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1.
On Tuesday I walked over to Soho to see a preview screening of Spanish-language film La Bola Negra, directed by “Los Javis” (Javier Ambrossi and Javier Calvo). It’s a story set during the Spanish Civil War and the present day. It’s about love and desire. It’s about secrets and telling the truth. It’s about being gay. The film could be an Oscar contender for Best Picture: a campaign that will be aided by the shimmering, mesmerising presence of Penélope Cruz and a poised performance from Glenn Close.

Now, press screenings are not the most intimate of settings. The room is usually packed with seen-it-all critics who make their living from finding fault, taking things apart, spending the duration of the film scribbling big thoughts in little notepads. But in this velvet-chaired cocoon, I found myself lost in this epic, weaving and sometimes fantastical tale. The directors deliberately take their time to stitch all the narratives together (at one point I wondered if I should ask my jotting-away neighbour if he knew what the hell was happening). But even this pacing keeps you transfixed.

Towards the end of the film – when all is finally clear – there’s a fleeting moment when a young man stoops to kiss the head of his boyfriend. It’s just an “I’m here for you” kiss but I felt a tear jog down my face, and then another. I brushed them away. Why was I crying? For them, for me, for us? I need to see the film again because there’s something buried there. A little bit of me? A little bit of you too?

2.
There’s something that I forgot to tell you about my brother-in-law’s funeral. Phil had been partial to a Starbucks, so his granddaughter arrived at the funeral service carrying a venti latte. She placed this next to the coffin. I was desperate to see if, for once, a Starbucks employee had managed to spell a name correctly but I was too far away.

Anyway, this last order for Phil sat there throughout the entire service. It was even there as the curtains closed and the coffin was dispatched to the flames. I have mentioned this Starbucks detail to a few people and it seems that, just as the ancient Egyptians entombed their dear departed pharaohs with all sorts of crap for the afterlife – mummified cats, cooking utensils, electric barbecues – modern grievers are keeping the tradition alive. I have been told of a Sunday roast being brought to a church and numerous pints of beer (even, in one case, to the funeral of a gentleman who had died an alcoholic).

Just so you know, I think that I will be happy to go to the next world free of pizza or pies – even if, finally, the carbs don’t matter. Though if you order one final cheeky margarita, I might be up for that.

3.
On Monday, London will discover that a 1km stretch of the famous retail strip Oxford Street has been pedestrianised overnight. I wrote about this news for the Monocle Minute yesterday. I am sure that the project will be a success but I grew up in a new, postwar town with a fully pedestrianised centre and it was rubbish. It would have been so much nicer with cars. To keep the retail streets pedestrian only, the town was ringed by ugly multi-storey car parks. And, at night, once the shops had closed, it was desolate. People preferred to drive to pubs and restaurants in nearby villages. Over the years the town centre became edgy at night; the walkways stank of wee. Meanwhile, neighbouring towns with traffic, movement and activity thrived.

The plans for Oxford Street seem full of potential. But just getting rid of cars is not enough. I will watch and wait a while before getting too giddy about this change.

Want to read more of Andrew’s columns? Click here.

In a city where tourism is increasingly seen as a threat to local culture, Barcelona’s independent bookshops are thriving. Even as cinemas close and small music venues disappear, the city’s number of bookshops has climbed to 140, a 30 per cent increase since 2008. According to the Catalan Guild of Booksellers, new openings have far surpassed closures in recent years, though some have struggled to keep their doors open. 

In 2024, the threatened closure of the historic Llibreria Sant Jordi triggered weeks of public mobilisation. While it ultimately shut, it reopened a year later with a gastronomic offering. The episode underscored deeper anxieties over skyrocketing rents, the declining use of Catalan and the strain that a tourism-driven economy places on local life. And yet, while more retailers stock titles in English and other languages, Catalan-language publishing is growing too. Barcelona’s new wave of bookshops has become a valuable refuge for locals and foreigners alike.


1.
Ona

Since launching as a small shop in Gràcia in 1962, Ona slowly built a reputation for its selection of Catalan literature. A few years ago, second-generation owner Montse Úbeda teamed up with entrepreneur Tatxo Benet to expand the business and, upon opening a 900 sq m space on Carrer Pau Claris in 2020, Ona became the world’s largest bookshop dedicated to Catalan-language books.

The boutique also stocks a selection of Catalan literature translated into 15 languages, from English to Mandarin. “We stock 1,500 references by authors who write in Catalan that have been translated into other languages,” says Ona’s director, Iolanda Batallé. “It’s painstaking work because we have to go publisher to publisher but we’re very proud of it.”  

Ona has grown fivefold over the past six years, hosting book clubs, talks and live music in its café space, as well as a busy schedule of events in its vast children’s section. “Most bookshops have only about 30 per cent of books in Catalan because Spanish takes over,” says Batallé. “Shops like Ona are very important for the growth of the Catalan publishing industry.”

  • Recommended novel: Ona director Iolanda Batallé is the author of I’ll Do Anything You Want, published in 2013
  • Current bestsellers: Death in Spring and In Diamond Square by Mercè Rodoreda
  • Catalogue: 53,000

2.
Llibreria Sant Jordi

When the longtime owner of Llibreria Sant Jordi, Josep Morales, passed away in 2024, the historic bookshop in Barcelona’s Gothic Quarter announced that it would be closing its doors. After an appeal urging book lovers to buy its remaining stock, hundreds of people turned up to purchase discounted books on art, photography, design and illustration. The event morphed into a spontaneous tribute to a local business which – with its listed 19th-century wooden shopfront – had been a fixture of the street since the early 1980s. 

“The neighbours made it clear that they didn’t want yet another shop to close,” says Alba Biliotti, who now helps run the business under a new model. To the delight of locals, Llibreria Sant Jordi reopened its doors in December 2025 with most of its interiors unchanged. In the evenings after shoppers have left, the space transforms into a restaurant that hosts book clubs, literary discussions and dinners with authors. “Most people still come because it’s their local bookshop,” says Billiotti. “But now it has two different atmospheres. Some people come for dinner and walk out with a book, while others come to buy a book and end up staying for a drink.”

  • Year of opening: 1983
  • On the menu: Piquillo peppers stuffed with cod brandade and caramelised foie with Kalamata olives and fig jam
  • Current bestseller: The Little Frog’s Guide to Self-Care by Maybell Eequay

3.
Laie

In 1980, four young women opened the doors of Laie on Barcelona’s Carrer de Pau Claris without much fanfare. “Back then it wasn’t customary to announce the opening of a bookshop; it wasn’t considered particularly newsworthy,” co-founder Conxita Guixà wrote for the shop’s 40th anniversary in 2020. “Perhaps three or four people came in during the first few hours.” Four decades later, Laie runs 35 outposts all over Spain, from Santiago de Compostela to Palma de Mallorca.

Fresh out of university, co-founders Conxita Guixà and Montse Moragas wanted to create a space dedicated to the humanities and critical thinking. It quickly became a meeting point for the city’s intellectuals, who would hide their favourite books in the wrong sections so that they could purchase them later. In the 1990s, a café and restaurant opened on the first floor. On any given day, you can still spot journalists, authors, playwrights and politicians conducting interviews or discussing book deals over a plate of ham croquetas or fish soup. “Gustavo Petro, the president of Colombia, walked in the other day and I had to act normal,” says literary director Damià Gallardo. “Laie has become a nerve centre of Barcelona’s culture; people have made it their own.”

  • Year of opening: 1979
  • First book ever sold: An anthology by the Greek poet Giorgos Seferis 
  • Current bestseller: La Bola by Daniel Verdú, which was recently presented at the bookshop
  • Recommended novel by Damià Gallardo: What I Loved by Siri Hustvedt

4.
Llibreria Byron

Huygens, a publisher dedicated to academic and educational titles, was planning to open its first bookshop in April 2020 when the coronavirus pandemic hit. When it finally opened months later, it was welcomed by locals who had rediscovered the pleasure of reading during Spain’s strict lockdowns. Founded by editor Mariana Sarrias, Llibreria Byron – named after the British poet – opened with a café, quiet reading nooks and a space for events, designed with the ambition of giving neighbourhood residents a place to reconnect. “We decided to call it a bookshop but right from the start, we wanted it to be more than that: a place where culture is brought to life, not just sold in the form of books,” says Sarrias.

Byron has a large children’s and young-adult section, and a packed calendar of community events. Every Friday a group of neighbours from El Raval gathers for a philosophical coffee hour to debate a variety of questions from the dangers of consumerism to the role of uncertainty in daily life. These discussions often take place around a walnut-panelled fireplace that Sarrias found in an antiques shop and had restored before placing it at the heart of the shop. Though it’s powered by electricity, it still fulfils its intended purpose: to create a cosy, welcoming atmosphere for people to get lost in a book. In the evenings, Byron makes space for music too. The café’s grand piano is used for everything from jazz performances to renditions of Puccini’s Madama Butterfly.

  • Recommended book: A Man Asleep by Georges Perec
  • Poetry book-club pick: Hardly Creatures: Poems by Rob Colgate
  • Bestselling Spanish-language book: Insular by Franco Chiaravalloti

5.
Llibreria Finestres

Llibreria Finestres (Catalan for “windows”) opened in 2021 inside a modernist building by architect Enric Sagnier. Just a few steps from Passeig de Gràcia, the shop was designed by Quintana Partners and is furnished with carpets, sofas, well-lit reading nooks and a fireplace. The retailer describes itself as “a bookshop for reading”, where patrons are invited to curl up with a book inside or linger on the terrace with a glass of vermut. 

A second location opened shortly after the first, dedicating its venue to comic books as well as publications on illustration and art. Thanks to its success, the business’s expansion has continued: another outpost arrived in the coastal town of Palamós last summer and in May, Finestres Palestina, an outlet devoted to Palestinian culture and literature, opened in the Gràcia neighbourhood. Designed by Valencia-based Palestinian architect Malek Murad Mateu, the latest addition features bright green sculptural bookshelves, hand-woven rugs and an indoor fountain inlaid with a mosaic map of Palestine.

Run by the Finestres Foundation, the bookshop is also behind several literary awards and writers’ residencies. Its impressively multilingual selection includes titles in English, French, Italian, German, Portuguese, Galician and Basque, alongside Spanish and Catalan.

  • Number of bookshops: 4
  • Phones off: The poor signal inside the shop serves as an unexpected advantage, stopping notifications and incoming calls from interrupting your browsing session
  • A line from its foundational manifesto: “We know that there are a lot of bookshops in the city. We also noticed that there are even more readers than bookshops.”

6.
Llibreria Calders

After several bookshops in Catalonia closed following the 2008 financial crisis, journalist and writer Isabel Sucunza and historian Abel Cutillas teamed up in 2014 to open a space to showcase the work of new small publishing houses. Named after Catalan writer Pere Calders, who lived in the Sant Antoni neighbourhood in his later years, Llibreria Calders occupies a former button factory in a small alley. It has gathered a loyal following for prioritising local authors over bestsellers. “At the time there were very few independent bookshops in Barcelona,” says Sucunza. “There also wasn’t a single one named after an author.”

The space resembles a vast wine cellar, with dark bookcases set against bare stone walls. Customers seek it out for its well-stocked poetry section, as well as its selection of titles on theatre and dramatic theory. “Poetry wasn’t so central to the bookshop at first but as soon as we started hosting recitals, we noticed that there was a huge demand for it,” says Sucunza. Readers can continue to pay homage to one of Catalonia’s most famed writers at the nearby bar, Calders, which serves “dishes of exile” inspired by the author’s banishment to Mexico after the Spanish Civil War.

  • Books recently presented at the bookshop: A new Catalan translation of Homer’s Odyssey by Pau Sabaté
  • All-time favourite book: The Day of the Watusi by Francisco Casavella, a coming-of-age novel about Barcelona from the Spanish Transition to the eve of the 1992 Olympic Games
  • Number of titles in stock: Between 10,000 and 12,000

7.
Llibreria Terranova

A bookshop that specialises in art publications occupies a former shoe boutique on the corner of a 19th-century building in Sant Antoni. When the space became available in 2020, it caught the eye of Lucía Bonet and Luis Cerveró, who had long dreamt of opening a dedicated outpost of their publishing house, Terranova.

With the help of furniture design studio Owl, the pair restored the modernist listed building’s original features, including its tall ceilings and white wooden floorboards. The original bookshelves, which once stored shoe boxes, returned to their olive-green colour, while a custom-made central island that sits in the centre of the space was painted the same bright red as the Vico Magistretti Carimate chairs scattered throughout.

The shop features Terranova’s design-focused publications, alongside a broader selection of titles on art, fashion and design. Highlights include Servilletas, a book by photographer Felipe Hernández on napkins gathered from bars across Spain, and Sofia Coppola’s visual history of Chanel’s haute-couture designs.

Rather than sorting books by category, the duo has decided to arrange them randomly for customers to stumble upon as they browse. The shop hosts monthly exhibitions and houses a collection of rare books, which are available to view by appointment.

  • Recent exhibitions: Madrid-based photographer Jesús Umbría Brito’s Familia Real, a series focusing on Spanish youth and counterculture
  • Period covered by its rare-book collection: More than seven decades, from the 1950s to the present
  • Year that publishing house Terranova was founded: 2014

8.
Altaïr

With so many visitors regularly passing through the city, it’s perhaps not surprising that Barcelona is home to Europe’s biggest travel specialist bookshops. In 1979, Pep Bernadas founded Altaïr – named after one of the brightest stars in the night sky – in a small space in Barcelona’s El Raval neighbourhood, where he began to collect guidebooks. It quickly outgrew that first venue and, for the past 20 years, has occupied a vast space spanning three floors in the Eixample, where globetrotters can peruse an unparalleled selection of maps, travel guides and titles that cover every corner of the world. “The only country that we haven’t been able to get any books on is San Marino,” says Altaïr’s director, Elena Bernadas.

Books are organised by country in order of their proximity to Spain, from an extensive selection of publications on Barcelona all the way to a section on Oceania downstairs. Since 1992 the business has also housed a travel agency and an online magazine of the same name, both of which are centred on a “more anthropological than touristic” approach to travel. It is the bookshop, however, that plays the most important role in preparing for any trip. “We like to put together a curated reading list for our customers that includes guides but also fiction or poetry,” says Bernadas. “There are a million different ways to engage with Japanese culture, for example, so we try to find the titles that best reflect our customers’ specific interests.”

  • Recommended book: The Innocent Anthropologist by Nigel Barley
  • Number of maps in stock: 11,000
  • Number of guidebooks in stock: 16,000

9.
Llibreria +Bernat

During his teenage years, Carles Armengol helped his parents’ business by serving tables at their restaurant in L’Hospitalet de Llobregat. When the establishment eventually closed in 2012 after 80 years in the family, Armengol began to write. His debut book, Collado: La maldición de una casa de comidas (Collado: The Curse of a Diner), was published in 2022 and explores his complicated feelings about the restaurant industry.

Today Armengol has brought his two passions – food and literature – into a single space. After he presented his novel at +Bernat, the bookshop’s owner, Montse Serrano, offered him the opportunity to open a café inside the shop. Today +Bernat describes itself as a place where “literature feeds you”. Walls lined with the latest releases surround tables where Armengol serves a simple lunch menu of classic Catalan dishes, such as fideu casserole or chickpea stew with calamari. He spends the rest of the day assembling sandwiches named after classics made with local produce, from Crime and Punishment (sobressada and Minorcan cheese, roast aubergine and honey) to Il Gattopardo (mortadella from Bologna with cashew pesto, scamorza and spinach). “A café and a bookshop are destined to work well together,” says Fernando Pelayo, who runs the bookshop while Armengol tends the bar. “They make each other stand out.”

  • Recommended book: Beginning, Middle, End by Valeria Luiselli
  • Bestselling sandwich: The Bikini (Barcelona’s iconic grilled ham-and-cheese sandwich). At +Bernat it is named Collado, after Armengol’s book
  • Year that the bookshop first opened: 1978

On Monday morning Londoners will awake to a seismic change in how the city gets around. A 1km stretch of Oxford Street, one of the most famous retail strips in the world, will suddenly be for pedestrians only. No buses, taxis or bicycles will be allowed along a part of the road between Orchard Street and Great Portland Street. It’s a switch that was first mooted in the 1960s and that – at various stages – residents, retailers and local councils have thwarted. Determined to deliver the project, London mayor Sadiq Khan set up a development corporation in January that gave him the necessary planning powers to push the measure through. Some 10 months later, it’s happening.

On Sunday night, teams will come in to remove bus stops and redundant traffic signals but it will take some months for new seating, plazas and planting to be added. Nabeel Khan, the new corporation’s chief executive, says that Monday “is going to be the start of what will be a period of change, test and review”. He makes it clear that the key ambition is to make a vibrant street that works for Londoners and visitors. “The economic performance of this street and the wider West End is critical. And all the evidence suggests that once you pedestrianise a space and make it easier for people to visit, to dwell, this results in more spending for retailers.”

Will it work? Pedestrianisation is not always a panacea. In the UK during the 1960s, for example, many town centres lost footfall and became hangouts for vagrants and pockets of crime without the bustle of traffic. Oxford Street will only thrive if it becomes a public space that people have affection for and use, if security is robust and if it does not become a police-car-free haven for pickpockets and phone-snatchers. The ambition, however, is there.

On Monday, Monocle Radio’s ‘The Globalist’ will be reporting live from Oxford Street.

Further reading
Interview: Sadiq Khan on designing the London of the future

After decades of failure, are North America’s pedestrian malls on the road to success?

A short time ago, in a country far, far to the right, a museum opened to great fanfare and much debate in the art world. The Lucas Museum of Narrative Art (LMNA) in Los Angeles is the $1bn (€892m) brainchild of George Lucas, creator of Star Wars and co-creator of Indiana Jones, and his wife, Mellody Hobson. When the futuristic Ma Yansong-designed building recently opened its doors to the public, many critics took the museum’s apparent anti-intellectualism as a Death Star-style attack on the Western museum. The LMNA – which, in a conscious effort to elevate the art of illustration, employs a laconic labelling system and prioritises experience over academic explanation – stands accused of collapsing the supposed boundaries between high and low culture.

The question at the heart of the row is a simple one: should an art museum make us think or feel? Describing the LMNA as everything from “upending the art world” to bringing “the history of the Western art museum to its inevitable conclusion”, the critics seem to suggest that the experience of art is somehow separate to understanding it. Lucas disagrees. In an interview with Vogue, the world-builder put his cards on the Sabacc table. “My feeling is that art is emotional,” he said. “It’s not intellectual. Are you emotionally connected to it? If you’re connected, it’s art. And if you’re not, then it’s not art.”

Lucas isn’t alone. As LMNA was lambasted across the media galaxy, the Fondation Beyeler unveiled three new buildings by Swiss architect Peter Zumthor in a picturesque slice of suburban Basel. Forming part of its “expanded ensemble”, the additions meld into a now-public parkland that all but doubles the footprint of Switzerland’s most-visited museum (more on this in Monocle’s just-published Design Directory).

Like Lucas, Zumthor builds superstructures on the foundation of his beliefs. His architectural style leans on feelings through spaces that prioritise sensory experience and emotional resonance. “Feelings encompass much more than thinking,” he says. “Your emotions contain things that you don’t even consciously remember.” This is not to say that Zumthor dismisses intellect out of hand. “But let’s not make museums too didactical,” he adds.

Lucas and Zumthor’s desire to do away with art-world didacticism is at odds with the view of critics who believe that museums are essentially places that provide context, interpretation and intellectual architecture for the understanding of art. But these are not just places to think and contextualise; they’re also places to stretch out emotionally, to reach for fresh feelings and new ways of understanding ourselves. Meanwhile, one critic wrote that he left the LMNA disappointed because he failed to learn anything beyond what he already knew, which sounds suspiciously like someone who went in search of facts and was frustrated to find art.

Just as impressionism emerged as a reaction to the stale sobriety of academic painting, art museums that premise feeling and sensuality are not aberrations but natural reactions to the heady pace of modernity. People don’t want to walk into galleries that make them feel dull or stupid – they want galleries that make them feel human. Or, at least, feel something. If impressionism was “the new painting”, the LMNA and Fondation Beyeler are the new museums. The critical backlash can be put down to the fact that the new almost always comes as a shock. But in an era of heightened instability, perhaps the likes of Lucas and Zumthor are simply bringing balance to the force.

For Serbians, Sunday’s parliamentary elections will feel like a novelty. It might be the country’s seventh such vote since 2012 but, for the first time in 14 years, the result will not be easy to predict.

Aleksandar Vučić is facing an unfamiliar challenge. None of the elections since his Serbian Progressive Party (SNS) entered government have featured a credible alternative proposition for voters. Whether serving as president or prime minister, he has been the undisputed man in charge, taking control of so many aspects of government that critics mockingly dubbed him “Superman”. The Vučić-friendly media has embraced the label, portraying him as the tireless, sleepless protector of the Serbian people.

This time, however, most opposition parties have stepped aside to allow a clear run for the Student List, a grassroots anti-corruption movement fielding candidates to run against the former president. In a move that indicates wisdom beyond their years, the students have not put themselves forward as a potential government. Instead they have nominated uncontroversial academics and athletes, alongside a few economists and engineers.

Heart surgeon Ilija Srdanović is at the top of the candidate list. If the Student List wins, he is the most likely to become prime minister. On the campaign trail, Srdanović has proven himself to be a snappy dresser with wit to match. Like the rest of the Student List, however, he has no prior political experience. The movement insists that this is a strength rather than a weakness. From a wide range of professional backgrounds, the student-approved candidates are – crucially – untainted by the suspicion of corruption and cronyism that clings to most of Serbia’s political class.

But the nature of the opposition is not the only obstacle that Vučić faces. His kryptonite is arguably the event that triggered the student protests. Sixteen people died in November 2024, when a concrete canopy collapsed at a railway station in Serbia’s second city, Novi Sad. This was not a crumbling piece of ex-Yugoslav architecture but a key part of Vučić’s signature infrastructure project: the high-speed railway linking Belgrade to Budapest.

Distancing himself from the disaster was always going to be difficult. Two years prior, Vučić held a rally at the re-opening of the facility alongside Hungary’s then-prime minister, Viktor Orbán. From the top of the station canopy, the message from the speeches was clear: the railway project was going to transport the country into the future and voters could trust Vučić to be the man behind the wheel.

Above all else, this projection of competence has been the key to Vučić’s electoral success. Detractors – and international monitors – have correctly highlighted the SNS’s domination of media coverage and its use of state resources to boost its share of the vote. But a significant proportion of Serbia’s voters just liked the cut of Vučić’s jib. As long as they saw him as a strong leader who was making life better in Serbia, they were willing to look the other way when it came to allegations of authoritarianism.

The Novi Sad disaster significantly dented Vučić’s public perception. Now the question is: will the Student List be able to take advantage of the former leader’s tainted image where other opposition movements have failed? Vučić has resigned as president so that he can lead the SNS’s list of candidates for prime minister. In essence, he is betting everything on the hope that enough of his “Superman” aura remains.

They say a musician’s sophomore album is always the hardest: after the critical acclaim of a breakout debut, expectation weighs heavy on an artist and production team. The same could be said for the follow-up edition of a magazine. Which raises the question: for the Monocle Design Directory’s second outing, how could we step it up? We didn’t want this issue to simply be a showcase of good-looking design – a round-up of handsome products and projects. Rather, we wanted to seek out people and places that demonstrate the impact that design can have beyond aesthetically pleasing architecture, and how it shapes communities and cultures.

To do so, we touched down in Baghdad to trace the work of Le Corbusier and Walter Gropius. Commissioned by the country’s ruling powers in the mid-20th century, the duo played a part in transforming the Iraqi capital into a major Western-style city. The ambition? To distinguish it from other Arab metropolises that were looking to the Soviet Union for inspiration. It was architecture intended to empower and embody a young nation, though it was ultimately co-opted by dictators. Yet it shaped a generation of Iraqi architects, including Rifat Chadirji. “I thought it imperative that, sooner or later, Iraq create for itself an architecture that is regional in character,” wrote Chadirji. The architect would go on to do exactly that.

We also saw how architecture can influence artistic experience, visiting the Fondation Beyeler near Basel, which has been newly expanded with three structures by Peter Zumthor. “Let’s not make museums too didactic,” he told Monocle’s Blake Matich. The result is a set of buildings that prioritise the viewer’s experience: there’s no artistic preamble, wall labels are spare and art is positioned so that visitors encounter it immediately. Large windows and abundant light put the galleries into conversation with the surrounding landscape. It’s a welcome reaction to screen and information saturation.

Design’s ability to transform economies is also on show, with the municipality as patron and dealmaker in Saint-Étienne. The French city is offering affordable studio space to creatives and grants to businesses that hire designers in a bid to supercharge its economy. In a similar vein, Brussels-based Rotor is building circular economies by reviving reuse, a practice that was the norm until industrial materials made new products cheaper than those that exist already.

All of this is rounded out by visits to communities in Kyoto, New York and Florence, where makers and quality of life go hand in hand. It’s a reminder that we can design the lives that we want, with creatives marching to the beat of their own drum.

Monocle on Design
For more design coverage from our team, tune in to Monocle on Design on Monocle Radio and subscribe to our weekly design newsletter at monocle.com/newsletters

As the stories in our Design Directory have demonstrated, the global design industry is thriving. Here we have compiled an international directory of the firms, studios and individuals at the top of their game, drawing on the crafts and vernaculars of the countries where they work to produce objects and buildings that enhance our lives.

Europe

Europe’s architectural and design landscape has a rich history, from ancient castles and cathedrals to modernist masterpieces. Contemporary designers are using this as a foundation for cutting-edge adaptive reuse and the establishment of circular economies, setting global industry standards.

Austria

The country’s contemporary designers build on a foundation of secessionist art and early modernist rigour.


Belgium

Tapping into a storied heritage of art nouveau and Flemish urbanism, modern Belgian design is a leader in minimalist creativity.


Czechia

From gothic towers to brutalist works, Czech architecture offers a wide range of styles. Today the nation is a pioneer in adaptive reuse.


Denmark

A new generation of designers is now standing on the shoulders of the country’s mid-century masters, ensuring that Denmark remains a leader in functional minimalism.


Finland

The home of organic modernism, Finland has a contemporary scene that celebrates natural materials and human-centred design, while making room for new ideas and technological innovations too.


France

French design expands on centuries of haute-couture craftsmanship, pairing new technologies with exceptional handicrafts.


Germany

There’s more to German design than the Bauhaus and industrial precision. The country’s contemporary design scene is a respected leader in efficient architecture and savvy design.


Greece

Classical antiquity and modern regionalism combine to define the contemporary Greek design scene.


Italy

Renaissance roots and postwar radical design continue to have an influence on contemporary Italian design, which now strikes a balance between industrial efficiency and elegant opulence.


Ireland

The rugged Irish landscape shapes the country’s modern architecture and design scene with a creative output defined by robust and timeless works.


Malta

At their best, Maltese designers deliver smart enhancements that bolster the appeal of the island’s ancient fortifications and rocky shores.


Netherlands

Contemporary Dutch design brings together the legacies of game-changing 20th-century movements and centuries of water management, frequently resulting in savvy, sustainable works.


Norway

Nordic timber traditions and fjord landscapes have influenced generations of Norwegian designers to create climate-sensitive, smartly crafted works.


Poland

Born of a rich craft tradition and the legacy of postwar modernism, the Polish design industry skilfully melds tradition with innovation.


Portugal

Modern Portuguese design melds artisan crafts, minimalism and a proud sense of regionalism to produce places and items with a distinct Lusitanian charm.


Spain

From Moorish architecture to Catalan modernism, Spanish designers have a rich history of sunny vernaculars to inspire them.


Sweden

Scandinavian functionalism meets cutting-edge innovation, from industrial circularity to flat-pack designs, resulting in a creative economy whose products are as useful as they are sleek.


Switzerland

Precision meets Alpine engineering traditions in Switzerland, whose creative community delivers work that’s both practical and expressive.


Turkey

At the crossroads of Europe and Asia, Turkey boasts a lively contemporary design scene that blends modern urban innovation with the legacy of Byzantine-Ottoman craftsmanship.


United Kingdom

Despite a design history that spans everything from brutalist experimentation to a Georgian focus on symmetry and proportion, the UK doesn’t rest on its laurels. Its contemporary scene remains among the most exciting in the world, marked by material innovation and a playful approach to architecture.

Middle East and Africa

Creative communities across the Middle East and Africa balance distinct regional styles and traditional masonry with forward-looking architecture and design – all adapted to meet the demands of life in warmer climes.

Bahrain

Contemporary design in the Kingdom of Bahrain has long reflected the country’s island heritage, Dilmun history and pearl-diving lineage.


Egypt

With a deep connection to desert landscapes, as well as the legacies of the nation’s pharaonic and Islamic histories, modern practices in Egypt excel in climate-smart residential architecture and creating localised brand identities.


Ethiopia

Contemporary Ethiopian design has a bountiful hinterland of ancient, rock-cut masonry and indigenous crafts.


Ghana

Modern Ghanaian design is informed by the country’s tropical vernaculars and vibrant urban cultures.


Lebanon

Taking cues from Levantine craft and mid-century cosmopolitanism, modern Lebanese design blends art deco and graphic geometry into light-filled architecture and fine bespoke furniture.


Morocco

Grounded in centuries of earthen kasbah construction, contemporary Moroccan architecture focuses on the restoration of historic granaries and sustainable vernacular building techniques, celebrated at the Casablanca Design Week.


Nigeria

Modern Nigerian design is renowned for its refined industrial works that transcend resource restrictions through the raw ingenuity of the country’s informal manufacturing sector.


Qatar

Qatari design pairs regional motifs informed by Bedouin and maritime traditions with luxury contemporary craftsmanship.


Saudi Arabia

Modern Saudi practices focus on participatory heritage restoration and regionally sensitive architectural interventions and additions.


South Africa

South African design brings together time-tested Indigenous craft skills and diverse cultural narratives, making for potent ideas and works that respect their setting.


United Arab Emirates

Evolving rapidly from a landscape of traditional courtyards to one of hyper-modern towers, the UAE leads the way in climate-conscious desert architecture and innovation.

The Americas

Across North, Central and South America, design traditions range from indigenous handicrafts and colonial masonry to mid-century modernism and sweeping post-industrial experimentation. Contemporary practices in these continents are exploring climate resilience, manufacturing localisation, indigenous knowledge systems and more.

Argentina

Modern Argentine design is rooted in a unique blend of European grandeur, resourceful industrial adaptation and high-quality craftsmanship.


Brazil

Built on a foundation of tropical modernism and traditional crafts, Brazil is home to creative communities that excel at blending the country’s many and varied approaches to design.


Canada

Modern Canadian design is every bit as varied as the country’s vast landscapes and extreme climates – natural assets that are reflected in a scene that remains as resilient as it is innovative.


Chile

Demanding geography, rigorous seismic codes and a focus on utility over ornament shape a contemporary Chilean design culture that is both resourceful and function-forward.


Colombia

The Colombian creative scene is booming, built on a dynamic fusion of ancestral craftsmanship and tropical modernism.


Mexico

Famed for its monumental pre-Hispanic structures and globally celebrated mid-century regionalism, contemporary Mexican design is pursuing fresh ideas and is deservedly having a moment.


Uruguay

Uruguay’s design scene fuses European colonial roots with modern innovation – all while celebrating local landscapes and materials.


USA

Much like the country itself, contemporary American design offers an astonishing range of approaches and ideas, with creatives inspired by everything from industrial production and radical pop culture to indigenous traditions and civil-rights movements.

Asia-Pacific

From China and Japan in East Asia to Australia and New Zealand in Oceania, this region is home to more than 60 per cent of the world’s population. Its design scenes are as big and varied as its geography.

Australia

Built largely in isolation, Australia’s design scene is frequently grounded in climate-responsive living, an appreciation for resource scarcity and respect for indigenous land.


Bangladesh

Informed by the country’s river delta landscapes and monsoon climates, contemporary Bangladeshi practice is known for smart, climate-adaptive and community-built structures.


China

Historic spatial philosophies, rapid urbanisation and industrialisation drive an exceptionally agile and ambitious design culture.


Hong Kong

Dense vertical urbanism and an East-meets-West heritage position Hong Kong design at an intersection of cultures and technologies.


India

India’s architecture is well known for its fusion of Hindu, Islamic and Mughal traditions, and this ancient heritage continues to animate the country’s contemporary design scene.


Indonesia

Rooted in tropical timber craft and island vernaculars, Indonesian practices are innovating in the face of rapid urbanisation while maintaining a deep respect for their nation’s heritage.


Japan

From ancient wood joinery to postwar minimalism, Japan has shaped international design and its scene continues to go from strength to strength.


New Zealand

Informed by Maori and Pacific design principles, contemporary practice in New Zealand produces meticulous typography, landscape-led timber homes and generous civic buildings.


Singapore

The city-state’s youth and compact footprint have fostered a design and architecture scene that’s nimble, efficient, forward-looking and environmentally focused.


South Korea

Blending traditional hanok aesthetics with sleek modernism, South Korean design produces bold graphic identities, woven-cable furniture and adaptive public parks.


Thailand

Influenced by the nation’s tropical climate, Thai practices are renowned for lush landscape urbanism and lively furniture designs.


Vietnam

With abundant natural materials and a tropical climate, Vietnam is a leading light in environmentally conscious architecture.


For more recommendations about the best architects, designers, branding experts, furniture makers and graphic designers, subscribe to the Monocle Minute On Design newsletter. It hits inboxes every Wednesday with a swath of design tips. Visit monocle.com/newsletters to subscribe.

1.
Villa El Fida
Marrakech

With its dramatic views and interplay of natural materials, this guesthouse immerses visitors in the landscape’s colours and textures.

Against the backdrop of Morocco’s Atlas Mountains, guesthouse Villa El Fida is a celebration of the land that engulfs it. “Organised across four levels, the villa is structured around courtyards and double-height spaces that create a seamless connection between the interior and exterior,” says the property’s owner, Abdellatif Tots, who conceived its spaces with architects Gwenaël Clément and Lou Cirendini. Villa El Fida consists of two distinct sections connected by a narrow bridge. Suspended, exposed staircases are cast in the shadows of the towering peaks and give the façade a sense of Cubist precision.

“This place combines a contemporary architectural language with traditional materials such as tadelakt lime plaster, marble and sculpted cedar wood,” says Tots. Beyond the entrance, the villa opens into a living area anchored by a fireplace, before descending into a sunken lounge with views across the reflecting pool and gardens beyond. The outcome is a villa that feels like an extension of the landscape.
el-fida.com

Craft conscious:
What makes this space so distinctive is the way that it embraces Moroccan craftsmanship through a contemporary architectural lens. Its material palette features locally sourced leather and traditional zellige tiling. Rather than competing with its surroundings, the structure feels connected to the landscape, which allows its natural beauty to remain the focus.


2.
Hermès workshop
Loupes, France

French luxury goods house Hermès’s new atelier reaffirms its commitment to the timeless value of craftsmanship.

In the village of Loupes, 20km east of Bordeaux, a sleek wood-and-glass building houses French brand Hermès’s newest atelier, where artisans craft the house’s leather bags. “In a world that is constantly accelerating, making the choice of craft and of doing things slowly sends a strong message,” says the mayor of Loupes, Véronique Lesvignes. This factory has created 260 jobs that are unlikely to be replaced by AI, says the company’s CEO and sixth-generation heir, Axel Dumas. “The strength of Hermès lies in the fact that we’ve missed out on every successive technological revolution,” he says.

The conviction that some things cannot be rushed means that demand for its signature bags far outstrips supply. “The only way to meet demand and increase our output is to recruit and train artisans,” says Guillaume de Seynes, the executive vice-president of the brand’s manufacturing division. “But we want each site to remain on a human scale, where everyone knows each other.”

Bayonne-based architect Patrick Arotcharen designed the Loupes workshop to fit into a forest clearing, without cutting a single tree. It’s heated by biothermal energy and equipped with solar panels and a rainwater-harvesting system. Inside, wall-to-ceiling windows allow in plenty of sunlight.

“The materials are natural and untouched but great care has been taken in the assembly, a bit like the seams of a bag,” says Arotcharen. “There’s a connection between what we do and the patient, meticulous work happening inside. It requires craft and technique.”
hermes.com; arotcharen-architecte.fr


3.
Stable by Carmen Maurice Architecture
Mayenne, France

Clean lines and simplicity elevate this new space for horses and their riders.

Carmen Maurice Architecture’s brief was to replace a dilapidated former stable in Mayenne, France. The resulting design has an “active zone” that accommodates teams and support staff, with a lounge, parking, saddle room and a farrier’s workshop. This is complemented by an equine space that has stalls creating a quieter, more protected area.

“A certain sense of poetry emerges from the simplicity of the design, the treatment of light and its relationship with the landscape,” says the company’s founder, Carmen Maurice.
carmen-m.fr


4.
Alouette
Copenhagen

Tasked with designing a restaurant’s new digs in a listed former warehouse, David Thulstrup has cooked up an architectural feast.

When Danish architect David Thulstrup was commissioned to design the new home of Michelin-starred restaurant Alouette in central Copenhagen, his priority was to make it just right for its owners. “You have to understand who they are, how they host people, the food that they make and the kind of atmosphere that they’re hoping to create,” he says.

He began with the arrival experience, drawing on the format of the original restaurant, which opened in the Danish capital’s Islands Brygge neighborhood in 2018. There, chefs Nick Curtin and Camilla Hansen (pictured) made a point of welcoming guests on the street before guiding them through a garden. At the new Alouette, a cobbled pathway leads through flowers and edible plants to an arch made from hand-brushed aluminium. “It’s a journey of discovery,” says Thulstrup. “I wanted people to have that original experience but amplified.”

A sense of place was also important. The restaurant occupies a former warehouse that was built in 1803. The architect devised a palette informed by the building’s history. Raw pine, hessian, blackened steel and Swedish dark stone are complemented by custom furniture developed with Frankfurt-based interior-design and furniture brand E15. “I wanted the material palette to feel grounded in the old warehouse, so we reduced it to a few strong materials,” says Thulstrup.

It’s an approach that echoes Curtin’s work as a chef. “Nick’s cooking is about reducing a dish to a very clear main ingredient,” says the architect. “I work in a similar way with materials.”

The constraints of redesigning a heritage-listed building inspired one of Thulstrup’s favourite interventions. Unable to alter significant parts of the existing structure, he introduced a sculpted hessian ceiling that adds volume while improving acoustics and concealing the technical infrastructure. “I had to design without touching the architecture,” he adds.

Together, these elements create a cohesive experience. “Fine dining takes place over a long evening, so you have to think about how you move through the space and how your mood changes along the way,” says Thulstrup. “It’s a narrative in itself.”
davidthulstrup.com; restaurantalouette.dk

Delicate balance:
What makes for good restaurant design? Architects need to consider circulation requirements, acoustics (you want a soundtrack of gentle conversation, not an echoey din), appropriate lighting (not blinding but bright enough to read a menu) and comfortable seating – a combination that helps the restaurant to tell its story.


5.
Cosmos residence
Singapore

In the densely packed island nation of Singapore, 95 per cent of residents are boxed into high-rise apartments. Local firm Right Angle Studio has found a way to elegantly accommodate art lovers when space is limited.

Singapore’s Right Angle Studio has renovated an apartment in the city to accommodate its owners’ passions for hosting and art. “We wanted to allow them to entertain their guests while preparing a feast,” says Alex Liu, who co-founded the studio with his brother, Jay. To that end, the duo connected previously disparate communal areas and opened up the kitchen to face the living areas. They also installed custom cabinetry to fit with immovable stone risers and framed the generous windows with bespoke furniture. The result is a home that is layered with portals, frames and stacking forms. It’s a combination of small details that creates a sanctuary from Singapore’s constant bustle.
rightanglestudio.com.sg

Artistic licence:
Pride of place in the living room goes to two yellow diptychs by Singaporean artist Lee Wen – the owners’ first art acquisitions, framed in a softly uplit, counter-height niche.


6.
Teffont House
Wiltshire, UK

This new hotel honours its historic British roots while catering to all of its guests’ modern needs.

Beckford Group’s Teffont House hotel sits in a centuries-old stone building in Teffont Evias, Wiltshire. Designer Natasha Hidvegi and co-owner Charlie Luxton have created a series of distinct public spaces: an orangery, a bar, a lounge, a brasserie-style dining room and an outdoor terrace. In a walled garden are badminton and croquet courts. “It’s important to have areas with different moods,” says Luxton. “You might have a high table where you can do some work, a lounge where you can read the paper, then an upright setting where you can talk. It’s about creating vignettes.”
teffonthouse.com

1.
Glasshouse Theatre
Brisbane

With its undulating glass façade and nods to Indigenous heritage, Queensland’s ambitious new theatre is reframing how a cultural institution engages with a city.

Brisbane’s architectural gems are gleaming more brightly than ever. A case in point is the new Queensland Performing Arts Centre expansion, which features the 1,500-seat Glasshouse Theatre, designed by local practice Blight Rayner Architecture in partnership with Norway’s Snøhetta. The building’s striking signature is a 173-metre glass façade that seems to ripple in sunlight.

The interior is equally striking. Its seven skylights reference Queensland’s seven watersheds. “It evokes the feeling of being beneath a rainforest canopy,” says Jayson Blight, the director of Blight Rayner Architecture, referring to the layered ironbark timber linings offset by a lush, emerald-green carpet.
blightrayner.com.au; snohetta.com

Fine façade:
The glass is inspired by a poem by Aboriginal elder Lilla Watson about fish in the city’s river. The idea is translated into a “veil” that lets passers-by glimpse blurred figures in the foyer – a spectacle that unfolds before anyone steps inside.


2.
Faculty of Psychology,
Warsaw

The decision to rehouse the University of Warsaw’s psychology faculty from an outdated, off-campus building presented architects with a chance to give it a fresh start. The result is a space that balances an ambitious sense of scale with intimacy, while fostering interaction.

The brief for the new Faculty of Psychology at the University of Warsaw, designed by Projekt Praga, was to create a new home. “The process went beyond defining the functional programme and preparing a list of rooms,” says Marcin Garbacki, co-founder of the Warsaw-based architecture studio. “It explored how students and staff learn, work, meet and build relationships.”

Reinforced and exposed concrete lend the space an eco-brutalist character, while wood, glass, terrazzo, textiles, greenery and natural light add intimacy. “Psychology is concerned with people and relationships,” says Garbacki. “The building supports this through visual connections, shared spaces and opportunities for informal encounters. This openness is balanced with quieter, more intimate settings because comfort also requires privacy, concentration and security.”

The key innovation is its two ground-floor areas. The first is a public level beneath the concrete canopy, with a spacious foyer, canteen, café and auditorium access. This is the “living room”. The second is under the atrium’s glazed ceiling, with open galleries leading to classrooms, terraces and study spaces, including nooks and alcoves. For Garbacki, the value of a building is defined by the quality of its users’ everyday experience. “We wanted to offer many kinds of spaces and a sense of choice.”
projektpraga.pl

Higher learning:
Academic architecture leans towards the overly conceptual or the utterly mundane. Projekt Praga’s building instead gives physical form to the notion of an open mind. The firm designed all of the interiors, furnishings and bespoke elements, as well as the structure – a rare opportunity to shape an entire environment for a 2,000-strong faculty.


3.
KIS International School Reignwood Park
Bangkok

The designer of this new Thai school has put freedom at the heart of its approach to meet students’ diverse educational needs.

“Today schools are rather restricted systems,” says Copenhagen- and Madrid-based designer Rosan Bosch, who specialises in educational spaces. Her latest vision for a school campus is the KIS International School Reignwood Park in Bangkok. “Children need freedom to move, experiment, make connections and experience their surroundings from different perspectives.” The school’s outdoor spaces unfold across 24 hectares. Inside, the light-filled rooms create an environment where children are invited to explore. The architecture includes playground slides, reading nooks, oversized cushions and soft mats. “We try to balance quiet corners with opportunities to take risks, test ideas and challenge oneself,” adds Bosch.

As the school welcomes a range of ages, the campus design was required to meet various needs. “We step back with the client and ask how teaching happens,” says Bosch. “We look at how the school is organised and its methods, then consider how design can support them.”
rosanbosch.com

Local lore:
Rosan Bosch’s Bangkok debut, developed with Thai architects, blends regional materials with local motifs. Water lilies adorn the entry hall, while the reception desk is lotus-shaped.


4.
Jihlava Municipal Arena
Jihlava, Czechia

An architectural competition led to the construction of a huge sports arena on a hitherto-underused plot of land in Czechia – with funding left over to renovate the park beside it too.

In 2019 the local authority of Czech city Jihlava launched a competition to design a new multidisciplinary sports venue on a plot of land next to a public park. “Stitching the city together became a mantra of our design,” says Ondrej Chybík, a founding partner of Prague-based international architecture firm Chybík + Krištof, which won the commission. The result is an elliptical structure designed to embed itself in the city’s physical, social and cultural make-up. Its red façade represents the municipality’s symbolic colour, while also invoking a hedgehog. Up to 5,650 fans can perch in the arena’s concrete stands. The roof is open to the public and features a pro-grade racetrack.
chybik-kristof.com


5.
La Source Vive
Évian-les-Bains, France

French studio PCA-Stream has completed a domed copper-clad chamber-music hall next to Patrick Bouchain’s 1993 La Grange au Lac.

A striking music hall and a wood-and-glass foyer building have recently opened on the forested slopes above Lake Geneva. They join La Grange au Lac, designed by French architect Patrick Bouchain in 1993. The complex has been dubbed Les Mélèzes – a name that references the surrounding larches.

Bouchain, who is now 81, worked with architect Philippe Chiambaretta of PCA-Stream on La Source Vive. The new building is clad in dark, copper tiles while the interiors are lined with timber and undulating layers of white plaster. The architects collaborated with a troupe of engineers, acousticians and craftspeople to deliver a harmonious complement to Bouchain’s original.
lesmelezes-evian.com


6.
Phare Ylliam
Geneva

Architecture practice Bureau’s new lighthouse on Lake Geneva transcends its function as a piece of maritime infrastructure, offering a poetic vision of safety and calm waters.

Because of developments in navigation technology, a lighthouse is no longer an essential piece of infrastructure for waterfront communities. Nonetheless, in 2020, the canton of Geneva and the Société Nautique de Genève launched a competition to design a new lighthouse for the city’s harbour.

The winner was Bureau, a small architectural studio based between Geneva and Lisbon, run by Swiss partners Daniel and Galliane Zamarbide and Portuguese-French Carine Pimenta. The now completed lighthouse is a feat of engineering that sits on concrete and metal foundations. “It’s a very precise structural construction,” says Daniel.

The lower floors, largely composed of locally sourced stone, include the sleeping quarters, while a spiral staircase leads to a co-working station. The open-air upper levels lead to the 23-metre-high light. “It’s an infrastructural but poetic object, with an anti-monumental intention,” says Daniel. “It’s an inhabited sculpture, rather than a bold carved-out architectural statement.”
bureau.ac


7.
Tagaytay City Hall
Tagaytay, Philippines

More than just government buildings, city halls are civic spaces that nurture transparency and trust. This new city hall in the Philippines is a fine example.

When temperatures rise, Filipino urbanites flock to Tagaytay, a highland city 60km outside the capital on a ridge overlooking Taal lake. Manila-based WTA Design Studio was commissioned to create its eight-storey, 8,000 sq m city hall. For the practice, the project was a chance to reimagine an administrative building as a vibrant civic space.

“This building is the social core of the city,” says William Ti, WTA’s founder. With a focus on social architecture, the studio’s recent work includes pedestrian bridges, cultural centres and city halls across the Philippines. “City halls can be gathering places for both residents and tourists. More than just government buildings, they’re civic spaces that nurture transparency and trust.”

On the site of an old convention centre, Tagaytay City Hall houses administrative departments, a café and an art gallery, all connected by an open atrium. WTA brought in local woodworkers to create the furniture and timber finishings.

The completed building is an expression of Tagaytay’s confidence and identity. More of a civic playground than a bureaucratic box, it’s also a masterclass in how public buildings can welcome visitors and bring communities together. “We aspired to find a path forward that speaks to the city’s kinship with nature and its culture,” adds Ti.
wtadesignstudio.com


8.
Living Breakwaters
New York

How to protect the shore while shoring up the local oyster population.

Commissioned by the US Department of Housing and Urban Development, Scape’s Living Breakwaters are designed to protect New York Harbor’s shoreline while providing a habitat for oysters. These filter water as they eat – a smart way to enhance infrastructure with natural systems.
scapestudio.com


9.
Sharjah Bridi Park
Sharjah

With its thatched-roof pavilions set within a nature reserve, Urko Sánchez Architects brings African vernacular architecture to the UAE.

Urko Sánchez Architects drew on Africa’s architectural heritage for its work on the new visitor facilities of Sharjah Safari, a wildlife attraction within Al Dhaid’s Al Bridi Reserve. Their thatched roofs were inspired by the makuti structures found in East Africa; the arrangement of buildings around the station area recalls Zanzibar’s historic centre. For project director Eloy Fernanz, the aim was to evoke “the feeling of being protected from a harsh environment, while being connected to the outside”.
urkosanchez.com

1.
Vite Espresso Coffee Maker
Italy

Alessi is expanding its celebrated kitchen range with this screw-themed moka pot, which takes inspiration from machinery in the company’s factory.

London-based designer Philippe Malouin worked with Italian brand Alessi to create this take on the stovetop moka pot. The piece draws inspiration from the threads of screws, with its spiral ridges and grooves referencing the twisting motion used to assemble the pot – making aesthetics part of the pot’s intuitive use. Its lower chamber is made from die-cast aluminium and its upper section features a heat-resistant thermoplastic-resin handle. Its colours are taken from the surfaces of machinery inside the Alessi factory. Adding to its appeal is the fact that it features a magnetic steel base that works on induction, gas and electric stoves.
alessi.com


2.
Kodak Snapic A1
USA

Rediscover the joy of traditional film photography with this revamped camera design.

Kodak has provided an upgrade to the traditional plastic disposable camera with its new 35mm film model, the Snapic A1. It features a sharp three-element glass lens for crisp images, a two-zone focus (which allows you to switch quickly between close-up portraits and wide landscape shots) and a built-in flash. It also has a wide focal length that keeps scenes sharp: perfect for everything from travel and street photography to casual indoor shoots. The main appeal, though, is in its simplicity.
kodak.com

New focus:
Free from distractions such as digital screens or phone apps, the Snapic A1’s pared-back design keeps its user in the moment and on the task.


3.
Fiio CP13 Portable Cassette Player
Guangzhou

Chinese brand Fiio plugs into the trend for retro audio players with this superior throwback.

Though China has long been disparaged as the home of cheaply made electronics, its new domestic makers are proving that the country has the manufacturing chops for quality audio. Analogue tapes are enjoying a resurgence in popularity (fans point to the allure of being able to “own” music) and Guangzhou-based Fiio’s CP13 Portable Cassette Player has found its way into New York’s Museum of Modern Art shop. It features old-school physical buttons, while its modern touches include USB-C charging and a 13-hour battery life.
fiio.com

Audio endurance:
The CP13’s 13 hours of continuous playback marks a significant improvement on the classic Sony Walkman.


4.
Hay Outdoor Market Fire Pit
Copenhagen

Light up your garden party or campsite with this versatile portable fireplace and cooker.

Designed in collaboration with Jasper Morrison, this fire pit brings to life the London-based product designer’s “super normal” ethos – an approach that aims to make everyday objects feel essential. Made by Danish brand Hay, its stainless-steel construction is portable, making it equally at home on a terrace or a trail. More than just an outdoor fireplace, it doubles as a cooker, thanks to its removable grill and charcoal basket.
hay.dk

Playing with fire:
There’s something about a fire pit that lights up our brains. Humans have evolved to associate flames with warmth, nourishment, safety and connection.


5.
Between the covers
Global

Looking for guides to visionary contemporary architects and era-defining design movements? Here’s our pick of five books to add to your shelf.

Published by oro Editions, Chairman is a new monograph documenting chair designs by London-based Yinka Ilori.

Oríkì: Material Affirmations in Three Acts from Apartamento Publishing is the debut work of Nigerian designer Nifemi Marcus-Bello, telling the story of a three-part sculptural series.

The Albanian Files: Freedom and Architecture, published by Lars Müller, chronicles two decades of urban change in the Balkan country. Tadao Ando has released Towards Light, which outlines his philosophies on life and architecture.

Riverside Modern explores the homes of Melbourne’s Studley Park, with photography by Jack Lovel.

Pride in print:
The challenge for any specialist design publisher is to blend the academic with the entertaining. A good architectural book should translate complex information into inspiring, visually engaging content that also pushes readers to build better.


Further inspiration:
The Monocle Design Awards 2026: The best homeware and equipment

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