilo as a commentary on the high-tech, smooth surfaces of parametric design. While these bulbous forms break out from the more solid cube that is the pavilion's central form, there are many gaps and holes—a blurry boundary of inside versus out that supports the flourishing flora within. According to Broissin, Egaligilo "creates its own microclimate by preserving a series of atmospheric conditions" that are necessary to maintaining a small cloud forest inside the pavilion at all times. Light and rain seep through both skins and keep the planets alive. Egaligilo, which recently won second place in the ephemeral architecture/pavilions category from Glocal's Noldi Schreck Awards program, is slated to close on-site at the Museo Tamayo next month. Rather than getting rid of it, however, Broissin has suggested Egaligilo could be disassembled and relocated to a new community for use as a classroom.
Posts tagged with "Design Week Mexico":
As part of the 10th edition of Design Week Mexico, happening now through October 28, Mexico City’s Museo Tamayo is hosting the INÉDITO exhibition, which highlights the work of emerging design practices across Mexico. In its fourth iteration, the show includes 80 design pieces ranging from jewelry and fashion to flatware and furniture. Across the wide range of products in the show, there are a few common threads that run through much work. In many of the pieces, fine hand-crafted detailing and rich natural materials are used to great effect. The jewelry of fourth-generation craftsman Iker Ortiz uses marbled Corian and gold, and Mexico City–based jewelry studio María Mariscal collaborated with Taller de Obsidiana using fine gold plating to expand its work into a full set of dining flatware. The level of detail continues through to larger pieces in the show as well. Furniture pieces by both LANZA Atelier and Claudia Suarez Ahedo both deploy smooth filleted forms in wood and aluminum. LANZA Atelier, which primarily practices as an architecture firm, produced a two-person nesting set of chairs and a table for the exhibition. Entitled Tête à tête, the piece is made of neatly joined banak wood and MDF, and when closed, forms a single smooth compact unit. The chair produced by Milan, Italy–based Mexican architect, Claudia Suarez Ahedo, is inspired by the strength and sensibility of Mexican women. Aluminum was chosen for its strength and flexibility, while the light desaturated salmon color was chosen to complement the smooth form. Along with the showcase of work, awards were announced in a number of categories. Taking the top award was Alejandro Martínez Jaime, with his project Recybloq, which transforms construction waste into new building blocks. For the exhibition, the up-cycled parallelogram blocks are arranged into a small vaulted pavilion. Each year Design Week Mexico has grown as more institutions and the public have joined in on the events. The opening ceremonies for this year’s events, also held at Museo Tamayo, attracted thousands. Other venues include the neighboring Museo Nacional de Antropología, where contemporary works directly influenced by traditional Mexican craft were on display. Throughout the city, design galleries and showrooms also took part with special events and displays. On top of that, Mexico City has been named the 2018 World Design Capital by UNESCO. The level of engagement points to a healthy design community in Mexico City with a bright future.
A major theme throughout this year’s Design Week Mexico, held during the second week of October, was the connection between Mexico and Switzerland. Each year, Design Week chooses a different country to explore design and collaboration. The most prominent portion of this year’s international exchanges is the current exhibition at the Museum of Modern Art Mexico City, entitled 100 Years of Swiss Design. As the name would imply, the show gathers 250 objects produced in the past century, producing a survey of one of the world’s most influential design cultures. Included in the show are 210 originals, 21 reprints, 13 special editions and six reproductions, which are augmented by an additional 50 posters and 42 books. The content of the show has been collected from 27 collections of museums and galleries, private companies, and private collectors. The objects range from vegetable peelers and a tea pot to downhill skis and train station clocks. While many of the objects will be familiar, including chairs by Le Corbusier and knives designed by Max Bill for the Victorinox company, others show a different side of Swiss design. Strikingly, a number of heavily patterned pieces and brightly colored works break the typical image of austere Modern Swiss design. Yet any show about Swiss design would not be complete without the inclusion of the ubiquitous Swiss typefaces, Helvetica, Univers, and Frutiger. The show includes a large wall covered in the dozens of famous logos which have used these Modernist typefaces over the past half century. 100 Years of Swiss Design was originally exhibited at the Museum für Gestaltung in Zürich in 2014. This latest version of the show has been expanded with the inclusion of work that directly ties together the history of Swiss and Mexican design. Specifically, the show includes works of once–Bauhaus director, Hannes Meyer, who worked in Mexico as director of the Institute of Urban Planning and Planning of the National Polytechnic Institute and the Popular Graphic Workshop. Also included is the more recent work of Yves Béhar, who contributed to a project promoted by the Mexican Secretary of Public Education with eyeglass lens designs for students with vision problems. Adding to the cross-national collection is the work of Mexican designers who worked in Switzerland, including Uzyel Karp and Moisés Hernández. On view through February 25,2018, 100 Years of Swiss Design was curated by Francisco Torres, and is a collaboration between the Embassy of Switzerland in Mexico, Design Week Mexico, The Ministry of Culture, and the National Institute of Fine Arts, through the Museum of Modern Art.
This week, the 9th iteration of Design Week Mexico (DWM) will kick off in Mexico City. As Mexico’s premier design and architecture event, the city will be filled with installations, gallery openings, lectures, and exhibition openings. This year’s festival will focus on the work of contemporary designers from all over Mexico, along with work from the Guest Country of Switzerland and the Guest State of Puebla. Originally scheduled for the first week of October, the festival was delayed by one week due to a devastating earthquake. On September 19 a 7.1-magnitude earthquake shook central Mexico. Its epicenter was just 34 miles southwest of the city of Puebla, in Design Week Mexico’s guest state of Puebla. The earthquake caused widespread damage throughout the Puebla and Mexico City region, and ultimately killed 370 people. Striking just a week after another deadly earthquake struck southern Mexico, include DWM’s 2015 Guest State Chiapas, the focus of all of Mexico for the past month has been squarely on recovery. While the recovery and mourning continues, Mexico City is ready to welcome international guest for Design Week. Taking place throughout the city, the festival will fill multiple art and design institutions, including the Museo de Arte Moderno and the gardens of Museo Tamayo. The Museo de Arte Moderno will play host to 100 Years of Swiss Design, a show first shown in 2014 at the Museum für Gestaltung in Zurich. The DWM version of the show will expand to include the shared histories of Mexico and Switzerland, and will also mark the 70th anniversary of diplomatic relations between the countries. The Museo Tamayo will be the city of the Tamayo Project, a major architectural pavilion akin to London’s Serpentine Pavilion. This year’s project was designed by Mexico City-based Materia. Opening during Design Week, the pavilion will be open in the museum’s gardens, Bosque de Chapultepec, through the spring of 2018. Design Week Mexico will also be running concurrently with Expo Design Week, the city's major commercial fair. The two events have collaborated with a number of design institutions and corporations to put together a series of talks about the industry in Mexico. Expo Design Week itself will bring upwards of 140 Mexican and international designers together. This year’s event also marks the designation of Mexico City as the 2018 World Design Capital. The biennial honor, issued by the World Design Organization, recognizes cities that use design for economic, social, cultural, and environmental development. Currently Taipei, Taiwan, holds the title. Mexico City is the first city in the Americas to named World Design Capital. Design Week Mexico will run from October 11 through October 15, throughout Mexico City. The Architect's Newspaper will be in Mexico City the whole week covering the events.
In Mexico City, two architects are reviving old ideas about immortality for a new Design Week Mexico installation. German architects Nikolaus Hirsch and Michel Müller have resurrected a peculiar curatorial idea from philosopher Boris Groys for their pavilion at Design Week Mexico, the annual showcase of design talent held in the country's capital. Groys's exhibition concept, the Museum of Immortality, has roots in nineteenth-century philosopher Nikolai Fedorov, the founder of anti-death philosophy that advocated the "common task" of bringing the dead back to life. A futurist and devout Christain, Fedorov maintained that adapting the technology that museums use to conserve artifacts would be the best way resurrect the dead. In his book of essays on Russian Cosmism, Groys expounded on Fedorov and others' ideas on the global museum, a safe-deposit for the never-dead dead. In a similar spirit, Hirsch and Müller erected their Museum of Immortality on the grounds of Museo Tamayo, which sits inside Chapultepec Park, the city's largest public space. The 6-by-6 blocks are configured in a 26-foot-tall hexagon which recalls a cross between a crypt and a space castle, according to the exhibition's press release. An accompanying video by Anton Vidokle and Oleksiy Radynski delves into the theory behind the project. "We are thrilled to show a prototype for the Museum of Immortality in Mexico City. Its deep fascination with death cults makes Mexico a very special context for such a speculative project," the architects said in a statement. "Based on theories of cosmism and resurrection by philosopher Boris Groys and artist Anton Vidokle, we try to speculate on the limits of what we call design and the material world. We ask: Can we design after-life? Can—as the context of the Museo Tamayo suggests—humans be preserved like museum artifacts?” Readers will have to visit to find out: Now in its eighth year, Design Week Mexico brings the country's designers and architects together for a five-day exhibition, with some installations, like the museum, staying longer—it's on view through March 2017.
Design Week Mexico (DWM) has announced the programming schedule for its seventh annual showcase in Mexico City, Mexico. Founded in 2009 by Emilio Cabrero, Andrea Cesarman, Marco Coello, and Jaime Hernández, the multi-day, city-wide cultural event offers a wide array of exhibitions, conferences, installations, and film screenings. The design festival will take place between October 5th and 9th, with certain cultural programs, like the Museo Tamayo DWM Project, running through 2017. That exhibition will feature a three-dimensional installation in the museum’s Bosque de Chapultepec by a yet-to-be-announced invited designer. Past exhibitors for the Museo Tamayo DWM Project have included artist Tatiana Bilbao and landscape architect Pedro Sánchez Paisajismo. The festival’s Inédito exhibition will showcase emerging designers in the country’s contemporary design scene, complementing the ongoing Territorio Creativo initiative supported by DWM that helps young Mexican designers exhibit their work in foreign design fairs. DWM will host a series of special exhibitions at the Museo de Arte Moderno, including the works of Argentinian-Japanese artist Kazuya Sakai. Sakai lived in Mexico between 1965 and 1977 and the exhibition will feature works produced by the artist during his stay, with a particular focus on his Ondulaciones series, a body of work credited with introducing geometric abstraction to Mexico and inspiring the succeeding Geometrismo Mexicano style that came afterward. The works of great Mexican modernist furniture designer Don Shoemaker will be also celebrated in what is being billed as the first retrospective of his highly influential work. Shoemaker, born in Nebraska but ultimately settling in the Mexican state of Morelia, was prolific during his long career and is considered one of the greats of 20th-century Mexican design. Despite his high-ranking status in Mexico’s modernism scene, his works have mostly been celebrated and exhibited in private collections. MDW will also host a series of panel discussions and film screenings to support its cultural programming. The Design House installation will showcase the work of various designers and architects who have been invited to transform various spaces throughout an existing home with their works. The Creativity & Change forum will bring together experts in the areas of creativity, design, education, and sustainability to share ideas. And the Angela Peralta Theatre, designed by Mexican architect Enrique Aragón Echegaray and modeled after the designs for the Delacorte Theatre in New York and the Hollywood Bowl in Los Angeles, will screen a series of design-oriented documentaries. Following Brazil in 2013, the United Kingdom in 2014, and Italy in 2015, DWM will host Germany as its 2016 “Guest Country,” filling many of the festival’s design panels with German designers and artists. The fair also selected the Mexican state of Jalisco as this year’s “Guest State” and will exhibit traditional crafts and contemporary design from the state’s tapatia creative community. This year’s festivities coincide with Mexico City’s selection as the 2018 World Design Capital (WDC) by the International Council of Societies of Industrial Design (ICSID). The designation, announced at the ICSID’s 29th General Assembly in Gwangju, South Korea last year, represents the first for a city in the Americas and the sixth such designation, overall. Taipei, Taiwan is the 2016 World Design Capital. The price is awarded every two years to cities the ICSID believes display “a commitment to use design as an effective tool for social, cultural, economic and environmental development.” Cultural programming for DWM will run in tandem with preparations for the WDC celebrations, including the special participation of a delegation from Taipei’s design scene in MDW’s 2016 festivities. For more on DWM, see their website here.