{"id":8217,"date":"2026-05-10T17:00:23","date_gmt":"2026-05-10T17:00:23","guid":{"rendered":"http:\/\/www.angesfinanciers.org\/?p=8217"},"modified":"2026-05-15T15:20:14","modified_gmt":"2026-05-15T15:20:14","slug":"alejandro-ramirez-orozco-explores-ephemeral-dialogue-between-architecture-and-objects","status":"publish","type":"post","link":"http:\/\/www.angesfinanciers.org\/index.php\/2026\/05\/10\/alejandro-ramirez-orozco-explores-ephemeral-dialogue-between-architecture-and-objects\/","title":{"rendered":"Alejandro Ram\u00edrez Orozco explores “ephemeral dialogue” between architecture and objects"},"content":{"rendered":"
\"Remanencias<\/div>\n

Mexican photographer Alejandro Ram\u00edrez Orozco has directed and curated a project that captures<\/a> a variety of design objects within architecturally diverse spaces across Mexico<\/a>.<\/span><\/p>\n

For the Remanencias project, Ram\u00edrez Orozco<\/a> chose 14 Mexico-based designers to each create an original piece of furniture, lighting or sculpture.<\/p>\n

\"Federico
Federico Stefanovich’s Salina floor lamp at Casa Puertecito<\/figcaption><\/figure>\n

The items were then taken to four newly completed houses \u2013 each designed by a different architect and located in a different climate \u2013 to be temporarily installed and photographed.<\/p>\n

“Remanencias names that which persists after the encounter \u2014 what remains when the moment itself has already ceased to exist,” said Ram\u00edrez Orozco. “The minimal record of an ephemeral dialogue between object and architecture.”<\/p>\n

\"Federico
Federico Stefanovich’s Salina floor lamp at Casa Puertecito<\/figcaption><\/figure>\n

The pieces ranged from Deceres Studio<\/a>‘s Arka credenza and Imanol Ort\u00edz<\/a>‘s folding screen, to Habitaci\u00f3n 116<\/a>‘s Pampa Chair and Ombia Studio<\/a>‘s Dos Cruces Chair.<\/p>\n

Lighting designs included a floor lamp by Federico Stefanovich<\/a>, a candle chandelier by Alan Rojas<\/a>, a sconce by Erm Studio<\/a> and a table lamp by Estudio Sardina<\/a>.<\/p>\n

\"Habitaci\u00f3n
Habitaci\u00f3n 116’s Pampa Chair, Disciplina Studio’s Ceramic Object and Manu Ba\u00f1\u00f3’s OBJ-06 side table at Casa Entre los \u00c1rboles<\/figcaption><\/figure>\n

Rather than simply documenting the objects or the architecture, the goal was to capture the bond between them both and highlight how the objects interacted differently with the varied environments, as well as one another.<\/p>\n

“Each object was conceived not as an autonomous form, but as a body designed to relate, adapt, and be activated in conjunction with others and with the architectural space that receives it,” said Ram\u00edrez Orozco.<\/p>\n

“At each location, photographic sessions are carried out in which the objects are placed, adapted, and temporarily inhabit the architecture, generating specific compositions that respond to the qualities of the site: light, scale, shadows, textures, and voids,” he continued.<\/p>\n

\"Imanol
Imanol Ort\u00edz’s folding screen at Casa Tierra<\/figcaption><\/figure>\n

The first location was Casa Puertecito in Puerto Escondido, Oaxaca, which was designed by Goma Taller<\/a> and features a giant concrete staircase that faces the ocean up one side.<\/p>\n

Here, the objects were positioned on the steps and inside the sand-toned rooms, where the light cast dramatic shadows from the building’s geometric shapes.<\/p>\n

\"Alan
Alan Rojas’s Miles Davis Candle Chandelier at Casa Tierra<\/figcaption><\/figure>\n

The second, Aires Mateus<\/a> and Ignacio Urquiza<\/a>‘s Casa Entre los \u00c1rboles in Valle de Bravo, includes a scalloped-edge platform on which the furniture pieces were placed.<\/p>\n

In Jalisco, textured plaster walls below the gabled roof of Casa Tierra by Aagnes<\/a> and C\u00e9sar B\u00e9jar<\/a> provided the setting, while in M\u00e9rida, Casa \u00cdnsula’s sculptural concrete volumes acted as containers and frames for the objects.<\/p>\n