Brandon Donnelly
Daily insights for city builders. Published since 2013 by Toronto-based real estate developer Brandon Donnelly.
Brandon Donnelly
Daily insights for city builders. Published since 2013 by Toronto-based real estate developer Brandon Donnelly.
I'm not actually sure what the official name is for this kind of bag. Is it a shopping cart, shopping trolley or something else? The answer likely depends on where you are. Whatever it is, the September issue of Monocle has a feature on Spanish shopping trolley maker Rolser.
And for it, they photographed a bunch of cool urbanites with their trolleys, and then asked them: What's in your Rolser? See above photo. Supposedly, or at least according to the company, about 63% of Spanish households have a Rolser in their house.
This is interesting. Because in my part of the world, the percentage would be low. In fact, there are stigmas around them. Many people associate grocery carts with elderly people and sometimes with people who can't afford a car. But that's the wrong way to think about this bag.
It's actually a built environment association. The correct framing is: Are you urban enough to be able to use one? Because they're very common throughout Europe. Here, for example, is Paris, where they're called a chariot de courses or a sac à roulettes.
All of this has me thinking two things. One, our household is overdue for one. And two, this is an opportunity. These are utilitarian and often stigmatized objects that could very easily be reframed into a lifestyle design object for urban cities around the world. (Though, to be fair, the Rolser pictured above looks pretty good.)
The only prerequisite is a walkable urban environment. Maybe it's time that Globizen gets into the city roller business. Or maybe one of you can just run with this idea and then I can buy one.
Photo: Monocle
Back in the spring, I wrote about a small social housing project in Paris at 18 rue Pradier. And the reason I wrote about it is because it's one of those beautiful European projects that makes every city builder in North America wonder: Why don't we build projects like this?
I mean, it's nicer than most market-rate housing projects.
As part of my post, I did some internet sleuthing to find out the site area, the gross construction area, and what appeared to be the land price. But it was a modest piece. Thankfully, developer Brendan Whitsitt (of Imprint Development) just published a far more comprehensive summary of the project.
In it, he pieces together the building's mechanical systems, the wall assemblies, the project costs, and even the capital stack. He also compares everything back to what's typical and allowable by code here in Toronto. It's well worth a read.
However, I am going to spoil the punchline: Building in Europe is not cheaper. 18 rue Pradier is a beautiful — but very expensive — project. It only works because of subsidies. No private-sector developer would build it otherwise.
Compared to 2019, the Tate galleries in London are seeing ~2.2 million fewer visitors, representing an approximately 27% decline in patronage. Much of this is coming from a decline in international/European visitors. They're at 61% of pre-COVID levels, whereas domestic visitors are at 95%.
One of the biggest groups to fall off has been young visitors (aged 16-24) from the EU. Between 2019-2020, the Tate Modern alone welcomed 609,000 people from this segment. By 2023-2024, this had dropped to 357,000 and it remains depressed.
So now the Tate is cutting its staff and blaming two macro changes: the pandemic and Brexit. Though some people are arguing that it's really because the programming has been too woke and stuff.
In my mind, the Brexit excuse makes the most sense because it has clearly created additional friction. If you're a school traveller in France and want to visit the UK, you now need to complete a school trip information form (I'm assuming this wasn't the case before).
And if you're a student from any another country, you need a passport. In some cases you may also need a visa. So it makes sense that schools and teachers might say, "yeah, let's make our lives easier and just stay within the EU."
Based on a very cursory review of how other cultural institutions are doing, this possibly checks out. In 2019, the Centre Pompidou in Paris welcomed
I'm not actually sure what the official name is for this kind of bag. Is it a shopping cart, shopping trolley or something else? The answer likely depends on where you are. Whatever it is, the September issue of Monocle has a feature on Spanish shopping trolley maker Rolser.
And for it, they photographed a bunch of cool urbanites with their trolleys, and then asked them: What's in your Rolser? See above photo. Supposedly, or at least according to the company, about 63% of Spanish households have a Rolser in their house.
This is interesting. Because in my part of the world, the percentage would be low. In fact, there are stigmas around them. Many people associate grocery carts with elderly people and sometimes with people who can't afford a car. But that's the wrong way to think about this bag.
It's actually a built environment association. The correct framing is: Are you urban enough to be able to use one? Because they're very common throughout Europe. Here, for example, is Paris, where they're called a chariot de courses or a sac à roulettes.
All of this has me thinking two things. One, our household is overdue for one. And two, this is an opportunity. These are utilitarian and often stigmatized objects that could very easily be reframed into a lifestyle design object for urban cities around the world. (Though, to be fair, the Rolser pictured above looks pretty good.)
The only prerequisite is a walkable urban environment. Maybe it's time that Globizen gets into the city roller business. Or maybe one of you can just run with this idea and then I can buy one.
Photo: Monocle
Back in the spring, I wrote about a small social housing project in Paris at 18 rue Pradier. And the reason I wrote about it is because it's one of those beautiful European projects that makes every city builder in North America wonder: Why don't we build projects like this?
I mean, it's nicer than most market-rate housing projects.
As part of my post, I did some internet sleuthing to find out the site area, the gross construction area, and what appeared to be the land price. But it was a modest piece. Thankfully, developer Brendan Whitsitt (of Imprint Development) just published a far more comprehensive summary of the project.
In it, he pieces together the building's mechanical systems, the wall assemblies, the project costs, and even the capital stack. He also compares everything back to what's typical and allowable by code here in Toronto. It's well worth a read.
However, I am going to spoil the punchline: Building in Europe is not cheaper. 18 rue Pradier is a beautiful — but very expensive — project. It only works because of subsidies. No private-sector developer would build it otherwise.
Compared to 2019, the Tate galleries in London are seeing ~2.2 million fewer visitors, representing an approximately 27% decline in patronage. Much of this is coming from a decline in international/European visitors. They're at 61% of pre-COVID levels, whereas domestic visitors are at 95%.
One of the biggest groups to fall off has been young visitors (aged 16-24) from the EU. Between 2019-2020, the Tate Modern alone welcomed 609,000 people from this segment. By 2023-2024, this had dropped to 357,000 and it remains depressed.
So now the Tate is cutting its staff and blaming two macro changes: the pandemic and Brexit. Though some people are arguing that it's really because the programming has been too woke and stuff.
In my mind, the Brexit excuse makes the most sense because it has clearly created additional friction. If you're a school traveller in France and want to visit the UK, you now need to complete a school trip information form (I'm assuming this wasn't the case before).
And if you're a student from any another country, you need a passport. In some cases you may also need a visa. So it makes sense that schools and teachers might say, "yeah, let's make our lives easier and just stay within the EU."
Based on a very cursory review of how other cultural institutions are doing, this possibly checks out. In 2019, the Centre Pompidou in Paris welcomed
Could it simply be better programming? Yes, of course. But it's hard to argue that erecting barriers to become more closed off from the rest of the world, won't, you know, make you more closed off from the rest of the world. Here we're just talking about one cultural institution in the UK. But the lesson scales.
I'm thinking of you right now, America.
Could it simply be better programming? Yes, of course. But it's hard to argue that erecting barriers to become more closed off from the rest of the world, won't, you know, make you more closed off from the rest of the world. Here we're just talking about one cultural institution in the UK. But the lesson scales.
I'm thinking of you right now, America.
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