Join us on a tour of the San Miguel de Allende house of Jorge Almada and Anne-Marie Midy for a lesson in color theory.

We've been followers of Casamidy from the start (the furniture/design firm founded by husband/wife team Jorge Almada and Anne-Marie Midy); here's how they approach color: "We believe that every home or space will accept or reject certain colors," Jorge says. "It's important to study how sunlight reacts within the interiors at difference times of the day. Anne-Marie studied color theory in RISD, and I would roll my eyes when she would go on about how a neutral, earthen color had too much blue or red, until i saw how different a beige, white, or taupe could be. Our home in San Miguel is a persistent source of inspiration, and we are continually making adjustments to the interiors."

For product information, go to Casamidy; for rental information, go to Almidi.

Above: An outdoor balcony with a sofa from Casamidy's Varenne line.

Above: The entryway features a rustic terracotta tile floor and a Panier pendant.

Above: The living room features a pair of sofas upholstered in vibrant red and an Hiver side table .

Above: The dining room features a collection of vintage pieces.

Above: A shelf with a pink-painted backsplash.

Above: A pale pink Opera chair adds a subtle note of color to an otherwise neutral space.

Above: The master bedroom features custom reading lights suspended from lengths of silken ochre fabric.

Above: A black painted tub in the master bath.

Above: A pair of traditional Mexican leather chairs.

N.B.: This post is an update; the original story ran on March 19, 2012.

The iconic Paulistano chair, designed in 1957 by Pritzker Price-winning architect Paulo Mendes da Rocha, is at once playful, elegant, and supremely comfortable (we should know; two of us at Remodelista own them). Designed for São Paulo's Paulistano Athletic Club, the chair is inspired by the hammocks used by Brazil's indigenous people.

In recent years, the Paulistano has been a Design Within Reach staple, fashioned from a single length of solid stainless steel with a leather sling seat. And now French firm Objekto has commissioned the still active Mendes da Rocha to come up with an outdoor version of the chair. Made of carbon steel, it's available from Espasso, a New York and LA gallery of Brazilian design.

Above: The new outdoor version of the Paulistano comes with a black or white frame and a waterproof, rot-proof seat of French Toiles de Vosges cotton canvas in 8 colors, including turquoise, taupe, paprika, olive green, and white. It costs $1,950 from Espasso (by comparison, the original with a leather seat is $1,550 at Design Within Reach).

N.B.: If you're a fan of iconic modernist design, don't miss the 120 images of Midcentury Standouts in our Gallery of Rooms and Spaces.

An essential for summer dining: indoor/outdoor natural fiber placemats: here's a roundup of our favorite options in English rush, twine, and water hyacinth.

Above: The Round Rush Placemats are $38 for a set of six from South of Market.

Above: The English Rush Table Mats are made from locally harvested English bullrush; £24 from Toast.

Above: The Large Circular Rush Table Mat is made in the UK by Felicity Irons; $40.25 from Everyday Needs.

Above: The Lanai Placemat is made from abaca twine; $7.95 each from Crate & Barrel.

Above: Ikea's Soare Place Mat is made from lacquered water hyacinth for $3.99 each.

Above: The Abaca Chunky Square Placemats are made from tightly woven twine; $14 for a set of two from West Elm.

Remember the cool girl in school whose outfits always made you think, “I couldn’t pull that together in a million years”?

That’s how we feel about this personality-laden Buenos Aires flat, which features a strategic use of red and white with a mix of rough luxe textures and vintage furniture; it all adds up to an interior featuring panache, confidence, and a sense of humor.

Images via Viva Full House.

Above: Red bar stools and lamp shades provide points of interest in the kitchen.

Above: Despite the formal dining table, the red midcentury office chairs and open storage create a casual atmosphere.

Above: A whitewashed brick wall serves as the backdrop for an unconventional mix of patterns, textures, and furniture styles; all held together by bold injections of the color red.

Above: An unfinished wall becomes a design feature.

Above: A red and white striped awning provides much needed shade from the hot Argentine sun.

N.B. Looking for more Red inspiration? See 393 uses of Red in our Gallery of rooms and spaces.

Welcome to the Acapulco of yesteryear; the one that Elvis, Frank Sinatra, and Elizabeth Taylor knew.

To the casual observer, a visit to the Hotel Boca Chica might feel like stepping back in time, to an Acapulco hotspot that time didn't defeat. The Boca Chica was once a happening place in the boozy-but-classy Acapulco of the 1950s (even given a shot in the opening scenes of Elvis flick Fun in Acapulco). But the hotel fell into disrepair when Acapulco fell out of favor with tourists, and it suffered 20 long years of neglect.

Enter phenom hoteliers Grupo Habita, who gave the Chica a structural renovation and a fresh coat of cool mint paint. The upgrade was meant to recreate the Boca Chica of yesterday with the conveniences of today, replete with refined hospitality and lots of rum. Little needed a complete overhaul, and the hotel's sushi bar—though one would think it was schemed up for today's tourists—is actually an update to the hotel's original, yes, sushi bar. Credit architects Frida Escobedo and Jose Rojas for the Boca Chica's new-old look, with help from Mexican artist Claudia Fernandez serving as antiques curator. We're impressed with the simplicity of the restoration, swapping a little midcentury dust for some new midcentury cool.

Photos via Hotel Boca Chica, except where noted.

Above: Original details—like stone and granite floors and lattice brickwork—remain intact, carefully restored.

Above: A simple palette of black, white, and mint green lets the midcentury furniture shine.

Above: Graphic design by Sociedad Anonima conveys the 50s hospitality and rum-fueled revelry of the old Acapulco.

Above: Nearly all of the hotel's 30 rooms have private patios and hammocks; this one offers views over the bay to Roqueta Island.

Above: Sunlight filtered by lattice brickwork hits the door to room 208. Photo by Jim Franco.

Above: The hotel's original neon sign survived intact. Photo by Jim Franco.

Above: The hotel's graphic design suite conveys its casual but hospitable vibe. Photo via Sociedad Anonima.

Above: Flanked by full-grown palm trees, the hotel facade looks just as it always did (just with fresh paint).

There's still life in the dip-dyed trend: here are five products spotted recently we find ourselves coveting.

Above: New from Anthropologie, the Submergent Ladder from Lostine is made of oak with a dark stain; $348.

Above: Wicker lamps dip-dyed in indigo, via The Andes House.

Above: V-Room Face Towel in navy: $198 from Lost & Found.

Above: The willow Color Block Utility Basket is available in three sizes at Terrain; prices start at $98 for the small size.

Above: A set of four teak Two-Tone Wood Spoons is $18.

Santiago-based Made in Mimbre is a team of designers and artisans who create modern wicker lighting and furniture using traditional crafts techniques.

Mimbre (Spanish for wicker) is one of the most common materials found in Chilean homes; it originates from an area called Chimbarongo, where craftsmen have practiced the art of wicker weaving for centuries. To learn more about the process, see a documentary narrated by one of the studio principals, which provides a visual insight into the company's practice. For ordering information, go to Made in Mimbre.

Above: A trio of wicker lamps from Made in Mimbre.

Above: Lampara B (all lamps are named in alphabetical order).

Above: Lampara D.

Above: A cross section of the wicker.

Above Lampara A.

Above: Wicker storage in Chimbarongo, Chile.

Above: Craftsmen at work in the Mimbre shop.

N.B.: This post is an update; the original post ran on June 17, 2011.

Two architects in São Paulo pool their resources to purchase one piece of land, build two houses, and save 15 percent on their overall costs. The catch? They can never leave the office too far behind, as they are now living next door to each other.

Great creativity is often borne of limited resources. Luiz Felipe Andrade and Philip Scroback, two São Paulian architects in need of affordable urban housing, leapt on the chance to buy a piece of land they noticed was for sale near their office. Using the same building material (reinforced concrete) for both houses, they benefited from an economy of scale and still managed to create two individual houses that are highly distinctive in their personalities—architectural genius at its best.

Photography by Evelyn Müller via FiftyLimited.

Above: Architects Luiz Felipe Andrade (L) and Philip Scroback (R) sit on the concrete stairs of their respective houses.

Above: Andrade, whose house measures 2,000 square feet, uses soft furnishings and a Persian carpet to soften the feel of the reinforced concrete walls and shelves.

Above: The climate in Sao Paulo allows the courtyard garden to become an extension of both the living and dining areas, ensuring constant natural ventilation and lighting.

Above: Andrade uses a wall of colored concrete (hydraulic) tiles to bring color into his kitchen.

Above: A concrete counter serves as a bar in the courtyard garden on the other side of the dining room.

Above: Keith Haring-like figures dance up the stairs adding a light hearted touch to the simple interiors.

Above: Scroback, whose house is smaller at 1400 sf, takes a more spare but equally strong approach to the use of color. The colored cement stairs become a sculptural feature in his house.

Above: A keen chef, Scroback chose to integrate his kitchen into the living area.

Above: Both sides of the house benefit from floor to ceiling glazing, again ensuring constant natural ventilation and lighting.

Above: Exposed electrical pipes run behind the kitchen cabinets.

Above: A concrete ledge becomes an impromptu bookshelf.

Above: In his garden, Scroback layers large square pavers on a bed of gravel.

N.B. Inspired by concrete as a building material, see 468 images of Concrete in our Gallery of rooms and spaces.

María Alejandra Gottelli lives to make the world a more beautiful place, both sartorially and ethically.

With her sustainable clothing and housewares line Cubreme, the Argentinean designer has a deep-rooted investment in creating timeless pieces that emphasize "the genuine legacy of style" while also respecting the artisans. From menswear coats that rival detailing seen on Savile Row to thick throws and pillows, everything is made with organic fibers from merino sheep, lllamas, guanacos, and vicuñas raised naturally in the Cuyo and Patagonia regions of Argentina. The cotton used is chemical-free, sourced from small producers in the northeast.

Gottelli not only weaves in an ethos of sustainability but also of history; many of her designs are inspired by personal experiences or clothing items once worn by family members.

Photos by Dominique Besanson (except where noted). For the complete line and ordering and pricing information, visit Cubreme.

Above: The "homeware" clothing collection consists of pieces perfect for lounging or weekend wear. "Comfortable, leisure clothing made of organic cotton, for men and women," says Gottelli.

Above: Fringed blankets and throws displayed on an antique ladder. Photo by Paula Alvarado.

Above: The men's and women's winter coats are made of organic llama and merino wool and come in rich hues such as smoke gray, havana, and caramel.

Above: Lightweight knits and spools of merino wool at Gottelli's Palermo Soho boutique. Photo by Paula Alvarado.

Above: Each pillow is made of organic llama, bamboo, or cotton; the filling is made of the soft wool that remains after the first combing.

Above: An assortment of women's shorts, shawls, and tops on display at Gottelli's Palermo Soho boutique. Photo by Paula Alvarado.

N.B.: Looking for more organic textile inspiration? Start with 12 Images of Natural Wool Fabrics in our Room Gallery and expand your search.

When we dropped in at Berkeley's Tail of the Yak recently (see Berkeley's Best Under-the-Radar Shop), we admired the mix of high style bohemia. In particular, we liked the shop's art pieces and tableware inspired by and imported from Central and South America.

Photography by Mimi Giboin for Remodelista.

Above: A goat made from sturdy paper-mâché by Berkeley-based artist Anandamayi Arnold.

Above: Tail of the Yak exclusively carries etched glassware from Mexico City (the glassware is made by a collective of artists with disabilities).

Above: Detail of the hand etched green glass; the glassware is only available in-store at this time.

Above: Brightly colored (and pale) beeswax candles made by a young entrepreneur on the East Coast.

Above: A neon pink kite depicting a dragon and an urn filled with pompoms hand selected in Peru by Tail of the Yak owners.

Above: Stacks of multi-colored paper party streamers.

Above: A bright purple deadstock vintage garland.

Above: Metallic flowers and leaves are sold for $16 per bunch; contact Tail of the Yak for shipping.

A simple chandelier reminiscent of an over-sized sombrero plays with shadows and light; we're sold.

I swung by The Future Perfect on a recent trip to New York (always a must visit), and admired this Vertigo Chandelier designed by Constance Guisset. The spoke-like frame is made from fiber glass, giving it a fluid form that casts dramatic shadows over a room; $1,338 from The Future Perfect.

Above: The width of the chandelier is almost 79 inches.

Above: The chandelier offers a dramatic play of light, both during daylight and at night.

Hotel Fasano Las Piedras appears to be deep in the rural countryside of Uruguay. But don't be fooled; "The Hamptons of South America" is a mere 15 minutes away.

The latest venture by the Fasano Brazilian hotel family—its first outside of Brazil—is the beautiful and secluded Hotel Fasano Las Piedras in La Barra, Uruguay. It is indeed a quiet getaway, intended as a respite from the glamorous beaches of nearby jet-setter capital Punta del Este. The design of Las Piedras is a clear departure from the ultra-modern (and often showy) tourism-industry architecture of the area. But again, make no mistake: The rustic-chic villas didn't land here by accident, and are just as good for recovering from—as they are for launching—a glamorous night on the town.

Photography by FG +SG – Fotografia de Arquitectura.

Above: The cabins are oriented toward rolling plains, a pine forest, and an estuary, and each has a private patio and unobstructed view.

Above: The interiors are far from minimal, featuring down-filled pillows and generous supplies of books and artwork.

Above: Unlike their other hotels, the latest Fasano offers luxury via understatement.

Above: Floors are made from local fieldstone, and bull horns evoke the Uruguayan cattle farming tradition.

Above: A strong interior/exterior contrast is at play. Inside the minimal concrete box, the lobby offers more rustic Uruguayan styling.

Above: Inside and out, the buildings proffer low profiles and emphasize horizontal lines. Here, a cozy and well-stocked library.

Above: A deep outdoor pool looks almost native, nestled among the rocks.

Above: Lacking visible windows, the structures suggest little about the comfort within.

Above: The pool room calls attention to one thing only: the lush landscape beyond.

Above: At nightfall, the cool gray structures emanate a warm glow, perhaps suggesting a night on the town.

Above: Sleek stone and concrete boxes are the bungalows of Las Piedras, designed by Brazilian architect Isay Weinfeld.

Looking for more inspiration? View 58 photos of contemporary Rustic Hotels in our new Gallery of rooms and spaces.

In Baja, an artist's eye inspires her home, and her home inspires her art.

The artist in question is Patricia Larsen, an infinitely talented and increasingly well known painter whose impassioned, evocative work graces galleries from New York to La Paz. Though abstract, her pieces reveal the places and shapes, poets and creatures that inspire her. A native Canadian, Larsen is proud mother of the owners of one of our favorite restaurants and shops, Le Marché St. George in Vancouver (Larsen herself appears in our story on Le Marché's Thanksgiving Feast).

Larsen has always made the world her home, having nested in picturesque locales like Salt Spring Island, Red Deer, and Hawaii, living and learning in New York City, Toronto, and Vancouver. She's found a home where she means to stay; a place that inspires her work. With the help of friend and architect Julio Cesar Gomez, she designed her home in Pescadero, Mexico, at the very tip of the Baja Peninsula.

Photography by Patricia Larsen.

Above: The home is made of cement block and plaster and took only six months to build.

Above: Larsen built the home as a studio, a place to paint and be inspired.

Above: The home features a two-sided fireplace; although it looks like an indigenous feature, it's rare for the area.

Above: The artist's wintertime bed is sited next to the fireplace.

Above: Larsen often redecorates to change with the seasons. Here, a floral tapestry and Acapulco chair suggest spring.

Above: A sunny corner of the studio.

Above: Some walls were given treatments of texture and color with local mud, straw, and dyes.

Above: Note the handcrafted light fixture above, evocative of Larsen's Rock Sculptures. The home runs on solar power, with two solar panels and four batteries.

Above L: A climbing vine serves as an alfresco headboard. Above R: The artist's summertime bed, with the most beautiful mosquito net we've seen.

Above: A Pablo Neruda poem decorates a wall.

Above: A sheltered plein air breezeway serves as central command for Larsen's avid gardening.

Above: A vintage leather chair offers a view of the surrounding landscape.

Above: Larsen's Painting No. 37, a warm gray work evocative of her chosen home.

Eager for more inspiration? See 1,401 images of Art at Home in our new Gallery of rooms and spaces.

Spotted (and admired) in the showroom of Chairloom in Philadelphia: rough-hewn factory floors embellished with dramatic stencils. Read on to discover how to achieve a similar look.

Chairloom founders Tracy Jenkins and Molly Andrews believe in second chances. If it works for their furniture, it also seems to work for the beat-up floor they found in their new showroom space. Rather than sanding the character out of the floor, they took an additive approach and asked their friend Ilene Pearlman to come in and cover the 1,000-square-foot space with dramatic stencils, proving that everything deserves a second chance.

Images via Chairloom.

Above: Ilene Pearlman's stencils create a dramatic background for both the finished refurbished pieces as well as the as is pieces Chairloom holds in stock.

Above: Pearlman created a stencil out of large piece of corrugated cardboard which she found in a dumpster. Pearlman spent three days designing the stencil and preparing it by cutting it out and laminating the entire stencil with tape to keep it from absorbing moisture from the paint. From point to point, the stencil measures 5'- 0". N.B. Pearlman will be exhibiting her work at the Rittenhouse Square Fine Arts Show in September.

Above: Pearlman uses a roller to apply the paint while her mother holds the stencil in place. Rather than prime the area first and then paint over it, she saved a step by just using primer. A protective coat of polyurethane was applied on top of the stencils. Painting the stencils took her two days.

Above: The existing floor had to be scrubbed and cleaned thoroughly before Pearlman could apply the stencils.

Above: In classic Chairloom style, this high back chair has been updated with originality.

Above: A view of Chairloom founder Molly Andrews' desk.

Above: A found sofa awaits its second chance at Chairloom.

N.B. Interested in other DIY stencil projects? See DIY: Picnic Tables.

Lauren Wolf studied jewelry making in the mountains of Mexico and lived in New York City for several years before setting up shop in the Temescal neighborhood of Oakland.

Wolf whitewashed the interior of a former stable (including the floor) and turned it into a gallery for her own pieces as well as artwork by sympatico artists and designers. Bleached skulls, exotic cacti, and vintage ethnic rugs lend a Southwest-meets-San Francisco vibe to the space. For more information, go to Esqueleto. And to check out the next wave in floral design, go to Oakland's Coolest Garden Shop on Gardenista.

Above: Wolf says she wanted to keep the space feeling raw, so she kept the interiors simple and spare.

Above: A group of ink drawings by Patrick Dunaway hangs on a wall.

Above: A selection of porcelain bells by Michele Quan.

Above: Porcelain pieces by Len Carella share space with jewelry and art by local artisans.

Above: A display of jewelry and objets.

Above: A sculptural piece by Ally Maser.

Above: Leather pouches by Oakland-based Herringbone.

Above: Esqueleto shows works of local artists, including Kelly Best.

N.B.: Check out the next wave in floral design at Oakland's Coolest Garden Shop on Gardenista.

At The Saint in Seattle, owner Quentin Ertel offers the tequilas of Mexico. Not the tequilas of spring breaks and big regrets, but the warm, earthy versions made for sipping and talking, dancing and philosophizing.

For his restaurant and bar, Ertel felt strongly about drawing inspiration from modern Mexico, "to state emphatically that we were doing something bold." Said boldness was to bring to Seattle something new: a tequila bar befitting its amber inspiration, both elegant and open, populist but respectful (read on for Ertel's recipe for The Saint's Honeysuckle Cocktail, a boozy-sweet start to tequila salvation).

In his many trips to Mexico, Ertel had admired spaces that were something to behold though their materials were humble. Translating the notion to his own space meant using modest materials to sophisticated effect. Ertel designed the space himself in collaboration with branding team 51 Eggs and design-build firm Mallet. In developing their designs, budget played a role but the need for economy was fuel for creativity. Says Ertel, "Our resourcefulness, in the end, loaned the place an air of authenticity."

So who is The Saint? Despite its ecclesiastical connotations, the name is meant to be open to anyone's interpretation. The Saint is among the matadors and matadoras whose portraits line the walls, symbols of everyday people beatified by their peers. The Saint could, of course, be "evocative of the "religious" experience one has when a few pours of tequila are involved." Whatever it means, how did Ertel and his crew divine it? "We cracked a bottle of nice tequila and got to brainstorming."

Photos by Jim Henkens.

Above: The bar windows appear to be clad in lace (the Saint inherited the aging windows with their still-sturdy grillwork security screens).

Above: Teal green benches and plywood table tops are among the humble materials meant to conjure an informal vibe. The color palette was inspired by the vibrantly colored houses of Mexico, as well as the colors of the Mexican flag.

Above: House-cured Fresas--strawberries soaked in tequila blanco—one of The Saint's many homemade infusions. Among the offerings are pineapple and cinnamon; vanilla bean in reposado; and a "very hot" arbol pepper infusion.

Above: The bar counter is reclaimed fir, charred and stained to emphasize the grain. The plywood die wall was a cost-effective choice but also plays into the humble space/revered tequila motif. Custom fabricated bar shelves are stained fir in steel casings.

Above: The Saint's impressive cache of matador images was a lucky find from a trove of Mexico City bullfighting magazines from the 1920s and 30s. Here, an image incorporated into the graphic design by 51 Eggs. Other images, culled straight from the magazines, line the restaurant's walls.

Above: Though the bar sits on an awkward concrete island on a busy Seattle street, its vibrant teal blue makes it hard to miss.

Many thanks to Quentin Ertel (a self-identified Remodelista fan) for sharing this recipe with us. "The Honeysuckle is on the sweet side, however it is a delicious and refreshing summertime cocktail and it's simple for people to make at home."

The Honeysuckle Cocktail, courtesy of The Saint

1.5 oz Sauza Hornitos Reposado

1 oz Fresh Squeezed Lemon Juice

1.5 oz Honey Syrup (equal parts water and honey, brought to a brief boil then cooled)

Combine all ingredients in a mixing tin with ice. Shake and strain into a cocktail shell, and garnish with an edible flower.

Eager for more inspiration? See 710 images of Restaurant Interiors in our new Gallery of rooms and spaces.

Michelle Teague and her husband, Jon Davidson, were two New Yorkers working in film production when a winter's road trip through the high desert of West Texas changed everything.

Just as Donald Judd, James Turrell, and a collective of minimalist art devotees had done before them, Teague and Davidson were drawn to Marfa, Texas. As Teague says, "We got back to our little New York apartment and kept burning pinon incense to recreate our Marfa bungalow." When the couple's friend Liz Lambert called to ask for help building a teepee/trailer hotel (see Hotels & Lodgings: El Cosmico in Texas), Teague knew that "this was our escape to Marfa." Once in Marfa, the couple, along with their son Jack Maverick, heard that an old dry goods store in town was up for rent, and JM Dry Goods (named after Jack Maverick) was born.

This past spring, on Cinqo de Mayo, Teague opened an Austin outpost focusing on goods from Mexico. Every six weeks, Teague features Mexicali textiles and pieces that directly support the livelihood of artists. The entire shop was designed by Teague and Davidson, who welded every bracket and light fixture. With shelving made from salvaged long leaf pine and whitewashed floors and ceiling, the shop is an instant gateway to Oaxaca by way of Texas.

Austin's JM Dry Goods is located at 215 S. Lamar Street; for products listed below, contact JM Dry Goods for shipping and availability.

Photography by Michael A. Muller.

Above: Owner Michelle Teague says her personal style is "the same as when I was in my twenties running around the globe with a backpack and my white Levis, my handmade sash from Guatemala, a white tank top, and a straw hat. Third World backpacker grown up." Teague is wearing her "magic huipile," which she spotted hanging in a dark stairwell in the back of El Mano Magico, a tiny shop is Oaxaca City. "In June, I dutifully go to visit this dress and the woman in the shop says, 'That is your dress, it has been waiting for you.' Of course I bought it; how could I not?"

Above: Children's embroidered Huipiles from the coastal region of Oaxaca; prices range from $28 to $44 each.

Above: A handmade Huipile from Mitla, Mexico ($140), hangs on the wall next to a navy and white-striped hammock from Brazil ($90).

Above: Copal incense, handmade in the Yucatan; $10 per bunch.

Above: A row of leather ranch chairs made in Marfa, Texas, by Silla ($550 each).

Above L to R: Oaxacan table runners ($68 each), Moroccan hand towels ($15 for the small and $55 for the large), and Chiapas pillow covers ($48 each).

Above: A Tenango coverlet ($300) made by the Otomi in the Eastern Sierra Madre in Hidalgo: "The animal and floral motifs are inspired by cave depictions and their intricate embroidery and vibrant dyes are an ancient Mexican traditional work of art," Teague says.

Above: Jewelry made from hammock string and vintage peso coins by Yucatan-based artist Daniella Bustos Maya; prices range from $32 to $125 each.

Above: Hand-blown blue glassware imported from Mexico; $10 each.

Above: An array of handwoven textiles from Mexico, Central, and South America.

Above: A purple Zapotec rug handwoven in Teotitlan del Valle in Oaxaca ($220), Leather lounge chairs for $1,600 by Silla, and baskets woven by the Triche women of Oaxaca (prices range from $18 to $68 each).

We first got wind of San Miguel de Allende when we discovered Casamidy, the artisanal home furnishings line from Jorge Almada and Anne Marie Midy. So for an insider's guide to the town, we turned to Jorge for some insights. Read on:

"In order to appreciate San Miguel de Allende, you must first have a sense of humor. Our small town, located three hours north of Mexico City in the near dead center of Mexico, is a funky amalgamation of American and European expats, traditional Mexican middle class, and on the periphery, rural Mexico, where in some cases life is like it was 200 years ago. San Miguel has colorful, cobble-stoned streets with many churches, mainly from the 17th and 18th centuries. We have a vibrant street life and a near perfect year-round climate. Anne-Marie and I moved to San Miguel in 1999, attracted by the diverse artisan traditions; even though the town has gone through many changes (including a Starbucks), it has retained its unique colonial character and many civic traditions."

Above: From a design point of view, San Miguel offers a fun assortment of goods from functional items such as leather cowboy belts, volcanic rock mortars called molcajetes, indigenous textiles, and baskets to ornate tin work, a local craft specialty. You can always find a great selection of interesting things at Mixta (shop interior shown above).

Above: Juana Cata is the best resource for exceptional Oaxacan textiles.

Above: For rustic Mexican antiques, we recommend Rafael.

Above: A local mercado, with colorful housewares on offer.

Above: We recommend staying at the recently opened Hotel Matilda or at the Posada Carmina; if you want to rent a house, try Premier San Miguel. For dining, we recommend Cafe Rama, The Restaurant, El Pegaso, Don Tomas, La Sirena Gorda, and La Azotea.

Above: We recommend design lovers visit the hacienda Jaral de Berrio, which is about an hour and a half drive north of San Miguel. You´ll have to bribe the watchman (Andres), but it's worth it (you'll be impressed by the all the decorative wallpapers of this abandoned hacienda). On the way back, stop at the Sanctuario de Atotonilco, a baroque masterpiece.

Above: Transportation? To get around town, it's best to rent a Honda 90cc scooter (not the loud and obnoxious quads). Also, consider taking a hot air balloon ride for a panoramic view of the surrounding countryside.

A roundup of solutions for freeing up counter space (especially important in urban kitchens).

Above: Tse & Tse in Paris offers the medium Wall-Mounted Steel Plate Rack (shown above L; it's also available in a small and a large size) for €283. In the US, the medium Wall-Mounted Plate Rack can be special ordered from Horne for $495); contact Horne.

Above: The Wall-Mounted Dish Rack from UK kitchen shop David Mellor is made of beech with birch dowels; £58 for the smaller size (50 centimeters wide, 44.5 centimeters high) and £72 for the larger (82 centimeters wide, 44.5 centimeters wide). In the US, Iowa-based Woodform makes a similar style Plate Rack that accommodates a dozen plates; $80 at Stacks and Stacks.

Above: The Polder Compact Stainless-Steel Dish Rack measures 14 inches long and 6.5 inches wide; $21 at Amazon.

Above: The stainless steel Ordning Dish Drainer measures 20 inches long and 11 inches high and is $19.99 at Ikea.

Above: Danish company Kingfisher offers the Stainless Dish Rack in a range of colors (including turquoise, red, and white; go to Kingfisher for retailers.

N.B.: This post is an update; the original story ran on January 27, 2011.

Quaker simplicity and restraint was the model for Brooklyn designer Joseph Foglia's latest restaurant: Parish Hall.

According to Foglia, "The overall intent for Parish Hall was to create a simple space with natural architectural elements that wouldn't dominate the diners' experience. We were inspired by the ideals embodied in Quaker meeting houses, where the architecture was meant to be unadorned yet subtly distinguished." Like its sister restaurant Egg (the popular farm-to-table brunch spot in Williamsburg), Parish Hall sources much of its produce from owner George Weld's upstate Goatfell Farm (featured today on Gardenista). To learn more, go to Parish Hall.

Above: Maple was used throughout the space and Foglia custom designed the furniture and architectural fixtures. The lights above the tables were originally from an old passenger train car, with custom stems and canopy plates added by Foglia.

Above: Parish Hall is housed in a large industrial building in a neighborhood that at one time was all heavy manufacturing.

Above: The lighting is all vintage, sourced from salvage yards and eBay. The walls are painted in Benjamin Moore Super White.

Above: Early 1900s Halophane pendants found at a salvage yard in the Catskills hang over the maple bar.

Above: The one exception to Foglia's custom-designed furniture are the maple dining chairs, which were a design collaboration between him and Marc Pfeffer, a furniture fabricator friend who runs Restoration Studio. As Foglia notes, "We wanted to design a commercial-grade custom dining chair that was specific to this space while fitting the overall design aesthetic, yet within a very limited furniture budget. Nicely designed yet durable chairs are always a problem to find, so it was great to actually get this chair produced."

Above: According to Foglia, "The solid maple chair design was inspired by the design of a classic Shaker chair as well as the Prouve school chair and a Gunlock library chair. Its sort of a hybrid inspired by all three styles. We are actually hoping to produce this chair as a standalone product soon."

Above: Wall sconces designed by Foglia add to the Quaker-inspired interior, where the design elements have been kept to a minimum.

N.B. To see Foglia's own living space, check out our recent Designer Visit.