Brooklyn studio GRT Architects has used a "rhythm" of arched motifs throughout this Italian-American restaurant in New York City's West Village, along with checkered marble tiles and brass details.
Don Angie recently opened in the ground floor of a pointed corner building, shaped by the angled intersection of West 12th Street and Greenwich Avenue.
The restaurant – one of many in the neighbourhood – is the brainchild of young chefs Angie Rito and Scott Tacinelli, who aim to put a fresh spin on typical Italian-American dishes.
"We were struck by the husband-and-wife team's ability to breathe new life into familiar territory, to experiment and please at the same time," said a statement from the studio.
"In response we designed Don Angie aiming to blend the effortless glamour of northern Italian design with the familiarity of a north New Jersey red-sauce joint."
GRT Architects chose a simple flattened arch as a repeatable design element across the interior, for its links to traditional architecture in Italy.
Used both right-side up and inverted, the shape is found over doorways and the bar shelving, and as bronzed mirrors and mahogany panelling on the walls.
It was also added to the corners of panes that form the street-facing windows, below golden line work that gently suggests the impression of bistro curtains.
"From the facade to the interior, a rhythm of flattened arches – both upside down and right side up – serves as a framing device, creating subtle differences between the bar, dining room and corner booths without making the already cozy space feel small," said GRT.
A checkerboard of 12-inch grey and white marble tiles covers the floor of the 1,000-square-foot (93-square-metre) space, reminiscent of the vinyl flooring commonly associated with Italian-American eateries. In the bathrooms, these are swapped for half sizes in a grid of red and white.
Along the windows, a banquette upholstered in navy leather and velvet provides seating, and addresses the room's awkward corner. Tables coated in a deep varnish are also accompanied by wooden bistro-style chairs.
Rosso Levanto marble tops the bar counter, which forms an S into the space, and lines the bottle display above.
Brass accents wrap the edges of the countertop and shelves, and around the base of the bar. The metal is also used for the custom light fixtures, which GRT designed themselves and fabricated locally.
The blown-glass diffusers create sconces and pendant lamps influenced by the work of Italian lighting designer Gino Sarfatti.
Ceilings are covered in upholstered panels, reeded to "visually and acoustically soften the space to aid the acoustics of the space". Design and installation of the whole interior took just four months from start to finish.
New York's ever-evolving dining scene has several new venues with noteworthy interiors, including a ramen restaurant near Herald Square and a cafe in NoMad that becomes as a speakeasy after dark.
New York architecture firm MKCA has gutted an outdated apartment in the West Village, transforming its dim interiors into light-filled spaces.
Bank Street Apartment is a two-bedroom, two-bathroom property that has been redesigned to make the most of its angular floor plan.
Local firm Michael K Chen Architecture (MKCA) overhauled the residence for a professional couple who already had a notable collection of artwork, furnishings and decorative pieces.
The studio added custom millwork made from bleached ash to add more storage space, integrating a bar, entertaining area, work space, and a pull-out television.
This cabinetry allows the residents to hide away their possessions, and gives the impression of more space.
Another feature of the redesign is a kitchen that now opens out onto a living room and dining nook.
Originally a narrow galley enclosed with walls, the new food preparation area has natural light with an airy feel. The countertop was extended, and anchored with a block of Vermont marble.
A continuous window sill runs the width of the apartment, updating the existing series of black-ribboned sash windows to provide space for displaying art and decorative pieces.
A new room formed by a large sliding pocket door creates a private home office when closed. Other subtle changes to the existing floor plan include a smaller guest room and a redesigned dining area.
In the dining space is custom-made banquette designed by the architecture studio and fabricated by New York designer Martin Albert. The white oak dining table was also designed by MKCA, and built by JHWorks.
A master bedroom has been redesigned with an ensuite, while a powder room is now located off the kitchen. The placement of doors has also changed, drastically improving routes around the apartment.
All of the walls are painted white, with light countertops and marble accents. Existing white oak floors were refinished in oil, with new recessed lighting and motorised rolling shades to update the space.
The gallery has been filled with photographs, flyers, artworks and records relating to some of the world's most iconic nightclubs, dating from the 1960s to present day. Among them are Manchester's Hacienda and the iconic Studio 54 in New York.
The exhibition aims to explore the "relationship between club culture and design", looking to the nightclub as a point of inspiration for architects and designers alike.
Organised in a chronological order, exhibits includes a site-specific music and light installation created by Konstantin Grcic and lighting designer Matthias Singer.
"The nightclub is one of the most important design spaces in contemporary culture," said Vitra. "Since the 1960s, nightclubs have been epicentres of pop culture, distinct spaces of nocturnal leisure providing architects and designers all over the world with opportunities and inspiration."
"The multidisciplinary exhibition reveals the nightclub as much more than a dance bar or a music venue; it is an immersive environment for intense experiences."
Visitors enter the exhibition in the 1960s, where designs from clubs including New York's Electric Circus and Florence's Space Electronic are on show.
In this section, Italy's so-called "radical period" – a movement that saw creative practices take on an avant-garde style – is also explored.
Venues associated with the radical period are profiled, including the multifunctional Piper space in Turin, designed by Giorgio Ceretti, Pietro Derossi and Riccardo Rosso with a modular interior.
Moving onto the 1970s, Night Fever looks to the influence of New York's Studio 54. Founded in 1977 by Ian Schrager and Steve Rubell, the club gained cult status thanks to its celebrity visitors and opulent interiors.
Much of the 80s section focuses on Manchester's Hacienda, which featured post-industrial style interiors by architect and designer Ben Kelly.
The influence of the Hacienda and its impact on the acid-house genre spread to Berlin in the early 1990s – a period detailed in the next section of the exhibition.
Soon after the Berlin Wall came down, ravers began occupying disused and derelict spaces to create clubs, such as Trezor. Organisers would send out details of parties through flyers, which often followed a heavily graphic aesthetic emblazoned with lo-fi typography.
In 2004, Berlin became home to Berghain, which is located inside a former heating plant.
"[This demonstrated] yet again how a vibrant club scene can flourish in the cracks of the urban fabric, on empty lots and in vacant buildings," said Vitra.
Finally, the exhibition looks to the complexities of modern-day nightclub design.
"On the one hand, club culture is thriving and evolving as it is adopted by global brands and music festivals; on the other, many nightclubs have been pushed out of the city or survive merely as sad historical monuments and modern ruins of a hedonistic past," said the curators.
"At the same time, a new generation of architects is addressing the nightclub typology," they added.
Acanthus Clews Architects was briefed to create a sustainable future for this Grade-I listed building. The studio responded by removing previous 20th-century extensions and adding a new multifunctional space for the local community.
First completed in 1964 by Canadian architect Jean-Marie Roy, the St Denys-du-Plateau Church was revamped to create a modern library. The tent-like structure is now complemented by a pair of glazed extensions and spiral staircases.
Architecture studio Klaarchitectuur turned to this 17th century chapel in Belgium when looking for the new office. The major renovation project involved completely replacing the roof, which now features a white box bursting through the side.
Foster Wilson Architects oversaw the conversion of this heritage-listed church in Bedford into a 300-seat theatre. The auditorium, located in the centre of the chapel, was created by erecting a steel structure behind the existing walls.
Dutch architecture firm Merkx + Girod converted a Dominican church in Maastricht into this modern bookshop. So as not to interfere with the historic structure, they inserted a black steel structure to house the bookshelves.
In 2WEEKS, parallel lines of vertical strip lighting elements illuminate the inside of the container-like screens. These industrial elements have been juxtaposed with the plush velvet upholstery and zig-zag brushed brass of the DJ booth.
Rabih Geha Architects chose to retain the original floor of diagonal lines of black and white tiles, left there from when the space was a restaurant, in certain areas.
"The floor is quite interesting, because, like most elements in the project, our design intervention is always in relation to the site itself," said Geha.
"For the inside of the structure, however, we decided to install black terrazzo to contrast with the existing floor. The areas marrying the old with new are poured concrete."
Ornately painted walls, velvet furnishings and a pair of olive trees create a decadent setting for this Italian restaurant within an early 20th-century cinema, in Sweden's capital.
Local practice Millimeter Arkitekter transformed the neglected cinema into an Italian eatery with a "grand and familiar character", which honours the building's historic quirks.
Now L'Avventura restaurant, the cinema was designed by Swedish architect Björn Hedvall in 1927. It sits at a busy intersection where developer Stureplansgruppen are planning to open two further restaurants.
"We tried to create a new interior with its own design language that could stand for itself, and at the same time speak well with the existing interior," Tina Marin, interior architect at Millimeter Arkitekter, told Dezeen.
The practice chose to preserve the venue's stucco ceilings and decorative walls, which are painted with classical murals by Swedish artist Nils Asplund.
Restoration works over recent years meant that both features were in good condition for Millimeter Arkitekter's intervention.
A pair of mature olive trees from Italy were planted at the centre of the main dining hall – which has a 20-feet-high ceiling – to help create a more intimate ambience.
"We made many spectacular sketch proposals, but in the end everyone that worked on this project felt that two huge olive trees would give the right feeling, and would work well with the Italian concept," Marin explained.
Smaller saplings also stand alongside the dining booths that line the periphery of the room.
Keeping to a rich colour palette, the architects specially crafted red velvet chairs to curve around each table. Forest green tiles have been used to complete the restaurant's open kitchen, which has been placed where the cinema's film screen once was.
The practice also employed glass to create tall shelving units for L'Avventura's two bar areas, ensuring visitors can still get a glimpse of the distinctive walls.
Millimeter Arkitekter are one of several practices that have recently given a restaurant an opulent appearance.
Israeli designer Meir Guri has used dusty pink and multicoloured marble tiles to ensure this restaurant stands out against its shopping centre setting in Tel Aviv.
Cafeteria is located at the main entrance of the Gindi Fashion Mall, which opened March 2017 in the city centre.
The restaurant comprises an open-plan dining room with a series of bars, booths, and smaller dining tables arranged around a stepped floor plan.
An atrium-like space is filled with various plants and brass hanging pendants. Natural light enters through the large floor-to-ceiling windows that surround the retail complex, designed by Israeli firm Moore Yaski Sivan Architects (MYS).
"When I saw the site, I wanted the cafe to be seen from the street outside the mall," said Guri. "I thought it should have a different colour and texture, so it sticks out visually."
Interior walls are covered in wood panelling and painted a dusty pink colour to add warmth and texture.
"I thought using a deep shade of antique pink was the solution, so the eye could easily differentiate the cafeteria from the rest of the mall," said Guri. "I feel there is something very elegant and adult about this colour, it sends a very 'established' and powerful message."
At Cafeteria, lightbox signs with words "cafeteria" and "toilets" add a playfulness to the eclectic space.
Floors are made from second-hand marble, cut into different shapes and sizes. The mosaic floor includes colours of dark jade, orange, yellow, cream, white, grey and black.
The project's limited budget caused Guri to think resourcefully about the design. "It was really important to me that we used marble for the flooring, but the budget simply didn't allow it," he said.
"After visiting some marble factories, a solution surfaced very quickly in my head: I will buy all their leftovers and loose cuts for a fraction of the price, asked them to cut it into different triangular shapes and sizes," said Guri. "I assembled the floor randomly on site with a wonderful and very patient marble workman."
The deep, warmer tones of the floor contrast with the pink walls and royal blue upholstered benches, while golden metal and white marble accents help to tie different areas of the space together.
A reference for the interior came from late Italian designer Gio Ponti, whose work often featured bold geometries and rich materials. "I am a fan, and find his work classic but also daring," Guri said.
President Donald Trump's son has praised the work of Matteo Nunziati, who used Italian marble to decorate the newly opened Trump Towers in Pune, India.
The Milan-based interior designer decorated every room in the pair of 26-storey residential towers, using only furnishings from Italian brands.
To mark the completion of the project, Donald Trump Jr attended the opening of the second tower, called Tower B.
"Donald Trump Jr has expressed a strong appreciation for the high level of the interior design project, stating that it could be a London or New York project, and the finishes would still be the best residential ones he has ever seen," said a spokesperson for Studio Matteo Nunziati.
Italian marble features heavily in the interiors, from the columns of the grand lobbies through to the floors of the apartments.
Silk georgette and silver travertine marble covers much of the walls, floors and columns of the reception area, with traditional Indian motifs carved into the stone. Twisting bronze sculptures are scattered throughout the lobby.
The design team said it aimed to produce an "atmosphere of cosy and timeless elegance" in the residences.
Modular linen sofas are set against the marble floors to invoke a European style sensibility. Intricate glass chandeliers by Italian brand La Murrina hang over the dining table, which is separated from an open-plan living area by floor-to-ceiling sliding glass doors.
A "decorative library" with shelves of wood and glass divides the entrance of each apartment from the main living area.
On the dedicated podium floor, residents can make use of an outdoor pool with fitness and yoga areas, two massage rooms, a reading area, a business centre and a whole room given over entirely to playing poker.
Each one of the 46 residences occupies an entire floor of the tower, offering over 566 square metres of accommodation.
Indian English-language daily newspaper Business Standard reported that prices for a property in the tower started at 150 million Indian Rupees (£1,653,000).
The residential complex is situated in the Kalyani Nagar district of Pune, a city in the western state of Maharashtra.
The project was developed by Pachshil Realty, which is licensed to use the Trump name.
Work began on the twin towers in 2011, and was completed in 2017. Trump Jr attended the inauguration in late February of 2018.
CNN money reported that a selection of potential buyers were flown to New York to a reception hosted by Trump Jr in January, ahead of the official opening.
An enlarged master suite and a new indoor pool are among the modifications to a 1950s dwelling in Seattle made during renovations by American firm SHED.
Located in the heart of the city, the Hillside Midcentury project entailed updating a young family's home, which was built in 1957. Local studio SHED Architecture and Design sought to restore certain elements while integrating new modern details.
"Originally, the two floors of the home were mirrored, which was a common architectural approach in the 1950s," said the firm. "For this reason, SHED did not make any major structural changes but instead updated the kitchen, bathrooms and bedrooms to better align with the family's living patterns."
Built on a gently sloping site, the home totals 2,250 square feet (209 square metres). On the main level, green slate flooring in the entryway was retained, as were the original hardwood floors in the living room and dining area. Elsewhere, new flooring was installed.
In the living room, dark timber beams traversing the original Douglas fir ceiling are left exposed. Low-lying wooden cabinetry wraps a sofa and defines the edge of the room. A fireplace with a brick surround is set into a wall clad in newly painted shiplap siding, which extends to the outdoors.
The wooden ceiling continues into the dining area and kitchen. Suspended over a dining table is the Heracleum II pendant light, designed by Bertjan Pot for Moooi. New kitchen cabinetry was installed, including portions sheathed in a maroon laminate – a response to the owner's request for a pop of colour.
To enlarge the master suite, the architects converted a spare bedroom into a spacious bathroom with tiled walls, a floating vanity, and an open shower with a frosted glass window that stretches from floor to ceiling. The team got creative when it came to the lavatory.
"The homeowners wanted a powder room on the main floor but there were space limitations, so SHED created a separate toilet compartment off the master bath to serve both uses," the studio said.
A stair lined with dark railings leads down to the home's lower floor. One of the most significant moves on this level was transforming a tool shed into an indoor pool area – a significant challenge given the home's limited footprint.
The "endless pool" measures approximately seven by 13 feet (two by four metres). Cedar was used to clad the ceiling, walls and floors.
The lower level also contains two bedrooms, along with a den fitted with a plush blue sofa, grey carpet and a brick fireplace. The entryway off of the garage was converted into a dedicated mudroom with a wooden screen.
Mid-century-style lamps hang above burnt orange leather booths inside this restaurant in Chicago, designed by New York-based studio Meyer Davis in an old printing house.
The Proxi is located in the West Loop, a neighbourhood on the western bank of the Chicago River that was formerly a centre for manufacturing. Today, many of the areas warehouse buildings have been transformed into eateries, bars and art galleries.
Adding to this hub, Meyer Davis has transformed the ground floor of a building previously occupied by Werner Printing Company into a restaurant.
The 14-foot-high (4.2 metre) barrel-vaulted ceiling of the former print works has been refreshed with white tiles, while glossy blue tiles in a vertical soldier stack cover the columns.
Walls are covered with white washed oak panelling and sage green painted decorative mouldings. This decor provides a neutral backdrop for black and dark navy furnishings with accents of burnt orange.
Although employing the same material palette throughout, Meyer Davis has broken the expansive 5,900-square-foot (548-square-metre) restaurant into distinct areas.
Each area is decorated differently with custom-made and contemporary furniture and lighting. Nods to modernist design can be seen with large steel lights and sleek black chairs, while other decorations are souvenirs from restaurant co-owner Emmanuel Nony's travels.
Meyer Davis likens the eclectic effect to the restaurant's menu, which chef Andrew Zimmerman based on global street food. The studio described the restaurant as a "melting pot of flavours both in design and cuisine".
The bar is marked out with custom-made black, blue and white floor tiles. Elevated seating is placed in windows on either side of the curved central bar, with leather-covered lights hanging above.
The bar has a white stone top and a brass-like base covered in black padding. Terracotta pots line the top shelf of the drinks cabinet behind as a nod to the colour theme.
A cosy seating area in a booth behind the bar is furnished with orange and blue sofas and can be partitioned with curtains.
Other nooks include a series of leather booths that are arranged beneath a wall of mirrors, while the main dining room contains benches covered in navy leather, black chairs and wooden tables, with views into the kitchen through a large window.
A pale wooden cabinet on the rear wall provides storage for wine bottles. This cabinet is built around the opening to a private dining room.
Externally the studio rebuilt the steel facade framing the large street-facing windows to return the building to its original form and bring plenty of natural light into the restaurant.
Chicago's West Loop has become known for its trendy design and food scenes, and is home to both private members club Soho House and cosmetics Aesop.