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Lotteries promise much but few people ever win. Germany’s governing coalition had been planning to unveil a new conscription law this week that would have reintroduced military service by lottery. But the deal collapsed, following objections from defence minister Boris Pistorius. So it’s back to the drawing board for chancellor Friedrich Merz, who has previously pledged to allocate the necessary financial resources to turn Germany’s military into the strongest force in Europe. 
 
Germany ended mandatory conscription in 2011 but the war in Ukraine has prodded Europe’s largest economy to refocus on defence. Much has been done on the investment side. Former chancellor Olaf Scholz’s famed Zeitenwende speech after Russia’s invasion of Ukraine was backed by hundreds of billions of euros in military spending from Merz’s new government this year. But so far, the Bundeswehr has struggled to provide a key ingredient: manpower. The goal is to recruit an extra 260,000 soldiers by the early 2030s and the lottery was portrayed as an egalitarian approach to making up the difference.
 
This whole conscription debate, led by Merz and his Christian Democratic Union party, distracts from what the country really needs: a willing, professional army. Germany would do well to lure more people into the military of their own accord and to make a career in service appealing to the public. Ben Hodges, former commanding general of the US Army in Europe, recently suggested to Monocle that defence-related education modules in schools and universities would help.

German soldiers
Drawing battle lines: Germany struggles to enforce conscription (Image: Getty)

Those who oppose the German lottery-based system want to try the voluntary route first but incentives will be needed. In 2024, 59 per cent of Germans aged 18 to 29 rejected the idea of fighting for their country in a poll by Stern. Encouraging 18-year-olds to serve is one thing but forcing those who respond in the negative to join anyway is quite another.

Berlin’s professional military is dangerously behind the curve and recent Russian drone incursions have laid this bare. An investigation by German public-media outlets found that the Bundeswehr is unprepared to respond to the uptick in drones and other forms of Russian hybrid warfare. Perhaps it should consider modernising its technology to defend Europe’s airspace before filling its infantry division with battalions of begrudging soldiers. A lottery legion is less a fearsome unit and more a sorry syndicate. 

Conscription can be an effective last resort. For some nations, such as Finland, conscription was never abolished and, as a result, it is embedded positively in its culture. Lithuania and Latvia reintroduced military service in response to the threat from Russia. And Denmark is leading the way with a lottery system that applies equally to men and women. Such moves make sense for countries with smaller populations. Still, UK defence experts warn that returning to conscription would undermine the army’s effectiveness. Germany is big enough that it shouldn’t have to resort to conscripting unlucky losers. But its incentives must soon match its investments. 

Christopher Cermak is Monocle Radio’s senior news editor. Further reading? Monocle’s security correspondent ponders Europe’s draft debate: Should the continent reintroduce conscription? And how are nations trying to recruit Gen Z?

When Monocle’s November issue hits newsstands next week, you’ll be able to flip to the back of the magazine to hear the stories – and marvel at the oeuvre – of seven extraordinary painters. The thing that unites those artists? They are all in their eighties and nineties but continue to stage large exhibitions, sell works for major sums and innovate within their craft. 

If you’re at Frieze London this week, you have the opportunity to see the work of one of those artists in person: Rose Wylie’s painting “Lotte” (2025) features at David Zwirner (booth D15). The brightly coloured painting depicting football player Lotte Wubben-Moy is typical of Wylie’s exuberant style and well worth a look. 

Read on for Monocle’s profile of the sprightly Wylie and a behind-the-scenes look at her famous (and famously messy) studio in Kent. Stay tuned next week to read the full feature.


Rose Wylie at home

When a particularly big globule of paint falls off Rose Wylie’s brush, she’ll simply cover it with a sheet of newspaper to stop it getting on her shoes. “I’m not a precious worker,” she says as we stand in her studio. A soft layer of newspaper carpets the floor, paintbrushes stick out of cans stacked on chairs and colourful splatters obscure the skirting board. Wylie’s unruly garden has crept up the side of the house and into this first-floor room – a jasmine plant pushes through a window in one corner. “Mostly you’re criticised if you don’t tidy up,” she says. “But if you get through a certain threshold, it becomes iconic.”

Wylie’s artistic training went unused for years while she raised her family but, since returning to painting in her forties, she has become a critical and commercial darling of the art world. She is currently working on a painting that features a large, “nonchalant” skeleton. It will appear in her upcoming exhibition at London’s Royal Academy in early 2026, her biggest show to date.

Wylie’s bold canvases often combine text and figures from history, mythology or contemporary pop culture. And while Wylie’s process can be messy, she is exacting about her practice, regularly working late into the night wrestling with a painting. “Often it’s horrible, slimy, trite, pedestrian,” she says. “There are 100 things that can go wrong, particularly with faces, and then, for some odd reason, suddenly it’s alright.”

Born: 1934
Breakthrough moment: Women to Watch exhibition in Washington (2010)
Elected to the Royal Academy: 2014

Finland’s icebreaker agreement with the US appears at first glance to be a deal in which both sides win. The Nordic country receives $6bn (€5.19bn) of investment in its sluggish economy while the Americans gain fast access to 11 state-of-the-art icebreakers. But beneath the smiles and handshakes, there is a quiet gamble taking place – one in which Finland stands to lose most. There is no doubt that the agreement is transformative for Helsinki. The US Coast Guard will draw on Finnish design and expertise for a new fleet of Arctic security cutters, securing years of work for an industry that has long been a point of national pride. Finland is the world’s undisputed leader in icebreaker design: about 80 per cent of the world’s ice-capable vessels were designed by Finnish engineers and more than half were built in the country’s shipyards. The US, meanwhile, has fallen behind in polar capabilities: its Coast Guard operates only a handful of ageing ships, while Russia commands a fleet of dozens. For Washington, Helsinki’s technical leadership offers a way to catch up quickly. 

Finnish icebreaker
(Image: Thomas Ekström)

US law classifies icebreakers as military vessels, which means they must, in principle, be built domestically. The memorandum signed this week surpasses this by framing the Finnish component as a partnership, rather than an outsourcing. But legal ambiguity remains. Any shift in political mood or administration on Capitol Hill could force a reinterpretation of the rules, which would leave Finnish yards exposed to unfinished ships and cancelled contracts. The Trump administration’s foreign policy is anything but predictable and it has been made clear that allies can easily become foes. For a small country like Finland whose industrial base is tightly integrated with global markets, that risk is not theoretical. Washington, meanwhile, stands to gain almost risk-free. By leaning on Finnish expertise, the US sidesteps its own shipbuilding shortcomings without having to overhaul them. The collaboration offers a way to project readiness in the Arctic – an increasingly important geopolitical theatre – without confronting domestic inefficiency.

Adding to the complexity is the role of Canada’s Davie Shipbuilding, which recently acquired the Helsinki Shipyard, Finland’s largest icebreaker maker. On paper, this broadens the deal’s reach across Nato lines, giving the alliance a combined industrial footprint. In practice, it opens the possibility of transferring Finnish know-how across the Atlantic. Indeed, the memorandum signed by presidents Donald Trump and Alexander Stubb stipulates as much. For all the talk of shared innovation, industrial partnerships tend to migrate towards the largest buyer. 

There is, however, a less-noted strategic dividend for Finland. By embedding US capital and capability in its shipyards, Washington is also welding itself to its partner’s stability. If something were to threaten Finnish industrial or territorial security, it would also threaten an American project. In a region where Russia remains a constant factor, that implicit guarantee carries real weight. For Helsinki, that’s a subtle but important victory. Small states don’t survive by isolating themselves. By offering something Washington needs – and by embedding that need in steel and infrastructure – Finland ensures that its security concerns are now also those of the US. It’s a modern version of alliance-building that is done through production lines rather than pledges. The risk, of course, is that this kind of interdependence can cut both ways. None of this diminishes the technical triumph that Finland’s shipbuilders represent. Their knowledge is the result of geography and persistence. Every winter, the country’s frozen ports must be kept open. Over generations, engineers, scientists and mariners have turned those icebound months into laboratories of innovation. That quiet mastery is now Helsinki’s diplomatic currency. It allows the country to engage with great powers on something approaching equal terms; the test now is to turn expertise into influence.

Watch next: Icebreakers at work – Monocle Film hops on board

Read next: Inside Le Command Charcot, the world’s first luxury icebreaker cruise

Why the Monocle Design Directory? And why now? To answer these questions, we need to rewind to the launch of Monocle in 2007. Since our first issue, politics, business, fashion and culture have been filtered through the lens of design. Diplomatic residences have been scrutinised, national economies assessed in terms of their industrial-design output and social cohesion in cities measured in terms of newly built galleries, museums and institutions. It’s an approach to journalism that recognises that the work of architects, graphic designers, furniture makers and design brands is far-reaching – beyond simply making beautiful things, these creatives have the power to shape our lives and build communities. It’s what drew me to Monocle in 2010 as a designer on the lookout for benchmark projects and then – after a slight career pivot – as a design journalist in 2018. And it’s why we’re pressing play on our first stand-alone magazine dedicated solely to design.

Architect designed house
(Image: Edmund Sumner)

The world today needs good design and architecture more than ever. Across our pages, you’ll find homes with substance, businesses with heft and some gorgeous products too. For example, one can look at the reporting of this publication’s deputy editor, Grace Charlton, who took a tour through the Balkans, visiting Cold War-era memorials. Originally built to recognise conflict and postwar development, these monuments tell a story that is as much about reconciling the past and the present as it is about recognising striking architecture. The report might just inspire your next roadtrip.

Complementing this is a story from Edmund and Yuki Sumner, a photographer-and-journalist super team, who examined how contemporary Mexican architects are building inspiring homes. Meanwhile, our editor in chief, Andrew Tuck, paid a visit to the father-and-son duo behind Fenix Originals. This Barcelona-based outfit is drawing attention to forgotten mid-century Spanish designers through the restoration of vintage furniture. It’s a cause that tugs at the heartstrings and provides buyers with unique furniture with which to kit out their homes and offices.

Naturally, some broader themes have emerged.

Immersing ourselves in design communities in Tokyo, Paris and São Paulo, we report on how traditional craftsmanship lays the foundations for innovation. In our visits to projects across the globe – from Bidadari Park in Singapore to a repurposed flyover space in Surat, India – we examine how design can help to build communities. These stories will hopefully inspire you to use design to improve your life and wellbeing, while delivering on our promise to spotlight uplifting projects and beautiful wares for your home.

For more design coverage from our team, tune in to Monocle on Design every week, or subscribe to our weekly design newsletter at monocle.com/minute.

Need an architect in Athens or collectable furniture in Copenhagen? Our new Design Directory connects you with vetted creatives on every continent. From emerging studios to market leaders, skilled craftspeople to cutting-edge brands, this guide delivers contacts for transforming any space – an address book for navigating the world of design.

Europe

Regional design identities remain strong in Europe. The continent’s design capitals maintain distinct visual languages – from Scandinavian minimalism to Italian luxury – shaped by local materials, cultural heritage and the peculiarities of each market.

Amsterdam

The Dutch capital plays host to some of design’s brightest minds, from the Amsterdam School’s community-minded architecture to its savvy housing scheme.


Antwerp

Belgium’s diamond capital layers cutting-edge contemporary structures on art nouveau mansions. Meanwhile, the city’s famed fashion academy plays an outsized role in shaping its creative scene.


Athens

Ancient craft traditions meet a contemporary design renaissance in the Greek capital, with marble and ceramic workshops influencing modern furniture makers.


Barcelona

Gaudí’s fairy-tale modernisme might be Barcelona’s calling card but the Catalonian city has never coasted on past glories, with a host of contemporary firms creating illuminating architecture, furniture and objects.


Basel

Despite the city’s compact size, celebrated international designers including Frank Gehry, Zaha Hadid and Tadao Ando have worked in Basel. Swiss engineering prowess is also evident in the precision of the construction of its skyline.


Berlin


Copenhagen

Far from resting on the laurels of its mid-century designers, Copenhagen continues to export outstanding creative talent worldwide, thanks in no small part to its respected design schools.


Geneva

A lakeside city where French and German architectural traditions merge with Italian influences, Geneva also has a watchmaking heritage that brings mechanical flair to the city’s creative scene.


Helsinki

Finnish design’s reputation was built on the backs of companies such as Iittala and Artek, which embraced the country’s glassmaking and timber heritage – a trend that continues to evolve today.


Istanbul

Radical design has flourished on the Bosphorus for centuries, creating a patchwork where 1950s international style sits alongside 16th-century mosques. Its craft scene, defined by carpet weaving and kilim making, adds texture to interiors and the fabric of the city.


Lisbon

Portugal has a rich design heritage defined by a deep appreciation for craft and a recent influx of expats in the capital is enlivening the city’s artistic milieu.


London

The UK capital continues to attract global talent thanks to its world-class educational facilities and the diversity of its creative communities. The result is innovation in fashion, graphics, architecture and furniture.


Madrid

Grand boulevards and ornate fountains sit alongside village-like plazas and narrow streets in this city of contrasts. This varied inspiration shapes the work of its creatives.


Milan

Home to the famed Salone del Mobile, Milan continues to have far-reaching influence on global design trends and industries. Against this business backdrop is a city of impressively varied architecture, spanning from the gothic spires of the Duomo to Liberty decoration and Gio Ponti’s modernism.


Munich

From Olympiapark’s landscape-embedded stadiums to corporate headquarters, function precedes aesthetics in the Bavarian capital. The result? Practical industrial design and smart, contemporary architecture.


Oslo

Sustainable timber construction and landscape-integrated buildings reflect the Nordics’ love for nature. It’s an outlook embraced by Oslo’s leading furniture makers.


Paris

An appreciation for beauty and craft shapes Paris’s outlook on design, whether in the work of haute-couture ateliers or the magnificent rooftops lining Haussmannian boulevards.


Prague

A post-communism creative renaissance saw a design boom in the Czech capital, where Bohemian glass traditions and heritage woodworking and ceramic practices have been adapted to suit modern needs.


Rome

The Italian capital has a long history: Roman ruins and Renaissance churches join baroque basilicas. But new constructions in the city prove that its design know-how extends far beyond its ancient foundations.


Rotterdam

The Dutch city owes its reputation to the post-Second World War construction boom in which the city became an architectural playground filled with bold, experimental design.


Stockholm

Thriving creative neighbourhoods are scattered across the Swedish capital, defined by rusty townhouses, sky-splitting spires, baroque palaces and Nordic classicism.


Venice

A global standout in terms of urban design and architecture, the city is also home to the Venice Biennale’s famed International Architecture Exhibition, while its glassmaking scene on the island of Murano continues to inspire.


Vienna

The legacy of the city’s golden age at the turn of the 20th century laid the foundations for the Austrian capital to remain full of vibrant creativity.


Warsaw

A hub of Eastern European talent, Warsaw’s modernist architectural heritage, informed by postwar reconstruction, continues to influence its contemporary design.


Zürich

The international typographic style – a graphic movement that prioritised clarity, order and legibility – had a significant influence on Zürich. Today, those effects on its foundational home can still be seen, from architecture to print.

Middle East and Africa

From Accra to Riyadh, a new generation of designers is drawing on millennia of artistic heritage and traditional craft to produce work that is deeply contextual, sustainable and forward-looking. The region's creative scene is imbued with a bold sense of optimism about the future.

Abu Dhabi

Emirati traditions meet ultra-modern aspirations as contemporary designers reimagine the city’s cultural heritage, using everything from traditional Islamic geometries to mashrabiya latticework.


Accra

Ghana’s capital embraces both traditional craft and Africa’s best new design. Vibrant textile traditions and local hardwoods, such as mahogany, shape the furniture industry.


Beirut

At the crossroads of Mediterranean culture with a proud emphasis on Middle Eastern traditions, the Lebanese capital plays host to a design scene that is constantly rebuilding and reinventing itself.


Cairo

Five millennia of design heritage converge in Cairo, where specialist schools foster new talent while artisans in workshops across the city adapt ancient techniques for contemporary markets.


Cape Town

South Africa’s design capital has a creative scene full of manufacturing know-how and resourcefulness that produces architecture and furniture rooted in craft.


Dakar

Creativity blossoms in Senegal’s coastal capital, where designers are increasingly looking to work with local and indigenous materials, reducing reliance on imported goods.

Q08 Design Store
Curated design shop, connected to art and design centre Studio Quatorzerohuit, showcasing contemporary African design.
12 Avenue Georges Pompidou, Dakar
+221 78 100 14 08


Doha

The Qatari capital’s rapid transformation from fishing village to global creative hub is remarkable, with the city home to an international design festival and grand works of architecture by the likes of Jean Nouvel and Rem Koolhaas.


Dubai

The UAE’s creative centre is a dynamic city where global starchitects inspire a new generation of design talent and regional manufacturing expertise is combined with an international outlook.


Lagos

Nigeria’s megacity is home to one of West Africa’s strongest creative scenes. Here, rapid urbanisation and development work hand in hand with innovation.


Marrakech

Berber, Arabic and French design traditions collide to shape Marrakech’s design scene. Artisans can be found adapting ancient woodcarving and metalworking skills for contemporary furniture markets, while architects embrace traditional building techniques.


Nairobi

Nairobi’s creatives are resourcefully responding to its rapid development in this East African design hub. Local hardwoods and traditional basketweaving techniques inspire contemporary furniture making.


Riyadh

Saudi Arabia’s capital is on track to achieve its goal of becoming a global creative contender. Design schools and an emerging design week are nurturing a new crop of talent.

North America

From Chicago’s modernist heritage to Mexico City’s mid-century modernism, North America boasts an enviable variety of design influences. While Los Angeles and Vancouver draw inspiration from nature, New York and San Francisco push technological boundaries. The region remains a global leader in shaping the built environment.


Los Angeles

Abundant natural light and a balmy climate combine with car culture and the entertainment industry to inform southern California’s airy design aesthetic.


Mexico City

Home to arguably North America’s most vibrant design scene, Mexico City is where colourful mid-century modernism meets sustainable contemporary architecture. There’s a focus on local craft too, with furniture makers working hand in hand with manufacturers.


New York

The grid system and vertical ambition drive this regional design capital, with skyscraper innovation, small-space solutions and cultural diversity.


San Francisco

The Bay Area’s technology industry pushes innovations in fields from furniture to architecture. It’s a drive to rethink the future that is supported by some of the country’s top design schools in Berkeley and Stanford.


Toronto

Canada’s best creatives converge in its biggest city, thanks to a strong manufacturing base and abundance of design-minded events and festivals.


Vancouver

The Pacific Northwest influences Vancouver’s nature-inspired design aesthetic. Strong environmental consciousness drives everything from sustainable furniture manufacturing to architecture.

South America

South America's contemporary design scene builds on the foundations laid by 20th-century modernists and a resourceful industry that embraces local resources. It's a continent of opportunity, where socially minded design and architecture exist in tune with the environment.

Medellín

The Colombian city’s 21st-century transformation demonstrates how building socially minded architecture, embracing greenery and car-free transport can heal communities and foster hope.


Buenos Aires

Buenos Aires has been shaped by European immigration, with Spanish, French and Italian architectural influences prominent throughout the Argentinian capital. Genius loci is embraced in the form of indigenous materials, prominently used in the local furniture-making scene.


Santiago

Mountainous landscapes and seismic activity inform Chile’s design culture, where earthquake-resistant construction meets European-influenced architectural aesthetics.


Rio de Janeiro

Rio de Janeiro’s design culture embraces indoor-outdoor living. Carnival culture influences the city’s colourful, celebratory interior designs, while favela innovations inspire adaptive housing solutions.


São Paulo

A modernist architectural heritage and a strong manufacturing base inform contemporary practice, cementing São Paulo as one of Latin America’s leading creative scenes.

Asia & Oceania

A blend of global influences and deep-rooted local traditions mean that architecture and design scenes are ever evolving in Asia and Oceania – almost always imbued with a strong sense of place and a growing respect for traditional practice.

Auckland

New Zealand’s biggest city trades on multicultural influences, with a strong embrace of local materials and microclimates, thanks to its spectacular waterfront setting and Indigenous history.


Bangkok

Complex urban waterways and a tropical climate have influenced Bangkok’s design evolution, where traditional teak architecture meets sleek contemporary malls and high-rise towers.


Hong Kong

East meets West in Hong Kong, creating a distinctive fusion of style, evidenced in everything from the city’s architecture to works by local creative studios.


Jakarta

Indonesia’s capital has smartly built neighbourhoods embracing greenery, with traditional batik textiles and carved furniture techniques informing the contemporary design of everything from furniture to graphics.


Kyoto

Japan’s former imperial capital retains links to its storied past through the numerous furniture firms working in the city, building on its legacy of craft.


Melbourne

Design seemingly permeates every corner of Australia’s cultural capital. There’s a strong understanding of branding, splashed across café windows and coffee packaging, with design-minded retailers and some of the country’s best architects.


Mumbai

India’s financial capital has an equally bustling creative scene, where art deco buildings provide the backdrop for contemporary design innovation.


Seoul

A regional powerhouse, Seoul has a strong manufacturing tradition thanks to a postwar production boom. It’s a legacy that translates to strong product design today.


Singapore

A distinctive blend of multicultural influences and a pragmatic approach to urban challenges results in a particularly innovative design scene in the Lion City.


Sydney

Sydney’s creative scene is shaped by its spectacular harbour setting, balmy climate and strong culture of outdoor living, producing optimistic and environmentally minded design work.


Taipei

The Taiwanese capital’s thriving design scene draws on the East Asian city’s historic resilience and a forward-thinking spirit that brings together tradition and innovation.


Tokyo

Fire, earthquakes and rapid economic development laid the foundations for Tokyo’s dynamic architecture and its design scene, which plays host to numerous bubbly branding studios and sleek architecture outfits.


Wellington

New Zealand’s cultural hub has a creative scene that is shaped by its waterfront setting and seismic conditions, which drive creative architectural solutions and flexible planning.

1.
Centre de Congrès
Rabat

At the heart of the Université Mohammed VI Polytechnique campus in Rabat is a conference centre that combines grandeur with a warm welcome and the spirit of intellectual inquiry.

Centre de Congres
(Image: Gregori Civera)

Conference centres can be sterile, unimaginative spaces. An outstanding exception is the new Centre de Congrès on the Université Mohammed VI Polytechnique campus in Rabat. Designed by Barcelona-based Bofill Taller de Arquitectura, it’s a benchmark for the creation of inspiring meeting spaces. While the building’s exterior – with its sweeping stone arches and grand, angular porticoes – makes a striking impression, its interiors are calm and welcoming. The auditorium has deep emerald walls and matching upholstered chairs, with the stage sitting beneath a white domed skylight, which diffuses a gentle glow in the space. The result is a facility that’s not only capable of hosting events of all kinds, from industry conferences to public performances, but quietly elevates campus life.

About Bofill:
Catalan architect Ricardo Bofill founded his practice, Taller de Arquitectura, in 1963, alongside a creative team of architects and engineers but also poets, philosophers and filmmakers. Through this unconventional firm, Bofill helped to shape the postmodern architectural landscape in Spain with a socially minded and colourful approach to design.


2.
Space House
London

The eye-catching, Grade II-listed former home of the UK’s Civil Aviation Authority is now flying high – revived after a three-year revamp that has brought it firmly into the future, deliberately flaunting its classic brutalist features.

On the fringes of London’s Covent Garden, amid an entanglement of retailers and university buildings, stands Space House – a monolithic, beehive-like 16-storey building. Though it’s hard to comprehend today, the towering brutalist office block was largely overlooked by the public’s undiscerning eye when the building was completed in 1968.

It was architect George Marsh, who was then working at R Seifert and Partners, who radicalised this plot of land. Marsh and his team set out to create a structure with a circular floorplate and 360-degree views that stretch from the Houses of Parliament and the Thames to the BT Tower in Fitzrovia. The result was a concrete behemoth that was in keeping with the period’s burgeoning brutalist movement (think the now-iconic Barbican housing estate in central London and the National Theatre on the South Bank).

From 1975, Space Home served as the home of the UK’s Civil Aviation Authority. But when the government body vacated the premises at the end of its lease in 2019, it was time for a pep up. Property developer Seaforth Land obliged when it purchased Space House in 2022. “The building is magnetic – there’s an incredible optimism in the architecture, almost absorbed by the future-facing sentiment of the period,” says Tyler Goodwin, Seaforth Land’s CEO. “It was an opportunity that we couldn’t pass up. We wanted to maintain that beauty, which is far more appreciated now than it was then.”

Brutalist Britain:
The UK’s love affair with concrete dates back to the 1950s, when a postwar reconstruction effort called for a type of architecture that was low-cost and utilitarian. Thus emerged brutalism, a style that evokes grey, bare-bones and angular façades – and continues to polarise popular opinion.


3.
PAL 1 BT by Tivoli Audio
Boston

A charming throwback to a simpler time that’s packed with modern features.

PAL + BT Radio
(Image: Benjamin Swanson)

Want to stay in the know with a podcast or play the latest tunes on the go? Then Boston-based Tivoli Audio’s portable Pal 1 BT radio is your ideal companion.


4.
Eames House
Los Angeles

Having survived January’s Los Angeles wildfires, the mid-century home of Charles and Ray Eames has reopened to visitors – and now offers access to the designers’ studio.

(Image: Chris Mottalini)

5.
Golden Avenue
Brisbane

A new multi-level restaurant by J.AR Office transports the cool and calm of a Middle Eastern courtyard to the heart of Brisbane’s commercial district, serving as a lush oasis with its climate-responsive design.


6.
Los Angeles Bus Shelter
Los Angeles

The bus shelter has been given a long-overdue revamp, offering real-time arrivals information, plus some very welcome shade.

Los Angeles Bus Shelter
(Image: James Juarez)

“Bus shelters have long been an underappreciated feature of city streets. Now, Los Angeles is tapping their potential with a network of modular bus stops inspired by Californian modernism. Designed by Skidmore, Owings & Merrill with the help of Designworks, Studioneleven and Tranzito-Vector, the shelters serve various needs. Every model features digital displays with real-time arrival times, weather information and alerts. Some will also feature e-scooter racks and e-lockers.

Olympic effort:
Ex-Los Angeles mayor Eric Garcetti is championing 28 infrastructure projects set to be delivered before the city hosts the 2028 Summer Olympics and Paralympics.


7.
Miramonti Boutique Hotel
Merano

The beloved hotel’s new cabins promise a soothing stay among the trees.

Merano’s Miramonti Boutique Hotel has expanded its offering with three new cabins adjacent to the property, renovated under the direction of designer Harry Thaler. The project, he says, is about “simplicity, quiet and character. I developed Monti as a contemporary forest retreat that respects the heritage and the unique energy of the place.” To bring the project to life, Thaler worked with Tara architects.


8.
Valentyns
Köln

Designed by celebrated German architect Thomas van den Valentyn, the Köln-based company’s new workspace offers well-appointed rooms, evening wellness options and plenty of natural light. Small wonder the employees seldom take sick days…

Architects and designers don’t typically utter the words work and wellness in the same breath. But Valentyns’ new office set-up in a 1960s modernist building in Köln proves that this doesn’t have to be the case. Designed by German architect Thomas van den Valentyn – best known for his restoration of Berlin’s Presidential Palace, as well the Beethoven Haus Archive and Chamber Music Hall in Bonn – this workspace overlooking the Rhine riverbank is equal parts business and pleasure.

Thomas van den Valentyn:
The Köln-based architect founded his namesake firm more than three decades ago, after studying under famed Austrian architect Hans Hollein at the Academy of Arts in Düsseldorf. Van den Valentyn has designed buildings around Germany, from the Max Ernst Museum in Brühl to the T-Home Campus office space in Bonn.


9.
Barista by Monoware
London

Upgrade your home-brewed espresso with this collection of UK-designed, Portuguese-made stoneware coffee cups.

Barista by Monoware
(Image: Benjamin Swanson)

About Monoware:
Founded in 2019 by Swiss creative consultant Daniel Baer, Monoware creates tableware with enduring appeal.


10.
Surat Flyover
Surat, India

A neglected space under a flyover has been transformed into a sports facility that’s accessible to all.

Surat Flyover
(Image: Shivam Vasava)

Like many cities, Surat in the Indian state of Gujarat has plenty of underused urban pockets and not enough accessible spaces for recreation. To address this, the Surat Municipal Corporation asked architecture firm Aangan Collaborative to reimagine the void beneath a flyover as a sports facility and community hub. The design unfolds along a pedestrian spine, with a series of enclosed micro-cement courts offering durable, high-performance surfaces for various activities. Encased within a skin of aluminium mesh and polycarbonate, the facility offers security and acoustic insulation from traffic.


11.
Casa Montelongo
Fuerteventura, Canary Islands

An artfully designed micro hotel in Fuerteventura where tradition meets modernity offers the chance to slow down and connect with the island’s charming vernacular.

Close to the northern shores of Fuerteventura, a 19th-century family home in the town of La Oliva is enjoying a renewed purpose as a two-suite micro hotel. Casa Montelongo, designed by Lanzarote-born and Berlin-based architect Néstor Pérez Batista, reinterprets Canarian vernacular with a deft, subtle touch. While Fuerteventura features no shortage of sprawling resort complexes, Casa Montelongo’s revival centres on the blending of traditional island materials – volcanic stone, lime and clay – with contemporary elements. Skylights and clean-lined interiors seamlessly integrate with thick stone walls and wood accents that regulate heat while creating a tactile, inviting atmosphere.


12.
Folding Torch by Snowpeak
Japan

Going on an excursion into the great outdoors? Then go prepared with this elegant torch that combines utility with a minimalist Japanese aesthetic.

Folding torch by Snowpeak
(Image: Benjamin Swanson)

13.
Gunia Project
Kyiv

For its new shop in the Ukrainian capital, homeware brand Gunia has created an immersive space that incorporates elements of its location with its own gentle outlook.

For its new shop in Kyiv’s Golden Gate district, fashion and homeware brand Gunia decided to take a fresh approach. “We wanted to create a space where all of the aspects of our brand could coexist,” says Maria Gavryliuk, who co-founded the company with Natalia Kamenska in 2018. “It was about immersing visitors in our universe.”


14.
Langelinieskuret
Copenhagen

Studio David Thulstrup’s new wine bar, in a landmark 1902 customs building, gives patrons a taste of the site’s rich history.

Langelinieskuret
Copenhagen
(Image: David Thulstrup)

The Langelinieskuret has long loomed large in the collective memory of Copenhagen’s residents. Designed by architect Vilhelm Dahlerup, the building was completed in 1894. Its 350-metre-long façade and rooftop promenade served as a loading bay for ships transporting goods through the Danish capital’s port until the late 20th century. Now, it has been transformed into an event space and wine bar by development firm Karberghus. “This was originally a very popular place for the public to come and watch the harbour,” says Karberghus’s CEO, Andreas Karberg. “Today it can be a place where people come for a glass of wine after work.”

This vision was brought to life by Copenhagen-based Studio David Thulstrup, which revamped the interiors using materials referencing the building’s existing industrial aesthetic. Polished versions of Ølandstone have been deployed for selected counter tops, patinated steel clads the bar, structural walls have been lime-washed and the existing wooden floor has been retained and stained black.

“I always investigate a place and look at what the building is made from,” says Thulstrup. “I want to see how I can use that materiality in my work.” The Danish architect broke up the building’s cavernous interior by installing hanging panels and screens throughout the space – interventions that didn’t compromise the structural integrity of the listed structure. “We had to protect and celebrate the building mass,” adds Thulstrup. “At the same time, we needed solutions that could ensure that it can function now.”


15.
Stainless-steel cutlery from Millimeter Milligram
Seoul

This cutlery set by a South Korean retailer brings plenty of character to the table.

Stainless-steel cutlery from Millimeter Milligram
(Image: Benjamin Swanson)

About Millimeter Milligram:
Since 1999, South Korean design brand Millimeter Milligram has upheld the idea that small but carefully designed objects can elevate our daily lives. From ceramic teacups to glass flowerpots, the company manufactures its wares in small ateliers in Seoul’s historic downtown area.


16.
Schafbergbahn Station
St Wolfgang, Austria

Austria’s steepest cogwheel railway has been given an upgrade with the award-winning revamp of a station designed to strengthen the connection between its users and the natural environment.

Schafbergbahn Station
St Wolfgang, Austria
(Image: Albrecht Imanuel Schnabel)

17.
Bidadari Park
Singapore

The reinvention of a park in the city-state has brought residents not only much-needed recreation space but a first-of-its-kind flood defence system.

Bidadari Park
Singapore
(Image: Finbar Fallon)

Singapore’s Bidadari Park was home to a cemetery until the 2000s. Seeking to transform “the former place of rest into a restful place”, design studio CPG Consultants decided to take a leaf out of AA Milne’s Winnie-the-Pooh stories, says Caijin Huang, its vice-president of architecture. The designers created their own take on its Hundred Acre Wood, implementing play areas, winding boardwalks and log piles that foster a sense of joy and discovery.


18.
Another Country & Goldfinger
London, United Kingdom

A socially minded union showing the way to a sustainable design future.

Another Country & Goldfinger
London, United Kingdom

19.
Tala Wake lamp
London

Ease into the day with a lamp that adjusts its brightness to your natural circadian rhythms.

Tala Wake lamp
London
(Image: Benjamin Swanson)

20.
Between the covers
Global

Looking for a deep dive on the work of an outstanding architect or design movement?
Here’s our pick of the bunch.

Monocle recommended books
(Image: Tony Hay)

Published by Park Books, Visiting examines the high-quality affordable housing of mid-century German architects Inken and Hinrich Baller. Also from the Zürich-based publisher is Concéntrico, which documents 10 years of the titular urbanism festival. Oro Editions’ Episodes in Public Architecture by Canadian architect Andrew Frontini is an exploration of civic projects, while City Living from Australia’s Uro focuses on the residences of Melbourne-based developer Neometro. Rounding out the selection is The Complete Work in Progress, a lever-arch file containing sheets celebrating the portfolio of Danish design firm Spacon. The binding method allows it to be updated as the practice grows.

What makes a good design monograph?
Design writing can often feel dry or inaccessible. So what does an exceptional monograph offer? In our opinion: clear text, compelling layouts, and an abundance of sketches, drawings, photos and blueprint illustrations, as well as the odd personal essay and contextualisation within a broader sociopolitical landscape.

“You were conceived in a bed that was designed – and probably born in one too,” Marva Griffin cheekily reminded me when I met the founder of SaloneSatellite, one of the world’s most significant showcases of emerging design talent, over lunch in Milan. “Design is really the oldest industry in the world because everything has been designed. I always say that [the purpose of] good design is simple: it’s for a better life. That is all.”

Her saucy reminder of my start to life has been a helpful jumping-off point for my own assessments of the quality of design. It’s easy to be distracted by beautiful materials and flashy forms without truly interrogating whether a design does more than simply look good. Examining things through Griffin’s lens, I have been inspired to seek out products and design approaches that might, indeed, encourage a better life.

Table lamp
(Image: Andrea Pugiotto)

Projects that have jumped out at me in recent months include a sleek, new camera by Japanese brand Sigma, aimed at making it easier to document the world around us. Fellow Japanese retailer Muji created an inspiring pop-up home using upcycled furniture and homeware that highlight potential ways to reduce environmental impacts, without the “hippy” look so often associated with repurposed furniture. UK-born Lulu Harrison has created beautiful glasses from waste products, cleaning up the local ecosystem and making smart pieces in the process. Meanwhile, Milan-based designer Keiji Takeuchi has curated a collection of walking sticks that, rather than taking the usual clinical or medical forms, are crafted from high-quality materials and feature distinct details that give dignity to the user – from hand grips made from woven rope to in-built baskets for carrying objects.

These works show that products that encourage a good life are rooted in serving users and making them more comfortable. It’s a vision that sums up what designers, from developers to architects, should be attempting to achieve in their work – and what everyday punters should be looking for. The best works of design – whether a sofa, a home or even the bed in which you were conceived – are uncompromising in their quality while putting service at their core.

The sofa in your living room reveals a lot about your priorities and your outlook on life. For designers and architects, there’s often an added layer of meaning: their choice of perch can reflect their core creative philosophies. Monocle explores this idea in our newly published book Designers on Sofas, for which we spoke to 50 leading architects and designers about their relationships with their settee. Here, we visit five more.

Find a comfy seat and settle in.


1.
Amanda Levete
Architect, London
Sofa of choice: Anfibio, Giovannetti

Amanda Levete in Monocle's Designers on Sofas book
(Image: Benjamin Swanson)

Plump and easy to expand, UK architect Amanda Levete’s Anfibio sofa is steeped in history. A leather- covered version of it can be found in New York’s Museum of Modern Art, where designer Alessandro Becchi first showed the unconventional sofa-bed as part of the trail-blazing 1972 exhibition Italy: The New Domestic Landscape – a show that helped to put the country’s contemporary-design scene on the map.

But Levete came across the model about 10 years later, when she was house-sitting for her then-employer, British-Italian architect Richard Rogers. “Looking at it still reminds me of those happy days when I used to work for him,” she says.

Levete’s Anfibio is in her library. “It’s one of my weekend rituals to sit there in the morning sun, reading or playing Scrabble with my husband.” During holiday seasons, the sofa’s convertible form comes in handy. “Some of the best moments are at Christmas, when all of our kids are here,” adds Levete. “We open it up and it becomes a cosy nest for reading and chatting in.”

Despite its domestic appeal, the Anfibio is uniquely stylish. “It’s clever and consists of just one piece,” says Levete. “The soft profile is elegantly low enough so that it fits perfectly below a window without obscuring the view.” Manufactured by Tuscan brand Giovannetti, which had a long creative relationship with Becchi, the Anfibio is the product of a radical turn in design history whose ideas continue to resonate.

About the owner:
One of UK architecture’s leading lights, Amanda Levete is a Stirling Prize winner who established her practice AL_A in 2009. The studio’s portfolio includes Lisbon’s Museum of Art, Architecture and Technology and Bangkok’s Central Embassy.


2.
Konstantinos Pantazis and Marianna Rentzou
Architects, Athens
Sofa of choice: Vimle, Ikea

 Konstantinos Pantazis and Marianna Rentzou in Monocle's Designers on Sofas book
(Image: Marco Argüello)

“The couch is like a home,” says Athens-based architect Konstantinos Pantazis, who co-founded Point Supreme studio with his wife, Marianna Rentzou, in 2008. “It’s a place where you need to be comfortable.” The couple designed their home in the Greek capital’s Petralona neighbourhood, updating an early-20th-century residence by blending surrealist ideas with contemporary Greek aesthetics. Taking pride of place at the centre of their living room – perhaps surprisingly, given their high architectural standards – is a Vimle sofa from Ikea.

“It’s so comfortable and unpretentious,” says Pantazis. “It’s not a couch that you need to be very careful with. You’ll find us on it during the day and also our two young children and their friends.” The couple’s configuration is composed of three deep, large cushions that can be easily removed to create additional room. Significantly, the sofa responds to the home’s architecture. “The house is pretty extreme in its proportions,” says Rentzou, explaining that the living room’s ceiling is three storeys high, with a tree planted at the centre. “It has a very strange feeling, a bit like being outside in a courtyard when you’re indoors.”

The resulting atrium-like atmosphere, combined with a multitude of hard surfaces (including a large table), could make for a cold and uninviting space – which is why the couple chose such a large sofa. “When you’re on the couch, it’s the only place that’s horizontal, soft and comfortable,” says Pantazis. “Everything else around it is hard. So that’s why the sofa feels so welcoming and warm.”

About the owners:
Konstantinos Pantazis and Marianna Rentzou co-founded Athensbased Point Supreme Architects in 2008. The studio’s work has a distinctive Mediterranean flavour, using vibrant colours and graphic elements, and seamlessly blurring indoor and outdoor spaces.


3.
David Montalba
Architect, Los Angeles
Sofa of choice: Hamilton, Minotti

David Montalba in Monocle's Designers on Sofas book
(Image: Peyton Fulford)

David Montalba is obsessed with the details. In his work, every line, junction and material is calibrated with precision – and that same sensibility extends to his own living spaces. Nowhere is this more evident than in the Santa Monica Canyon home that he designed for his family, where a custom Hamilton sectional sofa by Italian brand Minotti acts as both a centrepiece and a case study. Purchased in 2020, the couch was chosen to harmonise with the home’s restrained palette, spatial clarity and lived-in elegance.

“It’s a piece that changes with us,” says Montalba, who is the founding principal of Montalba Architects. Originally conceived as a single large L-shape, the sofa has since been rearranged multiple times to meet changing needs – from opening up space for a Christmas tree to framing conversations and allowing for easier movement through the room. “It became two sofas that speak to each other,” he says. “That dialogue made the room feel more alive.”

What began as a formal focal point has now evolved into a place of casual intimacy. His daughter has claimed a corner; the family dog perches on another ledge. And like the house itself, the settee has lost its sacredness, becoming a feature of daily life, family habits and spontaneous gatherings. “At first, we barely used it,” says Montalba. “Now we eat on it, watch TV and lounge. It’s part of our routine.”

Still, even in its most relaxed moments, the couch carries the refined sensibilities of its maker, Minotti. Montalba’s obsession with scale, proportion and tactility has turned a simple piece of furniture into an active participant in the home’s architectural effect. “A good sofa isn’t just something you sit on,” he says. “It helps to shape how you experience a room. It is part of the choreography.”

About the owner:
Swiss-American architect David Montalba bridges the design cultures of his two nationalities, combining Californian experimentation with Swiss precision. His work is characterised by volumetric forms that connect indoors and outdoors.


4.
Chen Chen
Designer, New York
Sofa of choice: Togo, Ligne Roset

Chen Chen in Monocle's Designers on Sofas book
(Image: Meghan Marin)

Brooklyn-based designer Chen Chen first encountered Michel Ducaroy’s low-slung Togo sofa – a 1973 design classic that is still manufactured by French furniture firm Ligne Roset – when he was a student at New York’s Pratt Institute. It immediately made a big impression on him. “It was unlike anything that I had ever seen before,” says Chen. “From that moment, I knew that I had to have one.” So when the time came to kit out his own apartment, he decided to buy one. “For me, it was the fulfilment of a dream – though, at that moment, I had never actually sat on one.”

Chen wasn’t disappointed and the Togo has become an integral part of his home set-up. “When it was delivered to my apartment, I was really surprised to find that there wasn’t a frame inside,” he says. “It’s essentially like a giant foam pillow.” The designer found that he could move the sofa – which was lighter than he expected it to be – without assistance, making it a perfect fit with his domestic arrangements.

“In New York, we don’t have a lot of space so it had to be functional, comfortable and also visually appealing,” says Chen. The Togo’s leather upholstery is another charm. “There are scars on the material from wear and tear over the years, like a history that is being written into the sofa.” This mutability appealed to the designer, whose practice with fellow Pratt Institute alumnus Kai Williams has a keen interest in the transformative qualities of materials.

Despite his deep love for the piece, however, Chen confesses that his ideal couch would be a roomier version than the one that he owns. “A lot of sofas funnel you in towards the centre,” he says. “If I were to design one, I would make sure that it had a lot of structure. It needs to keep people sitting where they are.”

About the owner:
Chen Chen creates furniture and lighting in partnership with fellow designer Kai Williams. The New York-based duo are known for their use of industrial materials and their playful reinterpretations of everyday objects.


5.
William Smalley Luis
Architect, London
Sofa of choice: B&B Italia

William Samlley Luis in Monocle's Designers on Sofas book
(Image: Dan Wilton)

“Sofas tend to be divided into those that look nice and those that are comfortable. And, as a rule, you can have either one or the other.” Architect William Smalley is describing the problem that often complicates the purchase of a home’s biggest piece of furniture. “So after I moved in here, I didn’t have a sofa for four years because I couldn’t find the right one.”

Thankfully, those days are over and Smalley’s home – a heritage-listed building in central London’s Bloomsbury neighbourhood – is now fully furnished, with a large modular sofa by B&B Italia taking pride of place in the living room. Designed by Antonio Citterio, the couch, titled Luis, has been through various configurations.

“I got the chaise and the ottoman, which went on the end of the couch,” says Smalley. “Then I wanted another, so I bought a chair section, which used to sit as a separate piece. And then, one day, the sofa and the chair made friends and the square thing at the end became the ottoman. So it has been sequential. The sofa has been added to and it is very comfortable.”

Smalley originally alternated brown and white covers for winter and summer. “The problem is that the white one is much nicer and I don’t really like being gloomy in winter,” he says. “And it’s not very white any more because I have a dog.”

The introduction of Smalley’s Jack Russell, Dylan (“as in Thomas”), served as a corrective to the idea that architects live in pristine, minimalist spaces. “I think that everyone has been very amused by Dylan messing up what they see as my perfect life.” The sofa is now a piece that has been lived in – and on – and has accrued its own history.

About the owner:
Known for his quiet, elegant style, William Smalley is a master of blending heritage and modern architecture. He runs his namesake practice from London, where projects range from Manhattan apartment renovations to Alpine château reconstructions.


The Monocle Book of Designers on Sofas | Pre-order

If you head to Barcelona’s northeastern outskirts, where the city starts to give way to countryside, you’ll find yourself in the residential neighbourhood of Horta. And if, like Monocle, you have messaged ahead to signal your geographical discombobulation, you might just spot Pau Pibernat standing in the street, scrutinising the passing cars in search of a missing-in-action visitor. After a quick greeting, he will produce a remote control from his pocket and retract a roll-up metal door. Then he will take you through a passageway that leads to the hidden treasure trove that he and his father, Carles, have amassed since they started their business in 2021.

Rationalist walnut sofa
with leather straps from
the 1960s, alongside
two 1965 globe pendant
lamps by Miguel Milá
for Polinax
Rationalist walnut sofa with leather straps from the 1960s, alongside two 1965 globe pendant lamps by Miguel Milá for Polinax

With assistance from Carles’s partner, industrial designer Constanze Schütz, the Pibernats run Fenix Originals, dealers in Catalan and Spanish furniture from the 1940s to the 1980s – though the occasional piece from, say, Herman Miller or Le Corbusier is allowed to sneak into the line-up too. That might not sound particularly unusual but it is. While these furniture makers were as skilled as their peers in the Nordics, France and Italy, many of them have only recently begun to receive the recognition that they deserve. This is thanks to people such as Pau and Carles, as well as a new generation of collectors, growing institutional interest and even film director Pedro Almodóvar (two chairs borrowed for his latest picture have just been returned).

“Part of this project is about putting the names of these designers on the table just as people in Scandinavia, for example, have done for their designers,” says Carles.

Fenix Originals Father-and-son business partners
Pau and Carles Pibernat
Father-and-son business partners Pau and Carles Pibernat

But there’s another reason that explains why these designers have sometimes been overshadowed by their contemporaries. “During the dictatorship [of Francisco Franco], Catalan designers weren’t selling much even in Spain and the production runs were also not very large,” says Pau. “Some of them were often just selling to the bourgeoisie in Barcelona.” He cites the example of pioneering industrial designer Jordi Vilanova, whose work combined elements of Scandinavian and Mediterranean design and was mainly popular with well-to-do Barcelonès. In recent years, however, his canon has been reappraised. “We’ve just sold some of his pieces to a key gallery in Holland,” says Pau.

So while, say, Danish mid-century furniture dealers are commonplace, their Iberian cousins are harder to locate (in every sense, it turns out, if you’re bad with a map). But first things first. Let’s look around this hidden-from-view, appointment-only gallery.

The Fenix Originals gallery with a 1986 ‘Soviet’ rug
by Nanimarquina
The Fenix Originals gallery with a 1986 ‘Soviet’ rug by Nanimarquina

It’s a little overwhelming – in a good way. At the front of the space on white industrial racking sits chair after chair, all gently restored by the Pibernats and the artisans in their network. Then you come to a space with rooms set with furniture by designers including Joaquim Belsa Aldea and Vilanova (we spot a handsome walnut-and-marble side table from 1970 that could swiftly be rehoused), and lighting, such as Miguel Milá’s well-known work for Santa & Cole. Then there’s a repair station where, when we visit, Carles is in the throes of fixing a graceful Barceloneta armchair by Federica Correa and Alfonso Milá (Miguel’s elder brother). And last, we peek into a large storeroom filled with finds that have yet to be primed for sale. It’s a collection that has been put together with extraordinary knowledge, much of it gleaned by father and son after visiting archives, tracking down rare brochures from when the furniture or lighting first went on sale.

Part of the Fenix Originals chair collection, including the 1959 Riaza
armchair by Paco Muñoz for Darro
Part of the chair collection, including the 1959 Riaza armchair by Paco Muñoz for Darro
Fenix Originals White organiser, Uten.Silo I by Dorothee Becker
for Design M (1969), which was produced in
the 1970s by Design M, Ingo Maurer
White organiser, Uten.Silo I by Dorothee Becker for Design M (1969), which was produced in the 1970s by Design M, Ingo Maurer

As the duo show Monocle around, their delight in what they have amassed is palpable. Carles produces a utilitarian folding metal chair with an orange frame and a shiny steel seat by Rafael Carreras Puigdengolas, from about 1960. “It’s the only one that we have found,” he says. We stop to inspect a Riaza armchair designed by Paco Muñoz in 1959 and produced by the firm Darro; it has a walnut frame that supports a back and seat stitched from a single piece of leather. There’s something reminiscent of Brazilian tropical modernism about its sturdy stature. “And look at this,” says Carles, stroking the black metal form of a fireplace, designed by architect José Antonio Coderch in 1952 for the company Polinax.

Both men are also champions of the work of Joaquim Belsa Aldea, whose output was aimed less at the middle classes than the masses and relied on the use of robust, artisan-style materials. They have coat racks made from loops of cane, a folding pine dining table, chairs with bright-blue frames constructed from tubular metal contorted to reflect the designer’s goal of making products with a single, continuous, flowing outline.

Room with a 1960s oak French armchair and a 1974 Arquímedes
floor lamp by Gemma Bernal and Ramón Isern for Tramo
Room with a 1960s oak French armchair and a 1974 Arquímedes floor lamp by Gemma Bernal and Ramón Isern for Tramo

Another thing to admire is the relationship between Pau and Carles. They started the company at the height of the coronavirus pandemic when the latter decided that it was time to step away from his career as a graphic designer as it shifted from the craft that he had loved to the more pacey world of digital. Already a modest furniture collector, he saw an opportunity. Meanwhile, Pau, who was undertaking a doctorate in modern history, was wondering whether he really wanted to pursue an academic career. So they teamed up. “It was organic – my father had the idea and started setting up the business, and I said, ‘How can I help?’” says Pau. They bought a van and started tracking down pieces, giving themselves the target of amassing 100 items before launching their website (they took their Horta gallery space in 2023).

A 1938 Butterfly chair by three Buenos
Aires architects including Antoni Bonet
A 1938 Butterfly chair by three Buenos Aires architects including Antoni Bonet
Pair of blue tubular metal chairs by
Joaquim Belsa Aldea for Lamper (1971)
Pair of blue tubular metal chairs by Joaquim Belsa Aldea for Lamper (1971)
Tharsis table lamp (1973) by Luís Pérez
de la Oliva for Madrid-based Fase
Tharsis table lamp (1973) by Luís Pérez de la Oliva for Madrid-based Fase

As for a name, in the 1980s there had been a design shop in Girona called Fenix Originals run by US designer Nancy Robbins. When it shuttered in the 1990s, Carles bought the sign and always said that one day he would launch a business with the same name, even using the same art deco-inspired font. Here, it rises again.

What next? Carles is clear. “To find better and better pieces, to discover forgotten designers and to focus on the cultural potential of this project. We want more time to do research, to tell these lost stories.”

“All of Brazil can be found in São Paulo,” says Manu Reyes, co-founder of Studio Reyes. “My father came to São Paulo [from Bolivia] because he saw that it was full of possibilities.” After a stint abroad, enrolling in courses and doing apprenticeships, Reyes returned to the metropolis and established her studio with her sister, Moira, in 2023. “There are so many different ways to inhabit and engage with this city. It’s a constant source of inspiration.”

Studio Reyes is just one of dozens of design studios, ateliers and art galleries to open in recent years in the post-industrial Barra Funda neighbourhood, where large warehouse spaces can still be found at a reasonable price. “There’s a strong sense of community here,” says Reyes. “For designers and artists, it’s a chance to exchange ideas.”

Original designs at Studio Reyes
Original designs at Studio Reyes
Moira and Manu Reyes of Studio Reyes
Moira (left) and Manu Reyes of Studio Reyes

A few metro stops away, Centro, the city’s historic heart, is also being revived by creative communities. Once home to most of São Paulo’s major art institutions and businesses, this is where Brazil’s modernist movement began in the 1920s and the first Bienal de São Paulo was held. A wave of relocations in the late 20th century saw the neighbourhood slide into dilapidation. But young cultural players are now returning in force, transforming abandoned spaces, driven by a love for the area and the possibilities on offer.

Work at the Bienal de Sao Paulo
Work at the Bienal de São Paulo
Work at the Bienal de Sao Paulo

Architects are also fuelling Centro’s renaissance. Setting up shop are big names such as Metro Arquitetos Associados, while smaller firms are opening up offices in buildings such as Galeria Metrópole, an open-topped 1950s shopping mall. Many of the district’s new generation of architects are graduates of the Escola da Cidade, an architecture university that opened in the neighbourhood in 2002 and is run by disciples of Brazil’s greatest architects, such as Oscar Niemeyer and Paulo Mendes da Rocha.

Metro Arquitetos Associados co-founders Gustavo Cedroni and Martin Corullon
Metro Arquitetos Associados co-founders Gustavo Cedroni (left) and Martin Corullon

“The Escola da Cidade has been a catalyst for Centro’s boom in architects,” says Andrea Vosgueritchian, who runs architecture firm Estudio Tupi with her partner, Aldo Urbinati. Like the Reyes sisters, they have migrant roots. Vosgueritchian’s ancestry is Armenian, while Urbinati moved to São Paulo from the Amazonian city of Belém to study architecture.

Artworks at Estudio Tupi
Artworks at Estudio Tupi
Aldo Urbinati and Andrea Vosgueritchian of Estudio Tupi
Aldo Urbinati and Andrea Vosgueritchian of Estudio Tupi
The private library at Estudio Tupi
The private library at Estudio Tupi
Estudio Tupi interior
Estudio Tupi, in a converted warehouse in Pinheiros
Estudio Tupi interior
Estudio Tupi, which opened in 2004

“People come to São Paulo with a desire to make things happen,” says Urbinati. “It’s the ugliest city in the world and that’s why it attracts the best architects and artists. It is so disorganised that people want to resist this and create things that are more orderly and beautiful.”

There will almost certainly be designers and architects who disagree about the city’s beauty – or lack thereof – but most can agree that its size and financial muscle make São Paulo a place where creative movements and emerging talents can gain traction and scale quickly.

International audiences now flock here for the city’s many galleries and dealers; there are several museums and cultural centres, as well as a handful of high-profile events catering to the sector. The annual SP-Arte has become Latin America’s biggest commercial art fair. Design-only events – from DW! design week to Made (Mercado Arte Design) and Casacor – generate buzz and offer a chance to network. Then there are smaller open-studio gatherings such as those in Barra Funda and in Galeria Metrópole.

While Alameda Gabriel Monteiro da Silva, São Paulo’s so-called “design avenue”, is home to flagship furniture shops such as DPOT – a verdant, light-filled space by architect Isay Weinfeld – the city’s creatives are coming up with more accessible solutions too. “Before, there was just Alameda Gabriel,” says Manu Reyes. “But in São Paulo, every day brings a million new possibilities. This is where it all happens.”

Furniture exhibited at DPOT
DPOT has reissued pieces created by a range of design masters
Modernist chairs exhibited at DPOT
Modernist chairs, designed in the 1950s and 1960s, at DPOT
DPOT showroom
DPOT’s spacious showroom was designed by São Paulo architect Isay Weinfeld
DPOT office exterior
DPOT on Design Avenue, Alameda Gabriel
Luiza lounger by Fernando Mendes
Luiza lounger by Fernando Mendes at DPOT
Gustavo Utrabo
Brazilian architect Gustavo Utrabo
Gustavo Utrabo’s architecture studio
Gustavo Utrabo’s architecture studio
Inside Apartamento 61
Mid-century furniture is the focus for Apartamento 61
Armchair by Luiza Solano at Apartamento 61
Armchair by Luiza Solano at Apartamento 61
André Visockis and Vivian Lobato, the owners of Apartamento 61
André Visockis and Vivian Lobato, the owners of Apartamento 61
Inside Sesc Pompeia
Sesc Pompeia, an arts and leisure centre
Sesc Pompeia designed by Lina Bo Bardi
Sesc Pompeia, an architectural icon by Lina Bo Bardi
Furniture at Aalvo Gallery
Furniture by Andrew de Freitas at Aalvo Gallery
Lola Maria Tulle
Aalvo Gallery’s founder, Lola Maria Tulle
Verniz showroom in Barra Funda
Brazilian furniture and design at Verniz in Barra Funda
Newsstand on Avenida Paulista covered with golden mirrors by artist Rizza
Newsstand on Avenida Paulista covered with golden mirrors by artist Rizza

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