Their ambition was to create a welcoming, accessible space rooted in the identity of Lisbon but with a distinctly contemporary perspective. That vision was brought to life by Studio Pim<\/em>, the architecture practice led by Perrine Velge,<\/em> who translated their ideas into an environment that breathes memory, beauty, and belonging.<\/p>\n The interior design of Good Company<\/em> is marked by a quiet, almost literary sensibility. It doesn\u2019t seek to impress, but to embrace. Spread over two levels (132 m\u00b2 upstairs, 74 m\u00b2 below), the layout and materials engage in a subtle dialogue between Lisbon\u2019s design traditions and contemporary life.<\/p>\n At the centre of the space stands a striking marble bar, stretching across one side of the shop and symbolically linking the bookshop and caf\u00e9 areas. Inspired by iconic Lisbon caf\u00e9s like Caf\u00e9 Nicola<\/em> and Galeto<\/em>, this structural gesture evokes a sense of urban continuity \u2014 a place that feels as though it\u2019s “always been there”.<\/p>\n By the large windows, curved banquettes upholstered in a vibrant Pierre Frey<\/em> fabric welcome visitors without interrupting the view of the street. Custom-designed light wood shelves by Studio Pim<\/em> coexist with hand-painted ceramic frescoes by local artist Henriette Arcelin<\/em>, in a homage to traditional Lisbon bookshops like the now-closed Aillaud<\/em> e Lellos<\/em>.<\/p>\n Everything at Good Company<\/em> has been designed to last \u2014 and to connect. The large spherical lamp in the entrance hall acts as an urban beacon, visible from all four corners surrounding the building, and symbolises a desire to invite, attract, and gather. As night falls, coffee gives way to wine, conversation, and events: readings, book clubs, open mic nights. The bookshop becomes a meeting place, an extension of the city\u2019s cultural life.<\/p>\n The selection of materials \u2014 marble, wood, Burel wool fabrics, and cotton lamps handwoven by Atelier Ub\u00e1<\/em> \u2014 adds a tactile, almost domestic quality to the space. The lighting, entirely decorative and designed in-house, avoids technical spotlights in favour of a warm, enveloping atmosphere that mirrors the pleasure of slowly turning pages.<\/p>\n Beyond its exquisitely curated catalogue \u2014 with a strong focus on art, design, non-fiction, and poetry \u2014 Good Company<\/em> invites a different way of being. It\u2019s not just about buying books, but about inhabiting them. As Perrine Velge<\/em> explains, “We wanted the space to feel as if it had grown out of the city itself \u2014 rooted in its history, yet fresh and alive”<\/em>.<\/p>\n The result is a bookshop that not only meets a cultural need, but elevates everyday experience into a form of quiet contemplation. A space where reading becomes an act of self-care.<\/p>\n At a time when many bookshops struggle to survive in the digital age, Good Company<\/em> stands as a powerful example of how design can create emotional and cultural value. Like other iconic bookshops around the world \u2014 Do You Read Me?!<\/em> in Berlin, McNally Jackson<\/em> in New York, or Ofr.<\/em> in Paris \u2014 its strength lies in its attention to detail, aesthetic coherence, and authenticity of purpose.<\/p>\n With this project, Studio Pim<\/em> proves that interior design can be much more than a beautiful wrapper: it can be the visible soul of an idea. And in Good Company<\/em>, that idea is crystal clear \u2014 to read, to converse, to be… in good company.<\/p>\n (*)<\/strong> Photos courtesy of Studio Pim.<\/p>\n","protected":false},"excerpt":{"rendered":" A new classic in the heart of Lisbon For years now, Lisbon has been a magnet for creativity. Among historic caf\u00e9s and new cultural venues, Good Company has flourished \u2014 the city\u2019s largest English-language bookshop, offering a unique blend of literature, architecture, and community. Located in the Estrela district, this bookshop\u2013caf\u00e9\u2013bar is the realisation of […]<\/p>\n","protected":false},"author":4,"featured_media":86097,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[5915,5911,5905,5903],"tags":[],"class_list":["post-86119","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-shops","category-hotspots-en","category-books","category-culture-en"],"acf":[],"yoast_head":"\n![\"\"](\"https:\/\/ccmagazine.es\/wp-content\/uploads\/2025\/03\/StudioPimGoodCompanyLTA0361.jpg\")
<\/p>\nEmotional architecture: when design listens<\/h6>\n
![\"\"](\"https:\/\/ccmagazine.es\/wp-content\/uploads\/2025\/03\/StudioPimGoodCompanyLTA0292.jpg\")
<\/p>\nA beacon for the creative community<\/h6>\n
![\"\"](\"https:\/\/ccmagazine.es\/wp-content\/uploads\/2025\/03\/StudioPimGoodCompanyLTA0679.jpg\")
<\/p>\nReading with the body, thinking with the hands<\/h6>\n
![\"\"](\"https:\/\/ccmagazine.es\/wp-content\/uploads\/2025\/03\/StudioPimGoodCompanyLTA0535.jpg\")
<\/p>\n\u201cWe read to know we’re not alone.\u201d William Nicholson<\/h2>\n
Lisbon and the beauty of the essential<\/h6>\n