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UIA Barcelona Architects - Firm Growth & Client Trust

We want to hear from you. Next week we will be attending the @UIA World Congress of Architects 2026 in Barcelona, and we are recording a short interview series with architecture founders and principals. The idea is simple: Architecture is not only about the work you design. It is also about the relationships you build, the clients who trust you, the markets where you become known, and the decisions that help a firm win the right projects over time. That side of architecture is rarely talked about. We hear about competitions. Awards. Publications. Design narratives. But less about how firms actually grow. How they enter a new sector. How they build trust before an RFP exists. How they become the studio a client already has in mind before the shortlist is made. That is the conversation we want to open at UIA. We are inviting architects, founders, and principals to join us for a rapid-fire series of 10-minute interviews around lunchtime during the congress. We want to hear your story, your point of view, and how building relationships that lead to real projects has changed in recent years. Some firms we would love to talk to: marina tabassum, Boonserm Premthada DNA Design and Architecture, Elias Anastas, yousef anastas ,Joelle Eyeson (Hive Earth), Wes Degreef, Rahul Mehrotra (RMA Architects), Tatiana Bilbao, Adamo-Faiden, Olaf Grawert, Alina Kolar (HouseEurope!), Brandlhuber + Emde, Burlon, OFFICE Kersten Geers David Van Severen. If you are attending UIA and have something to say about the business side of architecture, comment or DM. We will be filming in Barcelona during the congress.

European Flea Market Vendors - Digital Adaptation & Cultural Value

Recently I’ve been working on a story about a film prop museum started by a professional prop master in Shanghai. With AI being used more and more in visual production, their traditional rental business has been shrinking. At first, we were wondering: is this industry going to disappear? Are these craftsmen going to be replaced? But after digging deeper, the situation is actually more complicated — and kind of hopeful. For example, some of them are turning their collections into cultural experiences, inviting people to learn how props are made and used. Others are actively embracing AI instead of resisting it. They’re digitizing their physical props, building 3D databases, and even trying out online rental models. So instead of shipping a real object, you might just download a digital version. And then there’s also a growing niche market. Things like immersive theater, murder mystery games, or independent creators — they still need very specific, tangible props. That demand is actually increasing. So overall, I’d say the industry is definitely being disrupted by AI, but it’s not simply dying. It’s adapting, splitting into new directions. And interestingly, this story reminded me of second-hand market I visited in Budapest in 2024. A vendor told me business had gotten much worse after the Russia-Ukraine war. Fewer people were spending money. I remember him trying really hard to sell me a small dictionary for five euros — he even joked that it would pay for a couple of beers that day. And there was this older man showing me a translated version of a Detective Conan comic, really hoping I would buy it. You could feel how urgent it was for them to make a sale. Whether it’s film props in China or flea markets in Europe, these are all very physical, tangible economies.I’m actually curious to explore further: in Europe, are these second-hand markets also trying to adapt? Are they going digital, or finding new cultural value, the way prop makers are doing in China?