Monica Förster takes a hands-on approach to furniture design. In her Stockholm studio, she whips up a flurry of tiny paper models—“3-D sketches”—that rival their full-scale progeny for beauty and craftsmanship.
“The computer is a tool; I can’t do without it,” says Förster. “But the nice thing about making models is that in the process of doing, I’m more open to mistakes—maybe I put the tape in a way that I don’t intend, but it shows a new possibility. In a computer everything is perfect. When I make models, it’s intuitive and rough: I take a flat piece of paper, I cut it, I tape it. It’s very quick. I find it very refreshing.” (Read More…)
Thomas Phifer is one of the most subdued architects you’ll ever meet. Sitting in his all-white New York office in a navy suit, reclining diagonally in a straight-backed chair, he speaks in a low and measured tone. When he’s being pensive—–which is most of the time—–he closes his eyes as he talks and bobs his hand gently in front of him like a conductor, as if coaxing out words. To hear him better, I lean in, block out the blaring car horns outside. In this way, he is like his architecture: exquisitely 
Gesturing at the wood-and-iron house he designed for his family three years ago, the Buenos Aires–based furniture designer and architect Alejandro Sticotti declares, “It was like putting in a UFO, like something from Mars.” True, with its clean lines, open floor plan, and raw finishes 
Few people would spend their life savings on a plot of land they’d never seen. Two exceptions are Adrienne Webb and Stefan Dunlop, who, while living in a loft in London, snapped up an acre of land in northeastern Australia, 10,000 miles away. 
