“Everything is designed,” says Norman Foster, seated in a light-filled palazzo on the fringes of the Venice Biennale. “That means nothing happens by chance. A building or a piece of infrastructure is either designed badly, with little thought, or it’s designed well.”
The Pritzker Prize-winning architect is in Venice to present his latest project, a collaboration with German carmaker Porsche. Their creation—a floating bridge and pontoon featuring a shimmering shell and docking facilities for water bikes and motorboats—adds a kinetic and playful layer to the historic city’s infrastructure. It’s a striking example of how design can do more than solve practical problems: it can also enhance our experience of the world.
Foster’s views align closely with Monocle’s longstanding editorial stance. Each year, the magazine’s July/August issue explores how the built environment affects quality of life. While many institutions focus on metrics such as income levels or crime rates, Monocle seeks to understand how spaces make us feel. Do public libraries uplift us? Can public housing not only serve a need but instill a sense of pride?
“We know that we can improve the quality of all our lives through design,” Foster emphasizes. “We can do this by designing for our pleasure and enjoyment.”
That philosophy is evident throughout Foster’s storied career. His portfolio combines functionality with imagination. Take, for example, London’s 30 St Mary Axe—popularly known as The Gherkin—which redefined the office tower archetype. Or the transformation of Berlin’s Reichstag, crowned by a walkable glass dome that stands as a transparent symbol of democracy.
These works are celebrated not only for their architectural merit but also for what they represent: a belief that design can elevate daily life. As Foster and Monocle both argue, quality of life isn’t just a matter of economic indicators. It’s also about crafting environments that inspire, delight, and bring joy.
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