Mexico City welcomes Museo Casa Kahlo, a new museum located in Casa Roja, the historic home of Frida’s sister Cristina Kahlo, transformed into a museum by architect Mariana Doet Zepeda Orozco, with experience and exhibition design by Rockwell Group and graphic design by Pentagram.

Dedicated to exploring the private life, family relationships, and early inspirations of Frida Kahlo, the venue occupies the same neighborhood where the artist and her family lived for over a century. Far from the public eye of Frida’s more famous blue house, Casa Azul, this intimate residence offers a glimpse into the domestic world that shaped her life and work.

all images by Rafael Gamo for Rockwell Group, unless stated otherwise

an Intimate Journey Through the artist’s Private World

The museum experience, designed by the team of Rockwell Group, is deliberately personal and reflective. Visitors move through preserved domestic spaces that include a kitchen containing Frida’s only known mural, a candlelit basement that once served as her private retreat, and rooms dedicated to family initiatives like La Ayuda, a charity for single mothers. Museo Casa Kahlo foregrounds Frida’s roles as sister, aunt, and friend, illuminating the networks of support and inspiration that fueled her artistic life.

Mexico City welcomes Museo Casa Kahlo | image courtesy of the Museo Casa Kahlo

Courtyards, Corridors, and Hidden Rooms

Visitors arrive through a narrow corridor that traces the historic driveway of Casa Roja, lined with historical photographs and hand-crafted signage, before stepping into a restored courtyard. Here, a large grapefruit tree that references Frida’s kitchen mural sits in a hand-carved cantera stone pot, surrounded by planters in green clay from Oaxaca, red clay from Guadalajara, and monumental Purépecha vessels from Michoacán. Native plantings and locally sourced cast-iron benches evoke the feeling of a lived-in home, and a curved corner stair reintroduced from historic photos recalls the family gatherings once staged here.

Descending into the basement, Rockwell Group recreates Frida’s hidden studio, a quiet room filled with personal objects, dolls, paintings, and her microscope for studying insects. The space is intimate, almost secretive, with soft candlelight and tactile displays that invite slow observation. With wood, stone, and ceramics at its core, the design radiates warmth and reflects the region’s artisanal heritage, grounding Frida’s story in the textures of her family home.

the museum is located in Casa Roja, the historic home of Frida’s sister Cristina Kahlo

The Next Chapter of frida’s Story

The museum also foregrounds contemporary artistic voices, with rotating exhibitions of Mexican, Latin American, and female artists who echo or challenge Kahlo’s vision. As Mara Romeo Kahlo, Frida’s grandniece, notes, the museum is a family project. ‘To welcome the public into these spaces is, for us, a tribute to the Kahlo family’s tradition of hospitality,’ she shares. ‘This museum honors the spirit of family, generosity, and creativity that has been passed down to us.’

Museo Casa Kahlo is administered by director Adán García Fajardo with chief curator Adriana Miranda and represents the most significant expansion of the Kahlo family’s cultural footprint in decades. For visitors, it offers a rare chance to inhabit the domestic spaces that nourished the artist’s creativity, revealing a side of the artist rarely seen by the public.

a large grapefruit tree that references Frida’s kitchen mural sits in a hand-carved cantera stone pot

exhibition design by Rockwell Group and graphic design by Pentagram

Rockwell Group recreates Frida’s hidden studio in the basement

Museo Casa Kahlo foregrounds Frida’s roles as sister, aunt, and friend

revealing a side of the artist rarely seen by the public | image courtesy of the Museo Casa Kahlo

project info:

name: Museo Casa Kahlo

architect: Mariana Doet Zepeda Orozco

exhibit & experience design: Rockwell Group | @RockwellGroup

location: Casa Roja, Coyoacán, Mexico City, Mexico

client: Fundación Kahlo

director: Adán García Fajardo

chief curator: Adriana Miranda

graphic & creative direction: Pentagram | @pentagramdesign, Ileen Gallagher

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sound artist, designer, electronic musician and pentagram partner yuri suzuki has collaborated with counterpoint studio to digitally rework some of the synthesizers made by world-known electronic musical instrument manufacturer, roland. the project comes just in time to celebrate roland’s 50th anniversary, as well as the world appreciation day of the company’s TB-303 bass synthesizer which was firstly introduced in 1981. the tribute day which is also known as ‘303 day’ is celebrated by the brand and its supporters every year, on march 30th. 

image courtesy of roland

orchestrating a mini robot band

followers of yuri suzuki are familiar with this digital music-making system since the artist’s first collaboration with roland which resulted in a web-based music tool titled ‘808.303.studio’. now, suzuki and the team at counterpoint have updated this digital platform to include the classic SH-101 analogue synth to the TB303 and TR808 interfaces, introducing a newly formed ‘roland50’ studio, which you can access here. 

it doesn’t matter if you’re already familiar with the basics of a roland synthesizer or not, as the creators have formed an interface that is fun and easy to use by anyone, thanks to its simple graphic design. aspiring virtuosos simply have to turn on the digital device of their preference, and access the link leading to the roland50 studio. then, they will have everything they need in order to start making their own electronic music, with the user experience coming close to orchestrating a mini robot band; bass, drum, and lead. the platform encourages users to record their creations, download them, and share them on social media. at the top of the website, right next to the new TB303 and TR808 tabs, four small padlocks forebode that there’s more to come. one can only wonder about all the exciting things that roland and suzuki might reveal in the near future. 

 

 

 

 

 

Δείτε αυτή τη δημοσίευση στο Instagram.

 

 

 

 

 

 

 

 

 

 

 

Η δημοσίευση κοινοποιήθηκε από το χρήστη Yuri Suzuki (@yurisuzukilondon)

image courtesy of yuri suzuki

image courtesy of yuri suzuki

image courtesy of yuri suzuki

image courtesy of yuri suzuki

project info: 

name: roland50 studio
designers: yuri suzuki, counterpoint
in collaboration with: roland

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yoto mini is an interactive screen-free audio device that reminds us nothing short of our favorite walkmans. designed by pentagram, it takes shape as a small portable box with a card slot on the top, where the kids can easily insert a physical card of their choice. by popping one in, they feed yoto with what they want to listen to. different cards reveal hundreds of different stories, songs, radio stations, or podcasts, giving children the freedom to explore their imagination.all images by pentegram, unless stated otherwise 

suitable for small hands

yoto mini’s design (find more here) by pentegram (and here) comes with a comfy size for kids’ tiny palms. big knobs, a speaker, and a small display are all assembled on the front for ease of use. the small LED display shows pixel animations, providing feedback and interactive content without being distracting.

the whole design is based on tactile exploration encouraging fine motor control development that requires more than the touch of the fingertips. thus, the users can experience inspiring audio by operating the device with their hands, while it doesn’t feature any touch buttons. moreover, yoto mini incorporates a USB C socket for easy charging, as well as a headphone jack for personal listening.

yoto mini is suitable for family journeys, keeping company on road trips, flights, and play dates. this playful device is conceived to stimulate kiddies’ curiosity, develop various sensations, and educate children of all ages. despite the small size of the device, the sound quality is good and surprisingly powerful. 

pentagram has already developed the design of the original yoto player, brand identity, packaging and visual identity. the compact packaging opens easily like a book, revealing the device and an introduction card. meanwhile, the studio designed a silicone jacket with lanyard that comes in various colors (orange, yellow blue, white and more others) keeping the product extra safe, portable, and colorful.

portable audio player made for children

image by yoto play

yoto mini with beatles songs card inserted

image by yoto play

perfect for road trips

image by yoto play

controlled with physical cards

project info:

name: yoto mini

designers: pentagram

project team: harc lee, yemima lorberbaum, guy naor

client: yoto

recommended for ages: 3+ (more than 400 titles for kids from birth to 12 years old)

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warner bros. is known for being an industry pioneer: in 1927 they introduced the first synchronized dialogue in movies, and they were also responsible for the revolutionary matrix films. this legacy was key when developing the new brand strategy, where pentagram conducted in-depth research, interviews and discussions with staff and stakeholders around the world. after talking with employees, creative partners, filmmakers, writes, producers, show runners, actors and production staff, the design studio understood the motivation behind these people — telling great stories.

‘we believe in the power of story’ is warner bros. new brand position, capturing the legacy of the company. this new sense of focus has been amplified in the logo and can be seen in its clean lines. the shield, which has been updated many times throughout the company’s history, streamlines it to its key elements, with a form based on the classical proportions of the golden ratio. the designers looked at the construction of the letterforms of the WB monogram, preserving their quirkiness but making them more modern. the letters of the monogram align as though made in one continuous gesture, emphasizing unity and connection.

‘the logo has been optimized to perform across various platforms and scales, from the small spaces of the digital world to giant installations like the iconic water tower on the warner bros. studio lot,’ comments pentagram. ‘it also works well with a wide range of content. the logo appears in the signature Warner Bros. blue, which has been brightened to a more contemporary hue, with the wordmark set off in a slightly darker shade to create a complementary contrast.’

project info:

name: warner bros. new logo
design: pentagram
client: warner bros. entertainment group
sector: entertainment
discipline: brand identity
office: new york
partner: emily oberman
project team: timothy cohan, greg morrison, tom grunwald, todd goldstein, lisa grant, alpa pandya, austin mcghie

The post pentagram updates iconic warner bros. logo with a cleaner and sleeker shield appeared first on designboom | architecture & design magazine.

the spirit of ecstasy statue has been turned into a refined logo (before and after)
all images courtesy of rolls-royce

multi-disciplinary design studio pentagram created rolls-royce’s new brand identity to signify their transition beyond cars to being a house of luxury. as such, it needed to appeal to the marque’s new younger demographic of clients on both a digital and physical level. the process began with a deep exploration of the british brand, their design ethos, designers, and the unique relationship they have with clients as they create bespoke products, like the phantom.

‘what soon became apparent is that rolls-royce has evolved from being regarded as an automotive manufacturer into a leading light in the world of luxury,‘ explains marina willer, partner at pentagram. ‘it was essential for us to ensure that the brand’s new identity reflected this shift. we needed to present rolls-royce in a forward-facing, fresh and relevant way – speaking to new audiences while respecting the company’s loyal clients.‘

the spirit of ecstasy expression adds an aura of extra luxury to the brand’s communication

the spirit of ecstasy has graced the front of rolls-royce’s cars since 1911. over the years, it has become symbolic of both rolls-royce and luxury in kind. the new brand identity increases the prominence of the statue, evolving it into the minimal form of an illustration. pentagram enlisted the help of illustrator chris mitchell to distil the iconic sculpture originally drawn and sculpted by british artist charles sykes. the illustration builds upon her beauty, style and perfection to emphasize her quiet power and authoritative nature. the logo has also changed in direction from left to right to resemble the marque’s shift to a new future.

‘the use of the spirit of ecstasy marks a shift in the resonance of the brand – from an automotive to a lifestyle context. she commands an aspirational quality in the luxury sphere and by placing her at the centre of the visual language. the spirit of ecstasy can now be interpreted as the muse for the marque, in addition to the motor cars themselves,‘ adds marina willer.

building upon the new logo further, an ethereal yet tech-like visual treatment has also been created, called the spirit of ecstasy expression. appearing as if a digitalized silken fabric, the fluid form of aura adds another luxurious layer to their communication. it can be used on any surface, from projection to embroidery and printing to engraving.

the double ‘R’ monogram

as well as the spirit of ecstasy, the new brand identity has modernized another badge of excellence for rolls-royce – their double ‘R’ badge of honor. this mark remains unchanged and will only grace products made at their home in goodwood, UK. a minimal monogram depiction will be used in their communication, however.

the wordmark ‘rolls-royce motor cars’ has been replaced by an art-deco-inspired font

the wordmark ‘rolls-royce motor cars’ has been replaced in favor of a new typography inspired by the art-deco style. pentagram uncovered this typography in the marque’s archives from the 1930s and used it to form the basis of the new wordmark. like the rest of the visual language, it is much more refined in appearance as it reflects the whispering power of the brand. as well, in the search for a font that depicts luxury without being overtly decorative, their communication typeface has been updated to ‘riviera nights’, which stems from the same family as their previous font, ‘gil sans alt’. it displays more crafted and bevelled letters than before.

before and after of the wordmark

as the background of rolls-royce’s new brand identity, pentagram has chosen a more expressive luxurious color palette than previously. named ‘purple spirit’, this deep and majestic hue signifies wealth and power due to its historic rarity in nature and roots in mythology, art, piety and royalty. it is complemented by an elegant metallic rose gold as well as a wider palette of expressive colors alongside these primary tones.

the spirit of ecstasy takes a more significant presence across the new visual language

project info:

brand: rolls-royce

design studio: pentagram

The post spirit of ecstasy fronts rolls-royce’s new brand identity by pentagram appeared first on designboom | architecture & design magazine.

all images by timothy schenck

to ensure that the high line could reopen safely, pentagram designed a suite of environmental graphics, including a system of over 1,000 bright green dots that help visitors safely maintain social distancing. the program builds on the identity and signage pentagram originally created for the famous park. free passes are available on a timed entry system to manage the number of people on the high line at any one time. visits begin at the gansevoort street entrance and move northwards to 23rd street, with all other access points exit-only.

‘the pattern of circles organizes the space and makes the experience of social distancing as easy as possible for visitors, showing them where to walk and stand in line as they wait to enter on gansevoort,’ explains pentagram. ‘the dots help users judge the way forward and how they should space themselves along the path as it becomes wider and narrower. the temporary signage is made of outdoor-grade vinyl and is affixed to the ground to avoid obstructing the amazing views.’

pentagram says that the new graphics are a key component for a strategy to allow visitors to safely use the park. ‘the circles introduce a new element to the graphic identity and help unify the experience of the park at this moment,’ the designers continue. ‘the circle also provides the basis for a series of custom icons for regulations like social distancing and mask wearing, and appears on special t-shirts for staff.’ timed slots to access the high line can be reserved online here.

project info:

name: high line reopening signage & environmental graphics
location: new york city, NY
client: friends of the high line
design: pentagram
partner: paula scher
project team: rory simms
photography: timothy schenck

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the platform introduces a new playful way of making music that instead of relying on our hands or arms to make sounds, requires us to express ourselves through our face instead. it invites you to play along with different musical styles including dubstep, opera, blues or sci-fi, by opening and closing your mouth, tilting your head side-to-side, and raising your eyebrows.

the sound designer demonstrates his concept through four videos that show him spinning in his office chair and then changing his facial expressions to create music. meanwhile, his two colleagues act as backing dancers in the background.

suzuki, whose work explores how we navigate and connect to the surrounding world through sound, is known for his fun and interactive installations that make the science more relatable. his recent works include and a sound map of the london underground and a public installation featuring giant horns and pipes.

the designer’s solo show sound in mind is currently on at london’s design museum until 2 february 2020. it showcases past works and new pieces that demonstrate his creative practice, with works ranging from experimental product design to large-scale sound installations.

project info

agency: pentagram
designer: yuri suzuki
name: face the music

The post yuri suzuki’s holiday card for pentagram makes music with your face appeared first on designboom | architecture & design magazine.

T4 madrid barajas airport
image © richard bryant / arcaid | video courtesy of pentagram

in late 2015, RSHP’s london-based staff moved across the city from their long-term headquarters at thames wharf to the leadenhall building, a high-rise office tower built by the practice. over the past decade, the practice has completed projects across the world, from torre BBVA in mexico city to the international towers in sydney. residential schemes have also spanned the capital from the stirling-nominated neo bankside to the modular social housing constructed at Y:cube.

maggie’s centre in west london / read more about the project here
image © richard bryant / arcaid

the firm is guided by a socially responsible ethos, with all staff receiving a share of the practice’s profits, and the chance to donate money to a charity of their choice. ‘since the beginning of the practice some 50 years ago, we have always upheld the principles of social responsibility and collaboration — and the constitution is a clear indication of these beliefs,’ says richard rogers. ‘I am proud of what we have achieved together over the last ten years. graham stirk, ivan harbour and my partners represent the next generation of RSHP.’

ching fu group headquarters in kaohsiung, taiwan
image © katsuhisa kida

‘the last ten years have contained many personal career highlights for me,’ adds graham stirk. ‘it’s not often in life that you get the chance to move your office into a building you designed… over the road from the first building you ever worked on as an architect [lloyd’s of london].’

Y: cube in mitcham, south west london / read more about the project here
image by jenny stephens / RSHP

‘working on such a variety of projects has also been inspiring,’ stirk continues. ‘buildings like bodegas protos winery, the british museum world conservation and exhibition centre, and neo bankside housing all require such different approaches but I think they all demonstrate the thought process behind our vocabulary. that is the synergy of architectural and structural components and the clarity of organization and form which are expressed uniquely in all these individual projects.’

BBVA bancomer tower in mexico city / read more about the project here
image © lourdes legorreta / legorogers

‘the last ten years have been arguably the most diverse we have experienced as a practice,’ says ivan harbour. ‘we have worked at the extremes of the scales, from maggie’s cancer centre in london to the barangaroo masterplan and international towers in sydney. we have worked across the world, from lewisham to the city of sydney, and we have engaged in a greater variety of project types than ever before, from housing homeless families to creating new city districts. these challenges have evolved our architecture and i have no doubt they will continue to do so over the coming 10 years.’

international towers sydney, australia / read more about the project here
image © lend lease

the british museum’s world conservation and exhibition centre / read more about the project here
image © paul raftery

prouvé house, france / read more about the project here
image by nicolas bergerot © galerie patrick seguin and RSHP

richard rogers, graham stirk, and ivan harbour
image © ben blossom

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The post rogers stirk harbour + partners celebrates 10 years of practice with new video appeared first on designboom | architecture & design magazine.

the exhibition is on view at the rock and roll hall of fame in cleveland, ohio designed by I.M. pei in 1995

pentagram’s exhibition begins with a freestanding pavilion in the museum’s fourth floor atrium. decorated with the magazine’s iconic logo, the small pavilion contains a reconstruction of rolling stone’s first office in san francisco — emphasizing the publications humble beginnings and future growth to success. the installation includes wenner’s original desk and mail sorter. portions of the the magazine’s first issue and wenner’s first letter from the editor introduce the visitors to what is to come, while also supplying them with a necessary foundation of information and historical context.

the pavilion contains a reconstructed version of rolling stone’s first san francisco office

‘because the trade papers have become so inaccurate and irrelevant, and because fan magazines are an anachronism, fashioned in the mold of myth and nonsense,’ wenner wrote to his readers in the first issue. ‘we hope that we have something here for the artists and the industry and every person. rolling stone is not just about the music, but also about the things and attitudes that the music embraces.’

articles, images, and featured artworks convey the magazine’s history in great depth

gradually, the magazine unfolds in front of the visitor’s eyes — the publications’s sections are displayed one by one: short cuts, letters from the editor, reviews, and interviews. it is at this moment when the visitor is ushered up into the space’s narrow red, spiral staircase, adding an air of mystery to the experience.

eye-catching images of international musicians, politicians, and artists line the exhibition walls

entering the thirty-foot open space at the pinnacle of I.M. pei’s pyramid, the walls are covered in enlarged images of rolling stone’s most iconic covers — depicting the magazine’s expansive history and diversity in subject matter. at the same time, video interviews with rock and pop icons from throughout the ages play on projectors above, adding an audio feature to the immersive and breathtaking experience.

a mix of images, audio recordings, and videos add unique elements to the exhibition

the publications’s sections are displayed: short cuts, letters from the editor, reviews, and interviews

the visitor is ushered up into the space’s narrow red, spiral stair

video interviews with rock and pop icons throughout the ages play on projectors above

The post rolling stone celebrates 50 years with monumental pentagram-designed exhibition appeared first on designboom | architecture & design magazine.

pentagram have recently refreshed the identity of teabox – an india-based tea-commerce company – that was founded only in 2012. the company raised $6 million in backing this year alone with the goal to revolutionize tea drinking, which still to this day is one of the most popular of beverages consumed around the world. led by natasha jen, the new identity has effectively given the tea-brand a minimal contemporary yet distinct essence, featuring brightly colored packaging, complemented by custom typography and an enhanced web platform.

the logo and type create an identity that straddles old and new, bringing fresh vibrancy to the brand

‘the tea business is an old industry and its visuals still thrive on common clichés,’ explains natasha jen. ‘we wanted to strike a different note that would convey teabox as a creative and premium brand that is rooted in tea tradition.’

the designers developed a custom-made typeface called ‘teabox stencil’ influenced by traditional teacrates

a consistent aesthetic has been carried throughout. drawing influence from the long and rich visual history of tea production, a colonial-era typography that is still commonly used on tea crates has been adopted by the designers with a custom-made typeface called ‘teabox stencil’ that emulates the traditional aesthetic. overall the re-brand successfully encompasses a fresh vibrancy and elements of its roots in history, which in turn, gives teabox a contemporary versatility that will enable it to grow naturally over time.

read our interview with pentagram’s natasha jen where the graphic designer talks about her influences and approaches to design here.

since its launch, the startup has provided an estimated 25 million cups of tea to 100,000 users in 75 countries

the aim of the re-brand is to promote and establish teabox as a global brand

each packet features a thorough description, the packaging date, brewing instructions, and notes on the flavor profile

 the easy-to-use format of the website engages audience through quick surface information about the range of teas
the designers have carried the elegant simplicity of the identity through to the website

the letters ‘t’ and ‘b’ form a distinctive monogram

The post pentagram gives indian tea company a vibrant new identity appeared first on designboom | architecture & design magazine.