Casa Sofia | © Fernando Guerra / FG+SG Located in the historic heart of Lagos, Portugal, Casa Sofia by Mário Martins Atelier is a thoughtful exercise in urban integration and contemporary reinterpretation. Occupying a site once held by a modest two-story house, the project is situated on the corner of a block facing the Church of St Sebastião. With its commanding presence, this national monument set a formidable challenge for the architects: introducing a new residence that respects the weight of history while offering a clear, contemporary expression. Casa Sofia Technical Information Architects1-4: Mário Martins Atelier Location: Lagos, Portugal Project Completion Years: 2023 Photographs: © Fernando Guerra / FG+SG It is therefore important to design a building to fit into and complete the block. A house that is quiet and solid, with rhythmic metrics, whose new design brings an identity, with the weight and scent of the times, to a city that has existed for many centuries. – Mário Martins Atelier Casa Sofia Photographs © Fernando Guerra / FG+SG © Fernando Guerra / FG+SG © Fernando Guerra / FG+SG © Fernando Guerra / FG+SG © Fernando Guerra / FG+SG © Fernando Guerra / FG+SG © Fernando Guerra / FG+SG © Fernando Guerra / FG+SG © Fernando Guerra / FG+SG © Fernando Guerra / FG+SG © Fernando Guerra / FG+SG Spatial Organization and Circulation The design’s ambition is anchored in reconciling modern residential needs with the dense urban fabric that defines the walled city. Rather than imposing a bold or disruptive form, the project embraces the existing rhythms and textures of the surrounding architecture. The result is a building that both defers to and elevates the neighborhood’s character. Its restrained profile and carefully modulated facade echo the massing and articulation of the original house while introducing an identity that is clearly of its time. At the core of Casa Sofia’s spatial organization is a deliberate hierarchy of spaces that transitions seamlessly between public, semi-public, and private domains. Entry from the street occurs through a modest set of steps leading to an exterior atrium. This threshold mediates the relationship between the public realm and the interior, grounding the house in its urban context. Once inside, an open hall reveals the vertical flow of the building, dominated by a staircase that appears to float, linking the house’s various levels while maintaining visual continuity throughout. The ground floor houses three bedrooms, each with an ensuite bathroom, radiating from the central hall. This level also contains a small basement for technical support, reinforcing the discreet layering of functional and domestic spaces. Midway up the staircase, the house opens onto a garage, a laundry room, and an intimate courtyard. These areas, essential for daily life, are seamlessly integrated into the overall composition, contributing to a spatial richness that is both pragmatic and sensorial. On the first floor, an open-plan arrangement accommodates the main living spaces. Around a central void, the living and dining areas, kitchen, and master suite are arranged to encourage visual interplay and shared light. This configuration enhances the spatial porosity, ensuring that despite the density of the historic center, the house retains a sense of openness and fluidity. Above, a recessed roof level recedes from the street, culminating in a panoramic terrace with a swimming pool. Here, the building dissolves into the sky, offering expansive views and light-filled leisure spaces that contrast with the more enclosed lower floors. Materiality and Craftsmanship Materiality plays a decisive role in mediating the building’s relationship with its context. White-painted plaster, a familiar element in the region, is punctuated by deep limestone moldings. These details create a play of light and shadow that emphasizes the facade’s verticality and rhythm. The generous thickness of the walls, carried over from the site’s earlier construction, lends a sense of solidity and permanence to the house, recalling the tactile traditions of the Algarve’s architecture. The interior and exterior detailing is characterized by an economy of means, where each material is selected for its ability to reinforce the house’s quiet presence. Local materials and craftsmanship ground the project in its immediate context while responding to environmental imperatives. High thermal comfort is achieved through careful orientation and passive design strategies, complemented by the integration of solar control and water conservation measures. These considerations underscore the project’s commitment to sustainability without resorting to superficial gestures. Broader Urban and Cultural Implications Beyond its immediate function as a family home, Casa Sofia engages in a broader dialogue with its urban and cultural surroundings. The project exemplifies a measured response to the question of how to build within a historical setting without resorting to nostalgia or pastiche. It demonstrates that contemporary architecture can find resonance within heritage contexts by prioritizing the values of continuity, scale, and material authenticity. In its measured dialogue with the Church of St Sebastião and the centuries-old urban landscape of Lagos, Casa Sofia illustrates the potential for architecture to enrich the experience of place through quiet, rigorous interventions. It is a project that reaffirms architecture’s capacity to negotiate between past and present, crafting spaces that are at once deeply contextual and unambiguously of their moment. Casa Sofia Plans Sketch | © Mário Martins Atelier Ground Level | © Mário Martins Atelier Level 1 | © Mário Martins Atelier Level 2 | © Mário Martins Atelier Roof Plan | © Mário Martins Atelier Section | © Mário Martins Atelier Casa Sofia Image Gallery About Mário Martins Atelier Mário Martins Atelier is a Portuguese architecture and urbanism practice founded in 2000 by architect Mário Martins, who holds a degree from the Faculty of Architecture at the Technical University of Lisbon (1988). Headquartered in Lagos with a secondary office in Lisbon, the firm operates with a dedicated multidisciplinary team. The office has developed a broad spectrum of work, from single-family homes and collective housing to public buildings and urban regeneration, distinguished by technical precision, contextual sensitivity, and sustainable strategies. Credits and Additional Notes Lead Architect: Mário Martins, arq. Project Team: Rita Rocha, Sónia Fialho, Susana Caetano, Susana Jóia, Ana Graça Engineering: Nuno Grave Engenharia Building: Marques Antunes Engenharia Lda

Casa Morena | © Fernando Guerra / FG+SG In the coastal enclave of Lagos, Portugal, Mário Martins Atelier has crafted Casa Morena. This residence quietly asserts itself as an ode to the dialogue between architecture and its natural setting. Completed in 2024, this project demonstrates a considered response to its environment, where the interplay of light, material, and landscape defines a sense of place rather than architectural imposition. Casa Morena Technical Information Architects1-5: Mário Martins Atelier Location: Lagos, Portugal Project Years: 2024 Photographs: © Fernando Guerra / FG+SG A simple house, one that wishes to be discreet and to be influenced by its location, to become a house that is pleasant with thoughtful landscaping. – Mário Martins Atelier Casa Morena Photographs © Fernando Guerra / FG+SG © Fernando Guerra / FG+SG © Fernando Guerra / FG+SG © Fernando Guerra / FG+SG © Fernando Guerra / FG+SG © Fernando Guerra / FG+SG © Fernando Guerra / FG+SG © Fernando Guerra / FG+SG © Fernando Guerra / FG+SG © Fernando Guerra / FG+SG A Contextual Response to Landscape and Light The design of Casa Morena finds its genesis in the site itself, a pine-scented plot overlooking the expanse of a bay. The pine trees, longstanding witnesses to the landscape’s evolution, provide the project’s visual anchor and spatial logic. In a move that both respects and celebrates these natural elements, Mário Martins Atelier structured the house’s reticulated plan to echo the presence of the trees, creating a composition that unfolds as a series of volumes harmonizing with the vertical rhythm of the trunks. The solid base of the house, built from locally sourced schist, emerges directly from the terrain. These robust walls establish a tactile continuity with the ground, their rough textures anchoring the architecture within the landscape. In contrast, the upper volumes of the house adopt a distinctly lighter expression: horizontal planes rendered in white plaster, their smooth surfaces catching and refracting the region’s luminous sun. This duality, earthbound solidity, and aerial lightness establish an architectural narrative rooted in the elemental. Casa Morena Experiential Flow Casa Morena’s spatial arrangement articulates a clear hierarchy of public and private domains. On the ground floor, the house embraces openness and transparency. An expansive entrance hall blurs the threshold inside and out, guiding inhabitants and visitors into a luminous social heart. The lounge, kitchen, and office flow seamlessly into the garden, unified by a continuous glazed façade that invites the outside in. This deliberate porosity extends to a covered terrace, an intermediary space that dissolves the boundary between shelter and exposure. The terrace, framed by the garden’s green canopy and the swimming pool’s long line, becomes a place of repose and contemplation. The pool itself demarcates the transition from a cultivated garden to the looser, more rugged landscape beyond, its linear form echoing the horizon’s expanse. Ascending to the upper floor, the architectural language shifts towards intimacy. The bedrooms, each with direct access to terraces and patios, create secluded zones that still maintain a fluid relationship with the outdoors. A discreet rooftop terrace, accessible from these private quarters, offers a hidden sanctuary where the interplay of views and light remains uninterrupted. Material Tectonics and Environmental Strategy Casa Morena’s material palette is rooted in regional specificity and tactile sensibility. Schist, extracted from the site, is not merely a structural element but a narrative thread linking the building to its geological past. Its earthy warmth and rugged surface provide a counterpoint to the luminous white of the upper volumes, an articulation of contrast that enlivens the building’s silhouette. White, the chromatic signature of the Algarve region, is employed with restraint and nuance. Its reflective qualities intensify the play of shadow and light, a dynamic that shifts with the passing of the day. In this interplay, architecture becomes an instrument for registering the ephemeral, and the environment itself becomes a participant in the spatial drama. Environmental stewardship is also woven into the project’s DNA. Discreetly integrated systems on the roof harness solar energy and manage water resources, extending the house’s commitment to a sustainable coexistence with its setting. Casa Morena Plans Basement | © Mario Martins Atelier Ground Level | © Mario Martins Atelier Upper Level | © Mario Martins Atelier Roof Plan | © Mario Martins Atelier Elevations | © Mario Martins Atelier Casa Morena Image Gallery About Mário Martins Atelier Mário Martins Atelier is an architectural studio based in Lagos and Lisbon, Portugal, led by Mário Martins. The practice is known for its context-sensitive approach, crafting contemporary projects seamlessly integrating with their surroundings while prioritizing regional materials and environmental considerations. Credits and Additional Notes Lead Architect: Mário Martins, arq. Project Team: Nuno Colaço, Sónia Fialho, Susana Jóia, Mariana Franco, Ana Graça Engineering: Nuno Grave Engenharia Landscape: HB-Hipolito Bettencourt – Arquitectura Paisagista, Lda. Building Contractor: Marques Antunes Engenharia Lda.

The Obalende bus terminus is one of Lagos’s most important transport nodes and a ‘graveyard’ for old danfos, which in Yoruba means ‘hurry’. These yellow‑painted minibuses form the backbone of Lagos’s informal transport system and are mostly second‑hand imports from the global north. Located in the heart of Lagos Island, Obalende is one of the first areas to be developed east of the lagoon that splits Lagos into two main halves: the Island and the Mainland. It receives a large portion of urban commuters daily, especially those entering Lagos Island for work. Obalende plays a critical role in the cycle of material reuse across the city. The life of a danfo does not end at retirement; it continues through a vast network of informal markets and recyclers that sustain entire communities. Their metal parts are either repurposed to fix other buses or sold as scrap at markets such as Owode Onirin. Located about 25km away on the Lagos Mainland, Owode Onirin, which means ‘money iron market’ in Yoruba, is a major hub for recycled metals. Waste collectors scour the city’s demolition sites for brass and mild steel; they find copper, bronze and aluminium in discarded vehicles. These materials are then processed and sold to companies such as African Foundries and Nigerian Foundries, as well as to local smiths who transform them into building parts, moulds and decorative objects. Sorters, welders and artisans form the backbone of this circular micro‑economy. Their labour breathes new life into discarded matter.  Lagos has a State Waste Management Authority, but it is fraught with politicking and inefficient in managing the city’s complex waste cycle. In the absence of intelligent state strategies, it falls on people to engineer solutions. They add armatures, build networks and modulate the static thresholds and borders imposed by the state. Today, these techniques and intelligences, born out of scarcity, are collectively labelled ‘informality’, a term that flattens their ingenuity.  Across the streets of Obalende and around its central roundabout, kiosks and pop‑up shops dominate the landscape. Most are constructed from materials such as timber reclaimed from collapsed buildings or fallen fascias, along with salvaged tarpaulins. Stones and concrete blocks found at demolition sites are moulded into anchors using discarded plastic paint buckets, serving as bases for umbrellas offering relief from the scorching Lagos sun. To anticipate flash flooding, many structures are raised slightly above ground on short stilts. Space, which is in short supply, is creatively repurposed to serve different functions at various times of the day; a single location might host breakfast vendors in the morning, fruit sellers in the afternoon and medicine hawkers at night. Due to its proximity to the city centre, Obalende experiences constant population shifts. Most entering the city at this node have no means of livelihood and often become salvagers. Under the curling ends of the Third Mainland Bridge, for example, a community of migrants gathers, surviving by scavenging motor parts, sometimes from old danfos, zinc roofing sheets and other materials of meagre value. Discarded mattresses, bedding and mosquito nets are repurposed as shelter beneath the noisy overpass, which becomes both workplace and home. In the absence of supportive state frameworks, communities like those in Obalende create micro‑responses to urban precarity. Their fluid, multifunctional spaces are adaptive and resilient architectures resulting from necessity, survival and material intelligence.  ‘Informality as a way of life is inherently circular in its use of space and materials’ In Lagos, the most populous city in Nigeria and one of the most populated in Africa, two thirds of the population live on less than US$1 a day, according to Amnesty International. This speaks not only to income levels but to multidimensional poverty. Unlike global cities such as Mumbai, Cape Town and Rio de Janeiro, where poorer demographics are largely confined to specific neighbourhoods at the margins, informality in Lagos is not peripheral but integral to how the city functions, defying the rigid thresholds and boundaries of formal urban planning.  Across Lagos, self‑sustaining circular economies flourish. Orile, a metal market located on the mainland, is one of the sites where discarded metals from sites in Lagos can be sold as part of a recycling system. Further out in the suburbs of Lagos, also on the mainland, is the Katangua Market, which is the biggest second‑hand clothes market in the city. In Nigeria’s largest hardware technology hub, Computer Village, just south of Lagos in Ikeja, used electrical and electronic equipment (UEEE) is sold for parts. A TRT World report notes that about 18,300 tonnes of UEEE arrive in Nigeria annually – although the number varies in other studies to as much as 54,000 tonnes smuggled in – with the majority coming from Europe, closely followed by the US and China.  Computer Village evolved into a dense network of shops, stalls and kiosks between 1998 and 2000, just before Nigeria adopted early digital cellular network technology. The market sits just minutes from the local airport and the Ikeja High Court, but its edges are fluid, spilling out from the Ikeja Underbridge. Over time, formal plots have dissolved into an evolving mesh of trade; the streets are lined with kiosks and carts, built from repurposed plywood, corrugated metal and tarpaulin, that come and go. Space is not owned but claimed, temporarily held, sublet and reshuffled.  Today, Computer Village generates an estimated US$2 billion in annual revenue. Yet most of the shops lack permanence and are constantly at risk of demolition or displacement. In March this year, over 500 shops were demolished overnight at Owode Onirin; in 2023, shopping complexes at Computer Village were torn down in a similar way. The state has continuously announced plans to relocate Computer Village to Katangua Market, with demolition of parts of Katangua Market itself making way for the move in 2020. Urban development patterns in Lagos prioritise formal sectors while ignoring self‑organised makers and traders. This contributes to spatial exclusion, where such communities are often under threat of eviction and relocation.  Discarded devices eventually make their way to landfills. Olusosun, in the very heart of Lagos, is one of Africa’s largest landfills. Over 10,000 tonnes of waste are delivered daily, and more than 5,000 scavengers live and work here, sifting through an artificial mountain of refuse in search of value: aluminium, copper, plastic, cloth. The waste stream, enlarged by the influx of used hardware and fast fashion from the global north, creates both livelihood and hazard. Recent studies have shown that most of the residents in and around the site are exposed to harmful air conditions that affect their lungs. Additionally, the water conditions around the site show infiltration of toxic substances. Scavengers have lost their lives in the process of harvesting metals from discarded electronics.  More than a landfill, Olusosun is a stage for the politics of waste in the global south. Poor regulation enables the flow of unserviceable imports; widespread poverty creates demand for cheap, second‑hand goods. The result is a fragile, and at times dangerous, ecosystem where the absence of the state makes room for informal innovation, such as space reuse and temporary architecture, material upcycling and recycling. In Olusosun, metals are often extracted, crushed and smelted through dangerous processes like open burning. Copper and gold harvested from the ashes then make their way back into products and institutions, such as the insets of bronze or aluminium in a piece of furniture that might eventually travel back to the global north. In its usual fashion, the government has promised to decommission the Olusosun site, but little has been seen in terms of an effective plan to repurpose the site under the state’s so‑called ‘advanced waste treatment initiative’. Informality as a way of life is inherently circular in its use of space and materials. It embodies adaptability, resilience and an intuitive response to economic and environmental conditions. The self‑built infrastructures in Lagos reveal the creativity and resilience of communities navigating the challenges of urban life. Now is the time for designers, policymakers and community leaders to work together and rethink urban development in a way that is more sustainable and responsive to the needs of the people who make cities thrive. The question is not whether informal economies will continue to exist, but how they can be designed into wider city planning – making them part of the solution, not the problem. Featured in the May 2025 issue: Circularity Lead image: Olympia De Maismont / AFP / Getty 2025-05-30 Reuben J Brown Share

Technology  Rate this post Africa is a large and beautiful continent. It has many countries, cultures, and people. Each country is unique. Some are small, while others are very large. In this article, we will explore how many countries are in Africa. We will also learn some interesting facts about them. How Many Countries Are in Africa in 2025? As of 2025, Africa has 54 recognized countries. These countries are members of the African Union (AU). Some sources may list 55 or 56. That is because of disputed territories. However, the official number is 54 countries. What Are These Countries? Here is a list of all 54 African countries: Algeria Angola Benin Botswana Burkina Faso Burundi Cape Verde (Cabo Verde) Cameroon Central African Republic Chad Comoros Democratic Republic of the Congo Republic of the Congo Cote d’Ivoire (Ivory Coast) Djibouti Egypt Equatorial Guinea Eritrea Eswatini (formerly Swaziland) Ethiopia Gabon Gambia Ghana Guinea Guinea-Bissau Kenya Lesotho Liberia Libya Madagascar Malawi Mali Mauritania Mauritius Morocco Mozambique Namibia Niger Nigeria Rwanda Sao Tome and Principe Senegal Seychelles Sierra Leone Somalia South Africa South Sudan Sudan Tanzania Togo Tunisia Uganda Zambia Zimbabwe Are There Any Disputed Regions? Yes, there are. Some regions are not fully recognized. The most well-known is Western Sahara. It wants independence. Some countries support it. Others do not. It is a disputed region. That’s why numbers may vary across sources. What Is the African Union? The African Union (AU) is like a family of African countries. It helps them work together. The AU has 55 members. This includes Western Sahara. That is why some people count 55 countries. But the United Nations recognizes 54 countries in Africa. How Is Africa Divided Geographically? Africa is usually divided into five regions: North Africa – Includes Egypt, Algeria, Libya, Morocco, Tunisia, and Sudan. West Africa – Includes Nigeria, Ghana, Senegal, and many more. Central Africa – Includes Cameroon, Chad, and Congo. East Africa – Includes Kenya, Ethiopia, and Tanzania. Southern Africa – Includes South Africa, Zimbabwe, and Botswana. These regions are based on geography and culture. Each region has its languages and traditions. Which Is the Largest Country in Africa? Algeria is the largest country by land area. It is in North Africa. It covers over 2.3 million square kilometers. Which Is the Smallest Country in Africa? Seychelles is the smallest African country. It is a group of islands. It is located in the Indian Ocean. It has a population of less than 100,000 people. What Is the Most Populated Country in Africa? Nigeria has the most people in Africa. It has over 223 million people in 2025. That is a huge number. Nigeria is also a strong economy in the continent. Which Country Is the Youngest? South Sudan is the newest African country. It became independent in 2011. It was part of Sudan before. How Many Languages Are Spoken in Africa? Africa is full of languages. Over 2,000 languages are spoken across the continent. Some countries have more than 100 languages. What Are the Most Spoken Languages? Some common languages in Africa include: Arabic (mainly in North Africa) Swahili (East Africa) Hausa (West Africa) Amharic (Ethiopia) English and French (used in many countries) These languages help people from different tribes talk to each other. What Religions Are Practiced in Africa? Africa has many religions. The most common are: Islam – followed mostly in North and West Africa Christianity – followed in most parts of Sub-Saharan Africa Traditional African Religions – still practiced in rural areas Religion plays an important role in African life. What Makes Africa Special? Africa is the second-largest continent. It is rich in culture, wildlife, and history. It has deserts, rainforests, and savannas. Africa is home to the Sahara Desert, the Nile River, and Mount Kilimanjaro. Is Africa Growing Fast? Yes, very fast. Africa has one of the youngest populations in the world. Many people are under 25. Cities are growing. Technology is spreading. New businesses are starting. Africa is changing quickly. Top Cities in Africa Some of the largest and busiest cities are: Lagos (Nigeria) Cairo (Egypt) Johannesburg (South Africa) Nairobi (Kenya) Addis Ababa (Ethiopia) These cities are centers of business, culture, and government. Tourism in Africa Africa has many tourist spots. People visit for safaris, beaches, and ancient places. Some famous places include: Pyramids of Egypt Serengeti National Park Victoria Falls Table Mountain Sahara Desert Tourism is growing fast in many African countries. Conclusion Africa is a vibrant and powerful continent. It has 54 unique and independent countries. Each one adds value to the continent. From deserts to cities, from languages to religions, Africa has it all. Knowing how many countries are in Africa helps us understand its diversity. Africa will continue to grow in 2025 and beyond. Tech World TimesTech World Times (TWT), a global collective focusing on the latest tech news and trends in blockchain, Fintech, Development & Testing, AI and Startups. If you are looking for the guest post then contact at techworldtimes@gmail.com

As was the case in many settler-colonial regimes, like the U.S. in Puerto Rico, the British Empire aggressively enlisted colonized peoples into its military during wartime. A new commemoration project by Tosin Oshinowo will speak to this history. Sir Edwin Lutyens designed 44 war memorials all throughout the U.K. before his death in 1940. Lutyens also built a World War I memorial in Freetown, Sierra Leone, in a government building courtyard. It was updated after World War II to include the names of more dead Sierra Leonean soldiers. Tosin Oshinowo of Oshinowo Studio, a Lagos architecture office, is now adapting Sierra Leone’s National Memorial for Commonwealth War Graves Commission (CWGC). Oshinowo is the first woman and the first West African to be commissioned by CWGC, the organization said. The update will deliver structural glass members atop the existing Lutyens memorial. (Courtesy Hayes Davidson) The memorial, CWGC added, will honor the Carrier Corps, or “non-combatant laborers and soldiers from across Africa that contributed toward campaigns.” The Carrier Corps transported war supplies “across terrain that was impassable to vehicles and animals”—at least 946 of them died in combat, and were never commemorated. The original design by Lutyens is a squat masonry block with plaques on the sides that slightly tapers upward in profile. The existing memorial has the names of 229 soldiers who died in World War I, and also World War II casualties, but no names of Carrier Corps members. This will soon change: Oshinowo Studio’s proposed design modifies the existing block’s top section with a new pyramid made of structural glass. A beacon of light will shine from the pyramid’s apex, making the memorial visible from 2 miles away at night when it shines. The addendum will be made of four structural glass blades etched with the names of 946 Carrier Corps members. “Honoring the past, shaping the future, our design for the Freetown memorial stands not only as a tribute to the fallen, those who lost their lives during the First World War, but as a symbol of Sierra Leoneans’ collective commemoration, representing cost of war and a people’s resilience, as well as the global commitment to peace for generations to come,” Oshinowo said in a statement. The overall project is informed by CWGC’s Non-Commemoration Report, which is meant to combat historical inequities in British World War I memorials. So far, CWGC has completed a new memorial in Cape Town, South Africa, as part of the campaign, among other works.

Erik BenjaminsThere is always a message in the medium. Designer Nifemi Marcus-Bello has attracted acclaim in the global design community over the last few years for a practice that relies as heavily on his expansive interior universe as it does on a sophisticated and ecologically conscious selection of materials. (Case in point: his bamboo pavilion for the 2023 Sharjah Architecture Triennial.)Jide AyeniThe "TM Moon" in cast aluminum from Marcus-Bello’s Oríkì series (Act II). The piece can function as a room divider.Jide AyeniMolten aluminum being poured into the mold for the "TM Moon" in Lagos, Nigeria.Born and bred in Lagos, Nigeria, Marcus-Bello drew on his country’s centuries-old legacy of artistic metal-smithing and cultural affinity for innovation to create his series Oríkì. In three acts, Marcus-Bello tackled bronze, aluminum, and copper, the last of which was shown at Marta Gallery in Los Angeles earlier this year. (He is pictured above sitting on a daybed from that exhibition.) “I was thinking of how Africa can play a role in the refinement of its own materials and the layers of conversations that can be had,” he says. “Not just from a material standpoint but from a -socioeconomical, cultural, and -identity-based standpoint as well.”Jide AyeniA copper headrest from the Oríkì series (Act III).The designer has been welding since he was 14. His Lagos studio looks to what surrounds it, using materials from the continent and collaborating with local artisans. “I don’t see craftspeople as outsiders,” Marcus-Bello says. “Many of the welders I work with have known me since I was a child. I approach them with an idea, and it ends up being a conversation.” It’s a conversation institutions, galleries, and collectors are only too eager to have, as a recent MoMA acquisition shows. “I am interested in the why of everything,” he says. “Things should not exist for the sake of existing.” ◾This story originally appeared in the May 2025 issue of Elle Decor. SUBSCRIBE

Ready for more racing? This month’s free update from the Polyphony team comes with four new cars to rip around on your favorite GT7 circuits: the ’17 Ferrari 812 Superfast, ’01 Chevrolet Corvette Z06, ’12 Suzuki Carry KC, and ’21 Honda CR-V e:HEV EX Black Edition. In addition, three new events are coming to World Circuits and Sophy, the AI racing agent, has been expanded to support the Circuit de Barcelona-Catalunya Grand Prix Layout. Update 1.59* for Gran Turismo 7 is available as of today Wednesday, May 14 at 11:00pm PDT / May 25 at 3:00pm JST / 8:00am CEST. Play Video New cars ’01 Chevrolet Corvette Z06 (C5) (Can be purchased from Brand Central / Used Cars) The peak of the 5th gen Corvette line-up revives the classic Z06 moniker. In 1999, a hardtop model was added to the Chevrolet Corvette C5 lineup. Though it removed the detachable roof and rear hatch from the coupé, this model utilises the increased rigidity from the new design to improve driving performance. Its dedication to performance is further evident from the fact that selecting the hardtop model included an automatic upgrade to the Z51 handling package and manual transmission. What’s more is that even with all these features, it was still cheaper than the standard coupé model. It’s no wonder that enthusiast drivers flocked to it despite its somewhat niche appeal. From 2001, the hardtop Corvette was equipped with a 384.6 BHP LS6 engine, an improved version of the LS1, and was renamed the Z06. The Z06 name was taken from a race package option code that had existed for the C2 Corvette. It featured a full titanium exhaust which is very unusual for a production car, along with reinforced suspension components with a specially tuned wheel alignment, and was only available with a manual transmission. However, in exchange for this wealth of equipment, there was a significant increase in the price. This made it the most expensive model yet, exceeding even the price of the convertible, which made it less obtainable to the users who had previously been attracted by its sturdy hardtop body and spartan equipment. Even so, further improvements were made to the Z06, with the maximum output increased to 405.3 BHP in 2002. Achieving over 394.5 BHP in a small block engine was an unprecedented feat, making it one of the fastest mass-production cars in the world. View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image ’17 Ferrari 812 Superfast (Can be purchased from Brand Central) Adopting the classic V12 FR layout, this Ferrari achieves blinding speed while retaining usability. The 812 Superfast was released in 2017 as a successor to Ferrari’s historic tradition of front-engined 12-cylinder models. The 812 name itself refers to the engine’s power and layout, being ‘800 PS, 12 cylinders,’ while the Superfast moniker was carried over from the legendary ‘500 Superfast’ itself produced in 1964. The body styling was conceived by Ferrari’s own Styling Centre. With a long nose and short deck, the body proportions are typical of a 12-cylinder front-midship layout, however the refined aerodynamics and details give it the elegant aura of modern Ferrari design. The 788 BHP and 718 Nm (73.3 kgfm) produced by the naturally aspirated 6.5L V12 unit are routed to the rear tyres through a 7-speed DCT transaxle. The car is also notable for being the first Ferrari model to incorporate an electric power steering unit. Additionally, the running gear features an evolved version of the 4-wheel steering setup found on the previous F12berlinetta model, dubbed the ‘Virtual Short Wheelbase 2.0’ system. The prime benefit of this system is it allows the nose to turn in sharply on even the tightest corners, despite the relatively long 2,720 mm wheelbase. With trunk space behind the seats and a spacious cargo area in the rear end, the 812 Superfast may be the perfect supercar for grand touring. View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image ’21 Honda CR-V e:HEV EX・Black Edition  (Can be purchased from Brand Central) The 5th generation model of this popular SUV is the first to feature a hybrid system. In the 1990s, Honda set their sights on creating cars for leisure activities, dubbing the category ‘Creative Movers’. The first such model was Odyssey which released to widespread commercial success in 1994, and was followed in ’95 by a high ground clearance SUV model. This was the first generation CR-V. From then, the CR-V became a long-selling hit, especially in the North American market. Eventually reaching the model introduced here, the 2021 model which is based on the 5th generation CR-V originally introduced in 2016. The model notable feature of the 5th generation is the introduction of a hybrid powerplant, the first ever in the series. This system combines a 2L Atkinson cycle engine with 2 electric motors, able to operate in both series or parallel. This highly efficient system also allows the petrol engine to provide power when cruising at high speeds. The availability of a 4-wheel drive option with this hybrid system further contributed to the CR-V’s popularity. Aesthetically, many characteristics have been carried over from the previous generation model, but the body has been slightly enlarged to increase leg room for rear passengers, improving their comfort. Additionally, the car is also able to carry a large amount of luggage with over 1,100L of cargo space available just by folding down the back seats. The petrol model also featured a 3-row 7-seater layout. The fifth generation CR-V is not only a refined SUV, it also features numerous driver assist systems like collision avoidance braking and adaptive cruise control. This makes it a perfect choice not only for leisure but for everyday driving as well. View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image ’12 Suzuki Carry KC  (Can be purchased from Brand Central) A quintessential example of the ‘micro-truck’ trend that’s sweeping the globe. Japan’s micro-car segment, known natively as ‘kei’ cars, has grown into an indispensable tool for everyday life. The kei segment of course features many passenger models, along with SUVs and sports cars too, but there are also a large number of commercial vans and trucks which support infrastructure. The Suzuki Carry is one such microtruck that reflects commercial kei cars as a whole. The Carry has a long history behind it, which stretches back to its birth in 1961. The 10th generation model was introduced as a full model change in 1999 in order to meet changes to the kei car certification standard introduced in 1998. The model introduced here is the 2012 model, the final model of the 10th generation following several other facelift models. The body has been enlarged over the previous generation, now measuring 3,395 mm long and 1,475 mm wide. The engine is located under the feet of the occupants in a semi-cabover configuration, and has a displacement of only 658 cc though the initial line-up did also feature turbocharged models. The Carry is available in a number of different model grades to fit purpose and price, but the KC is the most luxurious, featuring power steering and air conditioning as standard equipment. Along with a rear-wheel drive layout, it was also available with four-wheel drive allowing it to perform to its fullest even in the snow or on uneven mountain roads. The kei truck’s adorable aesthetics and excellent usability have also earned it attention from overseas. Preowned Carrys have found themselves to be popular for agriculture and farming in the U.S. where right-hand drive models are automatically qualified road-worthy 25 years after their initial release. A small body housing enormous potential, the Carry is yet another example of a uniquely Japanese car finding worldwide appeal. View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image World Circuits (New Events) The following new events have been added to ‘World Circuits’: Lightweight K-Cup: Eiger Nordwand American Clubman Cup 700: Autódromo de Interlagos Ferrari Circuit Challenge: Deep Forest Raceway ​​ Gran Turismo Sophy The next-generation racing AI agent, ‘Gran Turismo Sophy’ is now available on the following courses. Look for the Sophy icon in ‘Quick Race’ and ‘Custom Race’ on each track to test your skills against Sophy Circuit de Barcelona-Catalunya Grand Prix Layout. Scapes ‘Shooting the perfect square’ has been added as a featured Curation in Scapes, enabling square-photos with geometric backgrounds for social media. *Internet connection and Gran Turismo 7 game required for update.