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Once a bohemian enclave popular among surfers and backpackers, the Oaxacan town of Brisas de Zicatela (or “La Punta,” as locals call it), just south of Puerto Escondido, has evolved into a buzzing tourist spot, its big waves and boisterous mezcal bars now attracting a still young but decidedly less countercultural crowd. Hotel Humano, the latest offering from Mexico City-based Grupo Habita, both embraces the area’s lively ambience and offers a refined respite from it. The 39-room, three-level property opened in late December on a busy street that becomes a party strip every evening, but its striking design creates an elegant barrier between the action outside and the considered details within (while an enforced municipal ordinance also requires loud music to stop at 11 p.m.). The building, designed by Jorge Hernández de la Garza, follows the current fad, in local architecture, of disguising heavy concrete structures with earthy textures meant to evoke vernacular constructions; here, breeze walls made of pale clay bricks provide privacy and shade, allowing air to sweep through. Linen lampshades, toffee-hued glazed tiles and big stainless steel sinks by Madrid-based Plantea Estudio add a lighter, contemporary touch, most effectively in eight suites featuring terraces with soaking pools. Guests and visitors alike can enjoy Humano’s casual cafe and juice bar in the double-height lobby, French fare by the self-taught chef Marion Chateau served in the palapa-covered poolside restaurant and the rooftop bar’s concrete bleachers — La Punta’s best spot to take in the sky at dusk. From $190 a night,hotel-humano.com.

Over the past 19 years, the fashion designer Victor Glemaud has gained a devoted following for his vibrant knitwear. His own wardrobe features an equally eye-catching array of bright colors and prints. “I’ve always dressed the same. It’s just the clothes got better as I grew older,” he says. He aims for consistency in his approach to interior design, too, gravitating toward dashes of color in the form of flowers, textiles and art — sometimes created by his nephews and goddaughter. Now, Glemaud has channeled his signature aesthetic into his latest home design collaboration: a collection of rugs made by the carpet company Patterson Flynn. A journey abroad provided the initial spark of inspiration for his creations. “The concept started with these gorgeous hand-painted bowls I picked up at the Grand Marché De Treichville market in Abidjan, Ivory Coast,” Glemaud recalls. “On the plane ride back to Paris, I started looking at images I had taken, mixing [in] references from trips to Dakar and Copenhagen.” His favorite of the resulting four designs, titled Biétry, is available in two colorways and materials (flatweave wool or abaca, a fiber that comes from the bark of the banana tree) and features a geometric design with a cheerful floral border. In a nod to Glemaud’s fashion background, the full collection features additional unexpected materials like hand-spun silk, cotton and raffia. Price on request,pattersonflynn.com.

Number one on the artist Dan Friedman’s 1994 “Radical Modernist” agenda, which he wrote a year before his death from AIDS-related complications, is “Live and work with passion and responsibility; have a sense of humor and fantasy.” That tenet is at the core of “Why Shouldn’t I Have Fun All Day?,” an exhibition at Manhattan’s Superhouse gallery focused on Friedman’s art furniture. It’s the first solo gallery show of Friedman’s work since his death in 1995, and includes several pieces from his private home collection that have never been publicly displayed. Stephen Markos, Superhouse’s founder and director, sees a kinship between Friedman’s practice and his own project to exhibit and promote New York-based art furniture makers. “Because Dan was friends with Keith Haring and that group, he was someone who pushed furniture into the fine-art sphere, which is what I try to do with the gallery,” he says. Friedman’s home goods were informed by his work in graphic design (his clients included Citibank and the downtown couturier Willi Smith), which similarly combined Swiss Style simplicity with extravagant Pop Art flourishes. In the 1980s, Friedman began making assemblages out of trash and crafting colorful, oddly shaped folding screens, which he used as canvases and to divide his Fifth Avenue apartment. The first of these screens, which he called “movable walls,” is on display at Superhouse, along with assorted items Friedman owned, like a collection of ceramic ducks. A Day-Glo green-painted television set modeled after the artist’s own will loop a video tour of his residence. “Why Shouldn’t I Have Fun All Day?” will be on view at Superhouse, New York, from Feb. 6 through Mar. 22,superhouse.us.

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