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Atelier Daciano da Costa: 2025 in Motion
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2025 has been a landmark year for Atelier Daciano da Costa, a studio renowned for preserving, reinterpreting, and celebrating the work of Portuguese architect and designer Daciano Da Costa and more broadly Portuguese design heritage.

“Portuguese design isn’t just being preserved — it’s being reintroduced to the world with new purpose.”

2025 was an especially dynamic year for the Atelier, marked by significant developments across three central areas of practice.

Research, Archives & Reissue Projects

In 2025, archives were not simply revisited, they were activated.

At the heart of the Atelier’s work lies a rigorous archival methodology. Original drawings, prototypes, and production notes are carefully studied to ensure each reissue preserves the integrity of the design while responding to contemporary standards of materiality, ergonomics, and sustainability.

In collaboration with ADICO, the Atelier relaunched the Peninsular Chair, originally designed for the Grande Casino Peninsular in Figueira da Foz, in a contemporary edition grounded in research and updated materials.

The Penta Armchair, originally designed by Daciano da Costa, was reissued in partnership with Collector and became one of the highlights of Lisbon Design Week 2025. During the week, the Atelier opened its workspace and showroom to the public, inviting visitors to engage directly with historic and reissued pieces.

Site-specific projects at Bica do Sapato and MACAM further demonstrated the studio’s ongoing dialogue between legacy and contemporary context.

Museological Actions & International Curation

Beyond production, 2025 marked an important year of curatorial and museological engagement.

Fifty-five years after Expo ’70, the Atelier returned to Osaka, helping curate a tribute at the Portugal Pavilion. A previously unseen archival film, drawn from personal and institutional collections, reconnected past and present.

At Expo Osaka 2025, the Osaka Chair was exhibited alongside international icons such as the Eames Lounge Chair and the Panton Chair, positioning Portuguese design within a global modernist narrative.

In Lisbon, the exhibition “Osaka – 55 Years Later, Designing the Future” at MUDE revisited the original Portugal Pavilion of Expo Osaka 1970 designed by Frederico George with Daciano da Costa through archival documents and contextual materials.

Osaka Chair, Vitra & International Legacy

Among the year’s most celebrated moments was the renewed attention given to the Osaka Chair by António Garcia, originally designed for the Portugal Pavilion at Expo Osaka 1970. Its 2025 reissue by the Atelier bridges historical authenticity with contemporary production standards.

Significantly, the chair became the third Portuguese piece acquired by the Vitra Design Museum collection, joining Daciano da Costa’s Quadratura and Alvor Chairs, reinforcing its place within the canon of international design.

Cartaz Osaka set 2025_Page_2.jpg — ©Atelier Daciano da Costa

We sat down with Inês Cottinelli, daughter of Daciano da Costa and director of Atelier Daciano Da Costa, to discuss the studio’s legacy, its contemporary vision, and the exceptional developments in 2025.
The conversation unfolds below.

How do you decide which archival pieces are ripe for reissue or reinterpretation today?

These decisions sometimes stem from rational considerations and other times from emotional ones, as they result from the convergence of several factors. At their core, however, there is a clear intention to bring back models that work both in domestic and professional environments. Some of these pieces had already been used by Daciano himself in different contexts, often more as adaptable solutions than as single, fixed projects. This approach allows the same model to be reintroduced with a different purpose, by reinterpreting it and adjusting certain characteristics to suit contemporary needs.

How do you balance historical fidelity with contemporary innovation when reissuing classic designs?

By exercising sound judgment and trusting the professionals we work with.

What methodological challenges arise when translating archival designs into modern prototypes? What is the process behind prototyping reissues, like the Peninsular Chair and Penta Armchair: from archive to contemporary object?

Translating archival designs into modern prototypes raises several methodological challenges, and in these two cases the processes were quite different.

For the Peninsular Chair, an original piece still existed, although the archival drawing was very abbreviated. This required close collaboration with the production team and a series of interpretative decisions, particularly regarding finishes, both for the tubular metal structure and for the upholstery. The presence of an original object helped guide proportions and intent, but many details still had to be resolved through contemporary manufacturing constraints and material choices.

In contrast, the Penta Armchair posed a different challenge, as no original prototype survived. The project relied solely on an archival drawing. From this, we developed a much more detailed technical drawing and worked at full scale in order to create molds, move forward with producing the shell structure, and define the upholstery, inferring the type of fabric from the archival image itself.

Overall, it was a long but enjoyable process, combining historical interpretation, technical development, and creative decision-making to transform archival material into a contemporary object.

Vista entrada atelier .jpg — ©Atelier Daciano da Costa

2020 Design São Bento reitoria bench Daciano da Costa e Gazelle chair António Garcia .jpeg

What challenges and discoveries emerged during the 2025 reissue of the Osaka Chair?

During the 2025 reissue of the Osaka Chair, one of the main challenges was working with limited archival materials and surviving examples that differed from one another. These variations required careful analysis and the reconstruction of a historical timeline to identify the original version of the chair and distinguish it from later adaptations.

A preliminary study was essential to guide all design decisions. This process took into account known intentions and design principles of the original author, while also allowing for subtle improvements aimed at increasing the chair’s structural resistance and durability.

Material selection was another key aspect of the reissue. For both the wooden structure and the upholstery, whether fabric or leather for the backrest and seat, the goal was to choose materials that preserved the authenticity of the model, remaining faithful to its original character while meeting contemporary standards of quality and performance.

How does the inclusion of Daciano da Costa and António Garcia’s chairs in the Vitra Design Museum Collection affect Portuguese design’s global reputation?

The inclusion of Daciano da Costa and António Garcia’s chairs in the Vitra Design Museum Collection has significant implications for the global perception of Portuguese design.

International Recognition: Vitra is one of the most prestigious design museums globally, known for curating works that represent the pinnacle of modern and contemporary furniture design. By including Portuguese designers, it signals that Portugal is not only participating in global design trends but is contributing original, high-quality, innovative work worthy of international attention.

Cultural Validation: For Portuguese design, which historically has been underrepresented on the global stage, inclusion in such a collection validates its aesthetic, technical, and conceptual contributions. It positions Portuguese design alongside more internationally dominant design centers like Scandinavia, Italy, or Germany.

Influence and Inspiration: Designers and students worldwide who study Vitra’s collection gain exposure to Portuguese approaches to form, function, and materiality. This helps create a dialogue between Portuguese design and global design movements, increasing influence and collaborations.

Market Prestige: Being in the Vitra collection can also elevate the market perception of Portuguese design, attracting collectors, galleries, and international manufacturers to explore Portuguese pieces.

Can you explain how the first pieces were chosen to enter the Collection?

They were carefully chosen to showcase Portugal as a serious player in global design, combining innovation, craftsmanship, and cultural identity. The pieces represent important milestones in the evolution of Portuguese design—both in the modernist period and in contemporary experimentation. Vitra’s curators look for pieces that tell a story about a nation’s design identity.Pieces that have historical significance.

This is the chronology of the incorporation into the Vitra’s chairs collection:

2022 — Daciano da Costa became the first Portuguese designer to enter the permanent collection of the Vitra Design Museum in Weil am Rhein, Germany.

Two of his chairs were selected:
Chair Alvor Hotel (1967)
Quadratura Chair (1971)

These models were chosen because they are considered key objects in design history, showcasing innovation and aesthetic quality that align with Vitra’s curatorial standards of design excellence.

2025 — The António Garcia’s Osaka Chair was Added

António Garcia’s “Osaka Chair” (originally designed in 1969 for the Portuguese café at the Osaka World Expo 1970) was added to the Vitra Design Museum Collection. This piece became the third work of Portuguese design in the museum’s collection, following Da Costa’s chairs.

The Osaka chair is notable for its rational and elegant design, practical assembly qualities, and international historical context, created to meet the logistical and cultural needs of the Expo setting.

Inês evento CAM peninsular Maio 2025.jpeg — ©Atelier Daciano da Costa

Daciano da Costa pic @atelier daciano da costa.jpg

How much preparation was needed for the preparation of the exhibition in Osaka. Can you go through the preparation and the process?

The preparation for the Osaka exhibition came on relatively short notice, at the beginning of 2025. The project aimed to pay tribute to the authors of the Portugal Pavilion of 1970: Frederico George, Daciano da Costa, and António Garcia.

Given the tight timeline, we developed a video homage and revisited archival materials, which was a moving experience, especially reconnecting with the families. This led to António Garcia’s children entrusting us with parts of his personal archive, and we proposed, and they enthusiastically agreed, to donate it to Vitra.

The process was facilitated by existing relationships with the curator and was very well received, allowing another Portuguese designer to join the collection and supporting our goal of promoting national design internationally.

What about the exhibition at MUDE- MUSEU DO DESIGN?

“EXPOSIÇÃO OSAKA - 55 ANOS DEPOIS, DESENHAR O FUTURO” took place between the 23rd of May and the 29th of June 2025.

There was an intention to include the Osaka Lisboa event in Lisbon’s cultural program, and it seemed very relevant to move forward with a first phase to showcase and honor the authors.

55 years ago, Portugal participated in the Osaka 1970 World Expo under the motto Progress and Harmony for Humanity, with a pavilion designed by Frederico George in collaboration with Daciano da Costa and António Garcia.

The exhibition presented the design and construction of the Osaka 1970 Pavilion, alongside some of the pieces created by António Garcia and Daciano da Costa for its interior, together with documentary material covering the entire process.

Some of the materials originally selected for a video to be presented in Osaka on September 4–5 was also shared, providing an opportunity to showcase them at MUDE together with the original pieces developed for the Osaka Pavilion: the Osaka cutlery set by Daciano da Costa and the Osaka chair by António Garcia, both part of MUDE’s collection, as well as the re-edition of the first piece from the cutlery set—the coffee spoon set created for this celebration.

In what ways do exhibitions and international collaborations help position Portuguese design within the broader history of modern furniture and architecture?

Exhibitions and international collaborations showcase Portuguese design globally, connecting its craftsmanship and innovation with modernist trends. They foster cross-cultural dialogue, enhance recognition, and position Portugal as an active contributor to the history of modern furniture and architecture.

What are your personal memories of the original Bica do Sapato and of the period of Manuel Reis and his legacy?

My memories of the original Bica do Sapato are magical. Designed by Manuel Reis, a friend of my father, it was a place where culture, architecture, and gastronomy came together in a warm, intimate, family-like atmosphere.
Everything had a personal touch, giving it a warmth and intimacy that made it feel like home.

BICA DO SAPATO_0050_FOTO_RENATO VELASCO.jpg

BICA DO SAPATO_0054_FOTO_RENATO VELASCO.jpg — ©Atelier Daciano da Costa

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