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

SIDE GALLERY, 109 Carrer Lull, Barcelona (2026)

26/08/2026

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.

19/08/2026

Architect Alberto Ponis developed a body of work in northern Sardinia in which architecture, geology and vernacular construction are closely interconnected.

His houses are characterised by a low horizontal profile, fragmented volumes and an architecture adapted to the existing topography. Local granite is used structurally and visually in walls, terraces, retaining elements and interiors, establishing a direct continuity between the construction and the surrounding rock formations.

The stazzo gallurese, the traditional rural dwelling of Gallura, provided an important typological reference. Ponis translated its compact volumes, materiality and relationship to the terrain into a modern architectural language.

Works such as Casa Martínez, Casa Scalesciani, Stazzu Pulcheddu and the houses of Porto Rafael document this approach. Concrete, granite, timber and shaded exterior spaces are organised according to the orientation, vegetation and natural formations of each site.

Ponis’s architecture is therefore inseparable from the specific material and geographical conditions of Sardinia, and represents an important chapter in the development of post-war Mediterranean residential architecture.

16/08/2026

“Haco” Series
by Isamu Kenmochi
Manufactured by Tendo Mokko
Japan, 1961

The “Haco” (box) series by Isamu Kenmochi, first presented in 1961 and manufactured by Tendo Mokko, represents a seminal moment in postwar Japanese design, bridging traditional aesthetics with advanced industrial techniques. Originally designed for the lobby of the Kyoto International Conference Center, these pieces transitioned to standard production in 1964 due to their ergonomic comfort and design tailored to the Japanese physique. The furniture, including armchairs, sofas, side tables, and coffee tables, is characterized by a distinctive, single-piece frame of molded plywood (often Japanese elm or Brazilian rosewood veneer) that fluidly wraps around a soft, encased cushion. This “box-like” form, from which the series derives its name, provides both structural integrity and a unique, clean aesthetic. Kenmochi’s work on the “Haco” collection highlights his philosophy of “comprehensive design,” creating harmonious living environments through highly functional, yet timelessly simple, modern forms that remain highly collectible and exhibited in international museum collections today.

05/07/2026

Kodai Ujie
SIDE GALLERY

Rooted in traditional ceramics, Kodai Ujiie’s sculptures explore the evolving boundary between vessel and sculpture through controlled yet improvisational techniques. His pieces often evoke quiet, creature-like presences, drawing inspiration from the anatomical strangeness of amphibians and other biological oddities to create soft-edged forms that feel both familiar and otherworldly, resonating with a lineage of artists who expand the vessel into a sculptural language. Eschewing bold color, he employs a restrained, almost ghostly palette, with expressive forms and carefully worked surfaces reminiscent of experimental freedoms found in the work of Ron Nagle. Ujiie glazes suggest frozen, snow-covered terrains or ash-dusted mineral surfaces—distant, imagined, and quietly surreal landscapes. This muted, eerie tonality fosters a sense of reverie, creating a feeling of stillness or suspended time, as if each object inhabits a slow, parallel reality just beyond perception.
At the same time, Ujiie’s practice is deeply informed by the conventions of traditional Japanese pottery, particularly in his use of technical fusions that bridge historical methods with contemporary form. By adapting the kintsugi lacquer mending process, he brings a layered sensibility to his practice; his unpredictable glazes—thickly applied and often suggesting a synthetic gloss—conjure a striking sense of spontaneity within otherwise carefully constructed, deliberate forms. These works gesture toward utility, subtly alluding to conventional vessels or architectural fragments—recalling Betty Woodman’s reimagining of ceramic traditions through hybrid, architectonic gestures—while their meanings unfold through multiple layers of interpretation and ambiguity. His ceramics also evoke an animated quality: bulbous, soft-edged, almost creaturely forms that suggest narrative or anthropomorphic character, aligning with the expressive, sculptural approach of Ken Price and inviting viewers to engage with them as lively, enigmatic presences rather than mere objects.

03/07/2026

Blue Box House, Mayumi Miyawaki
Blue Box House Mayumi Miyawaki Tokyo, Japan

Blue Box House (1971), designed by the Japanese architect Mayumi Miyawaki, is one of the most emblematic works of postwar residential architecture in Japan. Conceived for photographer Osamu Hayasaki in Tokyo, the house belongs to Miyawaki’s celebrated “Box Series,” a group of experimental dwellings that explored how simple geometric forms could respond to the increasing density of Japanese cities during the period of rapid economic growth. Its striking blue cantilevered volume, suspended above the landscape, became a powerful expression of what the architect defined as “Primary Architecture”: an approach based on elementary forms, vivid colors, and carefully orchestrated spatial experiences.
Trained at the Tokyo University of the Arts and later at the University of Tokyo, Miyawaki combined rigorous urban research with architectural practice. During the late 1960s he conducted extensive studies of traditional Japanese villages, while in 1971 he co-founded the avant-garde collective ARCHITEXT, which emerged as a critical alternative to the dominant Metabolist movement. His work sought a more intimate and human-scale architecture, balancing modernist experimentation with the cultural memory of Japanese domestic space.
The Blue Box House exemplifies these ideas through its exposed concrete structure and its original integration of nature: a void beneath the cantilever allowed bamboo to grow through the building into an elevated courtyard, creating a direct dialogue between architecture and landscape. The project also reflected Miyawaki’s concern for privacy and urban living, using the “box” as a protective shell against the growing pressures of the metropolis. More than fifty years after its completion, the house remains a key reference in the history of Japanese Brutalism and one of the most influential residential experiments of the 1970s.

29/06/2026

SIDE GALLERY is thrilled to take part in Frieze Masters London, taking place from 14–18 October in Regent’s Park.
For this edition, Side Gallery presents a booth dedicated to the work of Mexican architect Ricardo Legorreta, centred on the Vallarta series, designed for the Camino Real Hotel in Polanco, Mexico City.
Conceived as part of Legorreta’s architectural project for the hotel, the Vallarta series expresses his understanding of furniture as an essential component of architecture.
Bringing together this rare group of works, the presentation highlights a significant chapter in Legorreta’s practice and places his furniture within the broader history of twentieth-century architectural design. The project also reflects the close relationship between modern architecture and furniture design, a dialogue that continues to shape contemporary perspectives on both disciplines.
The installation is accompanied by original sketches, working drawings and photographs from Ricardo Legorreta’s personal archive, offering insight into the development of his creative process.

23/06/2026

New Exhibition! Now on View.

JAPANESE DESIGN II
Side Gallery. Barcelona
18 Jun 2026 - 25 Oct 2026

In the decades following World War II, Japan underwent a profound transformation. The rapid economic growth of the 1960s—often called the “Japanese Economic Miracle”—brought modernization, urbanization, and a growing middle class eager to embrace new ways of living. This period was marked by a national effort to rebuild not only the economy and infrastructure but also Japan’s cultural and aesthetic identity within a modern, global context. Design became a vital expression of this renewal, balancing technological progress with a deep respect for craft and tradition.

Within this dynamic environment, Japanese furniture design flourished as a bridge between the old and the new. Designers such as Isamu Kenmochi, Junzo Sakakura, Daisaku Choh, Riki Watanabe, Ubunji Kidokoro, or Katsuo Matsumura redefined the domestic landscape through objects that reflected both modern sensibilities and Japanese cultural values. Their work was shaped by the encounter between Western modernism ideas—introduced through contact with European and American design movements—and the principles of mingei, or folk craft, which celebrated the beauty of everyday, handcrafted objects.

By reintroducing these works in the contemporary context, Side Gallery invites a renewed appreciation for a design ethos that remains profoundly relevant today: one that understands simplicity as complexity distilled, and functionality as cultural expression.

23/06/2026

New Exhibition! Now on View.

JAPANESE DESIGN II
Side Gallery. Barcelona
18 Jun 2026 - 25 Oct 2026

In the decades following World War II, Japan underwent a profound transformation. The rapid economic growth of the 1960s—often called the “Japanese Economic Miracle”—brought modernization, urbanization, and a growing middle class eager to embrace new ways of living. This period was marked by a national effort to rebuild not only the economy and infrastructure but also Japan’s cultural and aesthetic identity within a modern, global context. Design became a vital expression of this renewal, balancing technological progress with a deep respect for craft and tradition.

Within this dynamic environment, Japanese furniture design flourished as a bridge between the old and the new. Designers such as Isamu Kenmochi, Junzo Sakakura, Daisaku Choh, Riki Watanabe, Ubunji Kidokoro, or Katsuo Matsumura redefined the domestic landscape through objects that reflected both modern sensibilities and Japanese cultural values. Their work was shaped by the encounter between Western modernism ideas—introduced through contact with European and American design movements—and the principles of mingei, or folk craft, which celebrated the beauty of everyday, handcrafted objects.

By reintroducing these works in the contemporary context, Side Gallery invites a renewed appreciation for a design ethos that remains profoundly relevant today: one that understands simplicity as complexity distilled, and functionality as cultural expression.

23/06/2026

New Exhibition! Now on View.

JAPANESE DESIGN II
Side Gallery. Barcelona
18 Jun 2026 - 25 Oct 2026

In the decades following World War II, Japan underwent a profound transformation. The rapid economic growth of the 1960s—often called the “Japanese Economic Miracle”—brought modernization, urbanization, and a growing middle class eager to embrace new ways of living. This period was marked by a national effort to rebuild not only the economy and infrastructure but also Japan’s cultural and aesthetic identity within a modern, global context. Design became a vital expression of this renewal, balancing technological progress with a deep respect for craft and tradition.

Within this dynamic environment, Japanese furniture design flourished as a bridge between the old and the new. Designers such as Isamu Kenmochi, Junzo Sakakura, Daisaku Choh, Riki Watanabe, Ubunji Kidokoro, or Katsuo Matsumura redefined the domestic landscape through objects that reflected both modern sensibilities and Japanese cultural values. Their work was shaped by the encounter between Western modernism ideas—introduced through contact with European and American design movements—and the principles of mingei, or folk craft, which celebrated the beauty of everyday, handcrafted objects.

By reintroducing these works in the contemporary context, Side Gallery invites a renewed appreciation for a design ethos that remains profoundly relevant today: one that understands simplicity as complexity distilled, and functionality as cultural expression.

23/06/2026

New Exhibition! Now on View.

JAPANESE DESIGN II
Side Gallery. Barcelona
18 Jun 2026 - 25 Oct 2026

In the decades following World War II, Japan underwent a profound transformation. The rapid economic growth of the 1960s—often called the “Japanese Economic Miracle”—brought modernization, urbanization, and a growing middle class eager to embrace new ways of living. This period was marked by a national effort to rebuild not only the economy and infrastructure but also Japan’s cultural and aesthetic identity within a modern, global context. Design became a vital expression of this renewal, balancing technological progress with a deep respect for craft and tradition.

Within this dynamic environment, Japanese furniture design flourished as a bridge between the old and the new. Designers such as Isamu Kenmochi, Junzo Sakakura, Daisaku Choh, Riki Watanabe, Ubunji Kidokoro, or Katsuo Matsumura redefined the domestic landscape through objects that reflected both modern sensibilities and Japanese cultural values. Their work was shaped by the encounter between Western modernism ideas—introduced through contact with European and American design movements—and the principles of mingei, or folk craft, which celebrated the beauty of everyday, handcrafted objects.

By reintroducing these works in the contemporary context, Side Gallery invites a renewed appreciation for a design ethos that remains profoundly relevant today: one that understands simplicity as complexity distilled, and functionality as cultural expression.

📸 Jeroen Verrecht

SIDE GALLERY

26/08/2026

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16/08/2026

05/07/2026

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29/06/2026

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