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The façade of YAPA Antiparos, where a large opening frames the brushed stainless-steel bar and pale oak stools, visible from the street. A low marble bench and potted prickly pears flank the threshold, the long communal table and olive-shaded courtyard extending to the right beneath a tall conifer.

YAPA Antiparos Carries a Milanese Restaurant's Nomadic Spirit to the Cyclades

The mezzanine library at Amaltash, Navsari, by Design ni Dukaan, tucked into the angle formed by the solar-panel roofline. Sharply raking micro-cement planes cut across the upper frame, their edges throwing precise shadow lines across the warm grey surface. A custom teakwood bookcase is built into the deepest recess, its open shelves and cabinet doors fitting the angled geometry exactly. A low dark wood chair with a cane seat occupies the platform beside it, the triangular window aperture beyond flooding the space with diffused natural light.

Amaltash House: A Contemporary Navsari Home by Design ni Dukaan, Shaped by Indian Craft Traditions

A symmetrical view of the Oratory at Abbotsford Convent frames Tom Fereday's Arum exhibition at Melbourne Design Week 2026. The timber-clad proscenium arch, flanked by stained glass windows, forms a warm backdrop to the Sia Chair, Mano glass blocks in smoky cast glass, and the travertine Cor Light totem on stage.

Tom Fereday's Solo Exhibition at Melbourne's Abbotsford Convent Explores the Elemental Origins of Glass

The penthouse living room of The Twenty Two New York, designed by Child Studio, photographed to reveal its full spatial layering. Crimson velvet sofas, a vintage-style floor lamp and an antique Persian rug occupy the foreground, while the hand-painted mural — inspired by the gardens of nearby Gramercy Park — sweeps across the vaulted upper walls, dissolving the boundary between interior and landscape.

The Twenty Two New York: Inside Child Studio's Gilded Age Hotel and Members' Club off Union Square

The infinity pool of the villa in Gialova, Messinia, by PEOPLE frames an uninterrupted view of Navarino Bay and the island of Sfaktiria. The pool's grey rendered coping aligns precisely with the horizon, olive trees softening the foreground and the Gialova lagoon visible below in the still morning light.

A Hillside Villa in Gialova, Messinia, Frames the Quiet Drama of Navarino Bay

The lower level of Lève Office Bar in Turin by Fabio Fantolino, seen through the gridded mirror ceiling that fragments and multiplies the interior into a kaleidoscopic field of warm wood, amber light and gathered bronze leather. The continuous wall banquette, Mart Stam S33 chairs and green resin floor are reflected across smoked mirror panels, dissolving the room's boundaries with characteristic 1960s spatial theatricality.

Fabio Fantolino Reimagines the 1960s Workplace as a Turin Cocktail Bar

The kitchen of P81 House photographed from the entrance, its circular Strzegom granite island and suspended linen canopy emerging from a corridor of floor-length white curtains. The dramatically patinated plaster wall beyond — ochre, terracotta, and ash layered over decades — reads almost like a fresco, softening the precision of the stainless steel cabinetry below.

Wiercinski Studio's Thoughtful Restoration of a 1930s Villa in Poznań

The corner of a Venetian dining room displays a tactile interplay of surfaces: a rough, metallic wall sculpture by Vincenzo De Cotiis hangs above a sleek Verde Alpi marble table. Exposed brickwork meets refined marble paneling, while Donald Judd’s wall-mounted boxes reflect the exhibition’s "Minimal Legends" theme of raw-meets-refined.

Minimal Legends at the Vincenzo De Cotiis Foundation Brings Minimalism’s Leading Voices to Venice

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