Design schools in North America often coalesce around common design movements and individuals of influence that merit careful study. Fueled by the need or desire to improve the built environment, they tackled significant challenges, conditions and questions of their particular time and place. As a student, I admired the work of many of these individuals very much. And as a professional, I continue to appreciate their importance.

Upon discovering [Mexican architect] Luis Barragán's work, however, I was immediately drawn to his seemingly intimate and personal engagement of the people, places, and region in which he worked. While the language of Barragán's work may initially be characterized as modern, his work embodied a critically regional approach to place-making, where the use of local color, light, shadow, material, and texture leveraged the unique place in which each project was situated.

Barragán’s work avoided familiar, literal, or superficial representations of culture. Instead, it immediately evoked a strong sense of authenticity and belonging — a multi-layered understanding of climate and geography, building traditions, history and social customs. His work validated my own desire to focus on people — to express the social and cultural elements that shaped the daily routines and experiences of groups and individuals that might ultimately inhabit my own building projects.

One of my studio instructors in design school encouraged me to carefully curate, in book form, the “friends” that I kept around my desk. To this day, I maintain some kind of text describing Barragán's work within arm's reach.

—Jorge Colón, IIDA, AIA; Architect & Owner, Atelier Colón; IIDA Southern California

As a first-generation Mexican American, I wasn’t exposed to Hispanic or Latino designers growing up, so I didn’t see them as examples to follow. Even after I earned my degree, my mother still wondered if I could make a living from it. Our culture can sometimes be closed-minded when it comes to creative careers, and while I’m sure Hispanic and Latino designers existed, it simply wasn’t something I was aware of at the time. Because of that, I had to become the person I imagined in my head.

Without anyone to look up to, I became a small example for myself and others. Any opportunity I had in school — through academics, abilities, or hard work, I used to push myself and open doors I didn’t even know existed. Yet, walking through those doors often meant being the only Hispanic, Latina, or Mexican American in the room. I felt the responsibility of representing my community.

For me, representation isn’t just about seeing someone who looks like you. It’s about building a path so the next generation doesn’t feel the same absence I once did.

— Vanessa Altamirano, Assoc. IIDA; Workplace-Project Interior Designer & Technical/Visual Specialist, Business Environments; IIDA Georgia

I honestly consider many designers an inspiration for my professional development, but one of my favorites is Mariangel Coghlan. She is recognized for her contemporary style, blend of Mexican artisanal elements, and excellent use of color. Her unique style is an important representation of Mexican interior design.

From the moment I discovered her work, I was enchanted. And although I don't work in her design style, seeing her work is still very inspiring. In Mexico, we have many talented interior designers, but Mariangel simply had such a unique style that it’s impossible not to know her. I love her work!

— Alfonso Capetillo, Assoc. IIDA; Interior Designer, Alfonso Capetillo Interiorismo; IIDA Guadalajara