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DESIGN GALLERY

12/10/2026

Side Gallery is pleased to participate in Frieze Masters, London, from 14 to 18 October 2026, with a presentation dedicated to the work of Mexican architect Antonio Attolini Lack (1931–2017), including a selection of lamps in ceramic designed during the 1970s.
Attolini Lack belonged to a generation of Mexican architects who, from the 1950s onwards, contributed to the development of a distinctive architectural language grounded in modernism while remaining closely connected to Mexico’s climate, materials and traditions of craftsmanship. His practice extended across architecture, furniture, lighting and interior design, allowing him to approach the built environment as a continuous and integrated discipline.
His architecture is distinguished by its precise handling of proportion, natural materials and light, as well as by the close relationship established between interior spaces and their surroundings. Furniture and lighting formed an essential part of this approach, conceived specifically in relation to the architectural spaces for which they were designed.
The lamps presented by Side Gallery at Frieze Masters date from the 1970s and belong to this broader body of work. Their forms, materials and proportions reflect Attolini Lack’s architectural thinking and his interest in the role of light within the interior.
The images accompanying this post show Casa del Atrio and the Parroquia del Pedregal, illustrating different dimensions of his practice: the intimate character of domestic architecture and the monumental, spiritual quality of religious space providing the architectural context in which Attolini Lack developed his approach to furniture, lighting and interior space.

06/10/2026

The Takenaka Carpentry Tools Museum in Kobe just opened Where Trees Live Again: George Nakashima and Woodworkers, an exhibition devoted to one of the most influential figures in twentieth-century furniture and woodworking.
Running from 3 October to 13 December 2026, the exhibition focuses on the relationship between Nakashima’s designs and the Japanese woodworking tradition, with particular attention to Sakura Seisakusho, the Kagawa-based workshop that has produced Nakashima furniture in Japan for more than six decades.
George Nakashima (1905–1990) developed a distinctive approach to furniture in which the individual character of each tree became an essential part of the design. Knots, cracks, irregular grain and natural edges were not concealed or standardised, but incorporated into the structure and visual language of the piece. His work occupies a singular position between architecture, furniture and craftsmanship, combining modernist principles with a profound understanding of wood as a living material.
Nakashima’s practice was also deeply connected to Japan. His understanding of traditional woodworking, joinery and the relationship between material and form informed a body of work that evolved in the United States while remaining closely connected to Japanese craft traditions.
The exhibition at the Takenaka Carpentry Tools Museum places this philosophy within the broader context of Japanese woodworking, highlighting the knowledge, precision and continuity of the craftsmen who have interpreted Nakashima’s designs over generations.
An important exhibition for understanding not only Nakashima’s furniture, but also the enduring dialogue between modern design and the Japanese culture of making.

Takenaka Carpentry Tools Museum, Kobe 3 October – 13 December 2026

04/10/2026

Side Gallery is pleased to announce its participation in Frieze Masters, London, from 14 to 18 October 2026, where we will present a booth dedicated to the work of Mexican architect Ricardo Legorreta (1931–2011),
Legorreta developed an architectural language deeply rooted in Mexican modernism, combining rigorous geometric compositions with colour, light, water and carefully controlled spatial sequences. Throughout his career, he worked across architecture, interiors and furniture, conceiving these elements as part of a unified architectural environment.
The presentation focuses on two of his most distinctive furniture series, Vallarta and Tlaquepaque, alongside archival material documenting Legorreta’s working environment in Mexico City. The photographs accompanying this post offer different views of his studio and office, providing an insight into the atmosphere in which many of his projects were conceived and developed.
Born in Mexico City in 1931, Legorreta studied architecture at the Universidad Nacional Autónoma de México and established his own practice in 1965. Over the following decades, he developed a distinctive body of work in Mexico and internationally, encompassing houses, hotels, schools, factories, cultural institutions and corporate buildings. His architecture drew on both modernist principles and the spatial traditions of Mexico, creating buildings defined by courtyards, monumental walls, controlled natural light, water and strong relationships between interior and exterior.
The integration of furniture and other elements of interior architecture was an important part of Legorreta’s practice. Furniture, textiles, ceramics and lighting were frequently conceived in relation to specific architectural projects, allowing materials, proportions and colours to extend the architectural language into the interior.

04/10/2026

Heitor dos Prazeres (1898–1966) was a singular figure in twentieth-century Brazilian culture, whose practice moved fluidly between music, painting, costume design and craftsmanship. A key presence in the cultural life of Rio de Janeiro,
Prazeres brought scenes of Black Brazilian life, popular festivities, Afro-Brazilian religions, samba and bohemian life to the foreground of his work. Through his distinctive use of color and carefully observed figures, his paintings addressed everyday experience while engaging with broader questions of urban life, social inequality, affection and community.

Less widely known, however, is Prazeres’ deep connection to cabinetmaking. He inherited the trade from his father, Eduardo dos Prazeres, who was both a musician and a cabinetmaker. Prazeres took great pride in the craft, considering himself part of the working class and regarding cabinetmaking not only as a source of financial stability but also as an activity that gave him considerable pleasure.

The two tables bring these different dimensions of his practice together. Executed in wood and painted in oil, their irregular, organic tabletops rest on sculptural wooden bases, transforming functional objects into surfaces for pictorial expression. One depicts a social scene with several figures gathered in an interior, while the other presents a composition of a bottle, a glass and playing cards. In both, painting becomes inseparable from the object that supports it, allowing craftsmanship, form and representation to occupy the same space.

Through these rare pieces of furniture, Prazeres’ work can be understood beyond the conventional boundaries separating fine art, design and craft. The tables reveal cabinetmaking as an integral part of his creative life, bringing together his knowledge of woodwork and his pictorial language and demonstrating how the imagery that defined his paintings could extend into the objects of everyday life.

20/09/2026

Heitor dos Prazeres (1898–1966) was a singular figure in twentieth-century Brazilian culture, whose practice moved fluidly between music, painting, costume design and craftsmanship. A key presence in the cultural life of Rio de Janeiro,
Prazeres brought scenes of Black Brazilian life, popular festivities, Afro-Brazilian religions, samba and bohemian life to the foreground of his work. Through his distinctive use of color and carefully observed figures, his paintings addressed everyday experience while engaging with broader questions of urban life, social inequality, affection and community.
Less widely known, however, is Prazeres’ deep connection to cabinetmaking. He inherited the trade from his father, Eduardo dos Prazeres, who was both a musician and a cabinetmaker. Prazeres took great pride in the craft, considering himself part of the working class and regarding cabinetmaking not only as a source of financial stability but also as an activity that gave him considerable pleasure.
The two tables bring these different dimensions of his practice together. Executed in wood and painted in oil, their irregular, organic tabletops rest on sculptural wooden bases, transforming functional objects into surfaces for pictorial expression. One depicts a social scene with several figures gathered in an interior, while the other presents a composition of a bottle, a glass and playing cards. In both, painting becomes inseparable from the object that supports it, allowing craftsmanship, form and representation to occupy the same space.
Through these rare pieces of furniture, Prazeres’ work can be understood beyond the conventional boundaries separating fine art, design and craft. The tables reveal cabinetmaking as an integral part of his creative life, bringing together his knowledge of woodwork and his pictorial language and demonstrating how the imagery that defined his paintings could extend into the objects of everyday life.

16/09/2026

Designed by Kisho Kurokawa (1934–2007) and completed in 1972 in Tokyo’s Ginza district, the Nakagin Capsule Tower became the most complete built expression of the Japanese Metabolist movement.
Their manifesto, Metabolism 1960: Proposals for New Urbanism, proposed cities and buildings capable of continuous transformation, drawing on the processes of growth, replacement and regeneration found in living organisms.
The Nakagin Capsule Tower consisted of two reinforced-concrete cores, 11 and 13 storeys high, supporting 140 prefabricated capsules. Each capsule measured approximately 2.3 × 3.8 × 2.1 metres and was designed as an independent living or working unit. The capsules were manufactured off-site, transported to Tokyo and attached to the structural cores with four high-tension bolts, allowing individual units to be removed and replaced without dismantling the main structure.
The building remained in use for five decades, although maintenance problems and the difficulty of replacing the capsules according to Kurokawa’s original system contributed to its deterioration. The Nakagin Capsule Tower was ultimately demolished in 2022. Before demolition, 23 capsules were removed and subsequently restored under the supervision of Kisho Kurokawa Architects & Associates.
One of these surviving units, Capsule A1305, was restored in 2022–23 and is now part of the collection of The Museum of Modern Art in New York. Its preservation represents one of the few remaining physical fragments of Kurokawa’s original experiment in prefabrication, modular construction and architecture designed for change.

02/09/2026

Side Gallery is delighted to participate in the second edition of Design Miami Seoul, taking place from September 3–7, 2026, at COEX in Seoul.
For this occasion, Side Gallery presents Resonance, an exhibition curated through a dialogue between contemporary designers and makers from Japan and South Korea, examining the connections between the two countries through material, process, and craftsmanship.
The Japanese presentation brings together Koichi Io, Junpei Kawaguchi, Hashimoto Tomonari, Yuji Ueda, and Kodai Ujiie, whose practices span ceramics, bamboo, lacquer, and wood.
The South Korean presentation features Hyeokjin Jung, Somyeong Lee, Yeunhee Ryu, Park Sung Jun, Park Sung-Youl, Dahyeon Yoo, and Gyuhan Lee, working across metal, fiber, wood, and ceramics.
Together, these practices reflect the ways in which traditional knowledge can evolve through experimentation and material research, creating new perspectives on craftsmanship while connecting cultural heritage with contemporary practice.

Dirección

109 Carrer Lull
Barcelona
08005

Horario de apertura

Lunes	11:00 - 20:00
Viernes	11:00 - 20:00
Sábado	11:00 - 15:00

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http://www.side-gallery.com/

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