An interview with Gabriel Tan

To mark the Salone del Mobile.Milano 2026, we are presenting the Soft Stone Sofa, a modular sofa system designed by Gabriel Tan. In this interview, the Portugal-based designer shares insights into the design’s origins – from his initial observations in Porto’s Parque da Cidade to the creation of a sofa that is both sculptural and comfortable.

What was the initial design idea for the Soft Stone modular sofa system?

Gabriel Tan: In 2020, I had just moved to Porto from Singapore. During this period, in the midst of the Covid-19 pandemic, I spent a great deal of time in the Parque da Cidade do Porto, the City park near my home. I observed people sitting on these huge stone blocks in the park, having picnics, resting or simply talking, and I found myself doing the same. It led me to wonder how nice it would be if these stone blocks were actually soft and comfortable. I have always been fascinated by how stone sculptors like Isamu Noguchi managed to achieve a sense of softness with such a hard material, and I wanted to explore that same quality but in reverse: to take a soft material and imbue it with the presence and gravitas of carved stone.

I delved deeper into this and found beauty in the different interlocking joints used by stonemasons and sculptors. I decided to apply this concept to a modular sofa design, which is composed of interlocking modules that are soft and comfortable, yet asymmetric and sculptural from every angle. While the form is inspired by nature, I tried to develop a systematic logic within the design.

The name Soft Stone combines apparent opposites. What is the meaning behind it and how is this idea reflected in the design?

Gabriel Tan: The name captures what I was trying to achieve: this paradox between weight and comfort, between something that looks carved and permanent but is actually soft and modular. This is expressed in the rounded radii and in the upholstery, both in the choice of fabric and in the placement of the seam lines. These design decisions soften the otherwise blocky appearance of the sofa. The sofa conveys a sense of solidity and presence, but when you actually sit in it, it feels generous and enveloping. I wanted Soft Stone to have the emotional weight and considered quality of a sculptural object, while remaining true to its function: to be lived with, used, and shaped around the way people use their spaces and their furniture.

Are there any special features in terms of material selection and upholstery construction that distinguish Soft Stone from other sofa systems?

Gabriel Tan: The upholstery construction is quite particular. We worked extensively to achieve a very specific quality for the cushions: they needed to feel soft, generous and enveloping, while also retaining their shape. To achieve this, we developed layered constructions combining springs, Memory foam of varying densities, and feather fillings, testing numerous configurations to strike the right balance between softness and support, comfort and durability. The final result contributes significantly to the balance between the visual expression of the piece, including the Placement of seam lines, and its long-term comfort and structural integrity.

In terms of textiles, the ClassiCon team visited a number of suppliers and manufacturers in Italy and Germany, ultimately selecting Zimmer + Rohde. It made sense as they are also a German company like ClassiCon, with an international reputation for exceptional quality.

Why did you decide on a modular sofa system rather than a sofa in one or two fixed sizes?

Gabriel Tan: The decision stems from observing how people live. Having worked on residential and hospitality interior projects, it is clear to me that spaces vary enormously, not only in size, but also in how they are used. A fixed sofa imposes a single solution or use case on very different contexts. A modular approach allows people to create configurations that respond to their space and their lifestyle. I also like the creative aspect of modularity. Arranging and reconfiguring modules can be a bit like composing a sculpture. This gives users a sense of authorship, allowing them to consider balance, rhythm, negative space, and so on.

You live in Porto. Does the city, or Portugal more broadly, influence the way you work?

Gabriel Tan: Living in Porto has definitely shifted my perspective. The pace of life here is less hurried, and craftsmanship is still very much embedded in everyday culture. That has encouraged a more patient and thoughtful design process. In Singapore, we have been almost ingrained to complete a task efficiently and move on to the next one. Porto offers a slower rhythm, in a good way. You see stonemasons working on buildings, furniture makers who have been using the same techniques for decades. It is less about innovation for its own sake and more About doing things properly and carefully. This mindset has influenced how we approach projects like
Soft Stone, with less urgency to bring it to market and a greater focus on creating something that will last.