# Lighting designer transforms historic Mexico City building into studio-showroom

Federico Stefanovich blends 1920s architecture with contemporary lighting displays

- **Source:** [Interior design | Dezeen](https://brifing.si/source/cb2e5f17-36d4-4880-b1ae-26168d46e00a)
- **Published:** 2026-09-23
- **Topic:** [Design & UX](https://brifing.si/c/design)
- **Original article:** <https://www.dezeen.com/2026/09/23/nama-studio-federico-stefanovich-studio-1920s-mexico-building/>
- **On Brifing:** https://brifing.si/s/68aad239-3267-419d-bec4-e84857cc4ae8

## Historic building adaptation

Federico Stefanovich transformed a 1922-built Edificio Humboldt in Mexico City's Centro neighborhood into his lighting studio. The building, originally designed by Canadian architect Thomas Sinclair Gore, features preserved 1920s details like balcony windows with original handles and iron latches. This adaptive reuse maintains architectural heritage while providing modern workspace for Stefanovich's lighting designs.

## Designer-architect collaboration

Stefanovich partnered with local interiors firm Nama Studio for the renovation. They preserved historic elements while introducing rich colors and textures to complement the lighting displays. The space serves triple functions: design studio, showroom, and production workshop. This integrated approach reflects Stefanovich's philosophy of blending design, manufacturing, and presentation spaces.

## Lighting display challenges

The building's abundant natural light posed unique challenges for showcasing lighting designs. The team developed custom solutions including modular panel systems with metal poles and wooden blocks. These create controlled backdrops while maintaining connection to the historic architecture. The panels' layered blue tones were specifically designed to avoid flat, uniform surfaces that would compete with lighting displays.

## Material palette strategy

The studio features a 'muted mineral blue' panel system complemented by chocolate-toned plaster and brown-stained wood. This material palette creates depth while referencing the building's age through elements like aged flooring. The blue panels are interrupted by original windows, creating rhythm between new and historic architectural elements.

## Functional zoning

The space is organized with a seating entrance leading to an elongated main area. One end features a lounge with custom semicircular sofa, while the other has display tables. Sliding fibreglass panels conceal the workshop area, revealing utilitarian elements like plywood furniture and steel racks when opened. This zoning allows simultaneous work, production, and client presentation.

## Fibreglass innovation

Yellowish, opaque fibreglass panels along the showroom reference Japanese washi paper while diffusing light. These translucent panels connect visually to Stefanovich's Salina Collection displayed during the studio opening. The material choice demonstrates how functional workshop screening can also serve aesthetic purposes and reference the designer's product line.

## Design philosophy integration

Stefanovich describes the space as embodying his design style: ornate but not excessive. It combines mid-century influences with handmade processes and expressive elements. The studio intentionally balances sophistication with informality, allowing architecture and lighting pieces to exist in visual harmony. This reflects his approach to creating cohesive environments rather than standalone objects.

## Industry context

The project represents a growing trend of designers creating integrated studio-showrooms in architecturally significant buildings. Similar examples include Jasmine Fisher's London studio and Victoria Yakusha's Miami space. These projects demonstrate how contemporary designers are rethinking workspace organization while maintaining dialogue with architectural history and local context.

## Sources covering this story

- https://www.dezeen.com/2026/09/23/nama-studio-federico-stefanovich-studio-1920s-mexico-building/ — 

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_Summary written by Brifing from the original reporting. Copyright in the original article belongs to its publisher; read the full piece at the link above._
