Richard Rogers spent decades reshaping how cities think about transparency and structure — the Pompidou, Lloyd's of London, the Leadenhall Building — and The Emory, completed in 2024 as one of his final projects alongside Ivan Harbour of RSHP, carries that ambition to a quieter, more intimate scale. The new-build tower in Belgravia announces itself through a sail-like facade of cable and mast that pulls the glass curtain wall taut against the sky, the diagonal tension rods visible in the images giving the building a kinetic quality entirely at odds with the Georgian stucco surrounding it. London's first all-suite hotel, the property holds 61 suites and studios, their interiors divided between a remarkable rotation of designers — André Fu, Pierre-Yves Rochon, Alexandra Champalimaud, Patricia Urquiola, and Rémi Tessier — each pair of floors given over to a distinct sensibility. What keeps this from becoming a design showcase without a centre of gravity is how well the individual approaches cohere. The guest rooms in the images share a palette of warm walnut, pale oak flooring, and tawny linen that runs beneath whatever formal language each designer brings, while the rooftop bar — its amber-tinted retractable canopies, cognac leather wing chairs, and burl-wood side tables framing an uninterrupted view across Hyde Park to the City skyline — feels like the building thinking aloud about its own structure. Four floors below ground, the Surrenne wellness club anchors the whole composition in a different register entirely.

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