steel veil: A Bold Expression of Minimalism in ukraine
The newly completed Steel Veil residence by architecture studio YOUSUPOVA in Ukraine exemplifies modern minimalism with a bold industrial aesthetic. Clad in slate and rusted steel, the house features clean lines and open spaces, with large glass panels that bring in natural light and provide sweeping views of the outdoors. The design prioritizes functionality over decoration, staying true to modern architectural trends. By using straightforward shapes and high-quality materials, the home achieves a sharp, graphic presence that complements its environment.
The landscape design enhances the building’s simplicity. Instead of adding terraces or extra structures, the architects emphasized the home’s bold design. Minimalist vegetation and subtle lighting were carefully chosen to accentuate the facade without distracting from its clean lines. ‘When I imagined this house, I envisioned something I would want to live in myself. This design felt perfect for me at the time,’ said the architect, reflecting on the project’s inspiration.
industrial materials for modern architecture by yousupova
The combination of slate and rusted metal by the architects at YOUSUPOVA gives the Steel Veil house its distinctive look. These materials highlight the minimalist design while creating an urban feel that looks forward to the future. Panoramic glass ceilings are a standout feature of the home. They brighten the interiors by increasing natural light and serve as a clean and bold visual element from the outside. This contrast between glass, stone, and metal adds depth and texture to the building’s design. Meanwhile, an outdoor courtyard complements the structure. Minimalist landscaping ensures the house remains the focal point, while pathway lighting subtly guides visitors to the entrance without overwhelming the view.
Inside, the Steel Veil balances openness and privacy. The ground floor features an open-plan kitchen-living room, which can also double as a home office. This flexibility makes the space ideal for both work and relaxation. The second floor is dedicated to bedrooms, creating a private retreat away from the more social areas below. Outdoors, the courtyard includes a swimming pool and a gazebo with a guest room, offering additional comfort and convenience.
the Steel Veil by YOUSUPOVA is a minimalist home in Ukraine
the house features slate and rusted metal cladding for an industrial language
large glass panels bring natural light and connect the interior with the outdoors
the design prioritizes functionality with clean lines and no unnecessary ornamentation
One of the dishes at Sherlock Holmes: The Great Murder Mystery. Photo: Anett Posalaki
Immersive dining has exploded in popularity in recent years. Some of the sector’s key players talk to Anya Ryan about the complexities of running these events, their processes and the future of gastro-theatre
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As one quarter of the Swedish underground-ish rap collective Drain Gang, Bladee (pronounced Blade) spent his 20s on the frontlines of a hyper-online youth culture. But as his 30th birthday loomed, the musician born Benjamin Reichwald started to sweat. His anxiety about ageing, a serious depressive spell, and the mixed reception to his latest album, spiralled into a crisis: were he and his Drain Gang peers “permanently frozen as 20-year-olds because we came up at a certain time of our lives”, he wondered. Was he already past it at 29?
“I got so old, I got embarrassed to be even here,” Reichwald sings on his newest album, Cold Visions. Older readers may roll their eyes, but given Reichwald has built up one of the most ardent young fanbases in music, this was a valid worry. “I had a lot to get off my chest,” he says now. “I was thinking a lot about my position and I felt stuck – do I have to be perceived as an artist to feel fulfilled? I’m chasing that and it doesn’t give me anything. So why am I doing this?”
Reichwald has a reputation for being elusive (this is one of the very few solo interviews he has ever done) and frequently obscures his face. Lately he has favoured corpse paint, blood-red grills for his teeth and a chaotic assemblage of bandanas, sunglasses and Oakley hats. But during a two-hour conversation in a Brooklyn hotel room, in Gucci sneakers and a T-shirt with the logo of Norwegian black metal band Satyricon, he is thoughtful and forthcoming.
Despite his worries, being 30 has treated Reichwald well. In Marchhe released Psykos, a rock-leaning collaboration with his fellow Swedish rapper and long-term friend and collaborator Yung Lean, who also featured on Cold Visions, which was released the following month. In October, they both appeared on Charli xcx’s Brat remix album, with Bladee reworking the song Rewind. “It’s a Bladee verse, I did my thing,” is how he modestly describes his contribution, but he speaks more effusively of Charli: “I have eternal respect for her. She put me in this context with all these other people” – Ariana Grande, Lorde and Billie Eilish all appear on the remix record – “and I’m very grateful to be involved.”
It caps a big year for Reichwald. Released a decade after his debut mixtape, Cold Visions is his most fully realised project yet. Made in two weeks in his house in Stockholm, the album is, he says, “really honest, more like a diary”. In the course of 30 songs, he purges his demons over raging, blown-out trap beats. Brain cells fried into oblivion, he navigates panic attacks and self-loathing, calls himself “the king of nothing matters” and raps about “violently drug abusing weed”. In one line he’s working out and getting tanned in LA, the next “I’m crashing down some like a wave over castles made of sand.”
Cold Visions was self-released after Reichwald split from Year0001, Drain Gang’s longtime label and management company.“I don’t really care any more about being a bigger artist,” he says. “The only thing that’s important is that I’m doing something that’s true to me.”
The Drain Gang collective – Bladee, Ecco2K, Thaiboy Digital, and Whitearmor – have been best friends since their teens, playing around with Auto-Tune, and freestyling in the vein of idiosyncratic US rappers such as Lil B and Chief Keef. Early Bladee tracks – overcastcloud rap about crushed hearts, pills and dreams – were so digitally processed that they passed through the uncanny valley and ended up somewhere strangely melodic and emotive.“I hated to hear my voice without the Auto-Tune,” Reichwald says. “It’s how we found our sound. Without it we wouldn’t have committed to doing it – it sounded too bad.”
The group cycled through a number of names before landing on Drain Gang, inspired by a nihilistically gothic sentiment later articulated in Bladee’s song Be Nice 2 Me: “Take a knife and drain your life.” They quickly found kindred spirits in Sad Boys, a local crew featuring Yung Lean. In 2014, Lean’s melancholic and memeable hip-hop was taking the internet by storm, and Reichwald quit his job at a kindergarten to join him on tour.
By April 2015, barely out of his teens, Reichwald was living with Lean in Miami, where working on music came second to partying and drug use. One evening, Lean suffered drug-induced psychosis; Reichwald called the ambulance which probably saved his life. Hours later, Barron Machat, Lean’s 27-year-old manager, died in a car accident on his way to the hospital; Xanax was found in his system. “Things were building to a point where something was going to happen because of how we were living,” Reichwald says. “We didn’t think that anything could go wrong, we were so in this drugs and rock star lifestyle. Someone was probably always gonna die with how we were moving. It was very reckless, but we were so young, we just didn’t know.”
Reichwald returned to Sweden and worked at a shampoo factory while suffering from PTSD and struggling to process Machat’s death and Lean’s deteriorating mental health. “I was not really OK,” he says. Reichwald says it took him a long time to understand that he and his friends had autonomy over their surreal new lives as successful rappers. “I sometimes felt like, ‘I shouldn’t be here, so I have to do what everyone says.’ I didn’t understand that I had any value in the situation. I didn’t understand why people would like my music. I thought there must be some kind of misunderstanding. But now, I’ve done it for so long and I actually know what I’m doing. I believe more in my ability.”
His music remained dark and dissociative for a good while, but the clouds began to part around 2020. While Reichwald’s persona had long swung between mall rat and mystic, his spiritual side became more pronounced as his music grew brighter. Fans started to wonder if he had experienced some sort of transformative near-death experience because, in 2019, he had mentioned that he’d been struck by lightning in Thailand. Or at least he thinks that’s what happened. “Either I had a random seizure from seeing the lightning or I got struck by it.” Whatever it was, “something definitely changed around that time”.
Drain Gang’s angst once enticed a considerable number of nihilistic, male online edgelords, but their fanbase has evolved as their music has become more euphoric, frequently going viral on TikTok during the pandemic. Most of the crowd at a recent show were dressed in distressed black clothes like Reichwald; they were mainly so young that fans older than 26 were given their own fast-track queue as if they needed elderly care.
Reichwald says that he is uncomfortable with being idolised, but understands the way that belonging to a subculture can be life-affirming. Even before his teens, he formed a punk band with Ecco2K after seeing someone with a studded leather jacket and thinking: “I want to be like that. But,” he adds, “you need to find yourself within all that.”
Bladee with Drain Gang member Ecco2K. Photograph: Joshua Gordon
He allows himself a little pride in the way Drain Gang have built and maintained their singular corner of music. “We still don’t feel like someone is doing what we’re doing, better,” he says. “I would love to hear someone take it to the next level with a new perspective, someone young. I feel like that’s the point of it – you can keep the idea going.”
He’s now looking beyond Cold Visions to his own future. “I want to become a better person,” he says with a sweetly earnest laugh. “I want to have a brighter outlook and work on liking myself more. I’m sick of thinking about myself; I would like to be more outside my head.” After several years spent getting “sick all the time”, he is “trying to be sober and healthy”. Lately he’s been experimenting with songwriting in Swedish, and working on abstract paintings in his art studio. Ultimately, he finds solace in the act of creating. “Even in my sadder music,” he says, “I’m striving for joy.”
The ballet world is mourning the death of Vladimir Shklyarov, one of its leading male dancers.
Shklyarov, a principal with the prestigious Mariinsky Theatre, was an "extraordinary artist" who inspired fans worldwide, one tribute said.
His death, announced by the St Petersburg company on Saturday, is being investigated by federal authorities, according to Russian media reports.
Mariinsky representatives told media he had fallen from the fifth floor of a St Petersburg building while on painkillers.
"This is a huge loss not only for the theatre's staff but for all of contemporary ballet," the company said in a statement on Saturday.
"Our condolences to the artist’s family, loved ones, friends and all the numerous admirers of his work and talent."
Shklyarov was married to fellow company dancer Maria Shklyarov, with whom he had two children.
Born in Leningrad, he studied at the famed Vaganova Academy of Russian Ballet, graduating in 2003.
He joined the Mariinsky Theatre the same year, becoming a principal in 2011.
Over 20 years with the company, he danced leads across several productions, including Giselle, Sleeping Beauty, Don Quixote, Swan Lake and Romeo and Juliet.
He performed at prestigious venues around the world, including the Royal Opera House in London and Metropolitan Opera in New York.
In 2014 and 2015, he featured as a guest artist at the American Ballet Theatre. The company issued a statement on Sunday mourning his "tragic loss."
"We mourn the tragic loss of Vladimir Shklyarov, an extraordinary artist whose grace and passion inspired audiences worldwide.
"Your light will continue to shine through the beauty you brought to this world," the company wrote on Instagram.
Shklyarov received several accolades during his lifetime, including the Léonide Massine International Prize in 2008. He was also appointed an Honoured Artist of Russia in 2020.
"He forever inscribed his name in the history of world ballet," the Mariinsky Theatre said.
In the historic quarters of Rome’s Villa Fiorelli, where the architectural language speaks of bygone decades, Casa Polly emerges as a unique blend of brutalist austerity and pop exuberance. Spearheaded by 02A Studio, this innovative project transforms a 1960s apartment into a vibrant, family-friendly home that tells a story of contrasts and continuity.
Once the creative domain of designer Valerio Ciampicacigli, the apartment bore the hallmarks of mid-century brutalism – raw concrete, open spaces, and an uncompromising focus on materiality. Today, 02A Studio architects Marco Rulli and Thomas Grossi reinterpret these features, infusing them with the lively palette and whimsical forms of pop art. The result is a home that dances between the stark and the playful, the rigid and the fluid.
According to Rulli, the aim was to “celebrate the home’s rich heritage while infusing it with the quirky, joyful aesthetic of its new owners, actress Martina Pinto and director Alessandro Poggi.” The project preserves the apartment’s robust character, yet softens its edges, creating an environment that is as functional as it is expressive.
Spanning 1,292 square feet, Casa Polly’s layout was thoughtfully reimagined to cater to the evolving needs of its occupants. The centerpiece of the home is an open-plan living area, defined by its eclectic mix of materials. Here, an exposed concrete pillar takes center stage, grounding the space with brutalist integrity. Surrounding it, a terrazzo floor shows through a delicate resin finish, while glossy tiles in the kitchen and wooden accents on a raised dining platform offer softer counterpoints.
Each room introduces a new layer of personality. In the hallway, lilac stripes cloak hidden storage, transforming utility into art. Meanwhile, the primary bedroom embraces a cartoonish charm, with flowing lines, plush furnishings, and a dreamy light blue carpet. The ensuite bathroom further explores this theme, where pastel tones and undulating forms meet sleek, industrial partitions. “This project embodies a perfect fusion of two worlds,” says Marco Rulli, co-founder of the studio with Thomas Grossi. “I love homes with a story to tell, and this one – with its layered patterns and eccentric furnishings – brings together different identities in a way that feels both unexpected and harmonious.”
The bathroom’s doorway is framed with a light green wavy border that leads into the light pink tiled space. A matching pink fluted vanity with a countertop wrapped in the same green as the doorway becomes the focal point seen from the bedroom. A contrasting pale yellow mirror introduces an unexpected new color that’s a welcome addition.
Though visually striking, Casa Polly is designed with family life at its core. The reconfiguration includes a child’s bedroom, a walk-in closet, and a dedicated laundry area – all integrated into the home’s playful aesthetic. Every corner of the apartment speaks to a careful balance between form and function, ensuring it remains both practical and delightful.
At the heart of Casa Polly’s transformation lies 02A Studio’s commitment to crafting homes that resonate deeply with their inhabitants. Founded a decade ago, the studio approaches each project as an intricate puzzle, where client aspirations, architectural constraints, and artistic vision converge. For Rulli and Grossi, architecture is more than the sum of its parts; it’s a medium for storytelling and a means to foster joy.
Caroline Williamson is Editor-in-Chief of Design Milk. She has a BFA in photography from SCAD and can usually be found searching for vintage wares, doing New York Times crossword puzzles in pen, or reworking playlists on Spotify.
For more than fifty years, Mexican artists toiled in the shadow of revolution. So, too, does the Met with “Mexican Prints at the Vanguard,” through January 5.
The Mexican Revolution took ten long years, starting in 1910, but artists before it could see it coming in all its violence. Well after, it served as a model and a call for change. To the left, and there were many on the left, it served as a cry to support for other revolutions, in Russia and Spain. Later still, it served as a bitter memory, as a government dedicated to remaking the country and the world gave way to yet another dictator. Could, though, the cries put Mexico at the vanguard of twentieth-century art? Perhaps, but only by remaining in the trenches.
“Mexican Prints” is thoroughly out of fashion, which is to say seriously modern. These days, a proper Mexican revolution would be a cultural revolution, with women in the vanguard, like Amalia Mesa-Bains recently at El Museo del Barrio, and Mexican tradition their passion. The Met ends in 1955 as if to avoid all that. References to Pre-Colombian art do appear in square-jawed heads, but not often, and figures costumed for a carnival come only at the end, with Carlos Mérida, as one of the few spots of color. But then Mérida also produced an abstract composition, give or take a bird. Frida Kahlo, in native costume as a woman’s act of defiance, does not appear at all.
The curator, Mark McDonald, starts in the 1700s, but not with native tradition. He looks instead to Europe, much like a past show of “Painted in Mexico.” Later, Tina Modotti will depict soldiers with a debt to Baroque paintings of a Madonna rising. In between, artists turned to the satire of Honoré Daumier. But this was always art as illustration, in service to a cause. Text can overwhelm images. Tracts and newsletters precede starker lithographs by David Alfaro Siqueiros.
Of course, Siqueiros was also a muralist, and the show runs in parallel with Mexican murals. Diego Rivera, turns up a print after one of his most famous. Emiliano Zapata, the revolutionary, stands beside his horse. Rivera came to New York as well, for a show of his work at MoMA. José Clemente Orozco came as well, too, with a print of a vaudeville act in Harlem. Here or in Mexico, change was in the air.
Mexican prints first entered the museum’s collection at the instigation of a French artist, Jean Charlot, who moved to New York in 1928. He contributes a woodcut of Rich People in Hell. Others, too, adopted woodcuts for their jagged edges, with praise for Lenin and Stalin as the bombs fall. Siqueiros himself depicts a Trinity of Scoundrels. This is art and ideology in black and white. After the revolution, the new regime sponsored arts education. As that became a tool for state propaganda, Taller de Gráfica Popular (or Graphics Workshop for the People), took up the slack.
Still, something sets Mexican prints apart from Europe and America—and from their own easy answers: revolution comes at a cost, and death enters even in triumph. Zapata looks humble and heroic enough, but he stands astride a dead body. Rufino Tamayo pictures a native couple as heros, but they might be confronting hills on fire. Alfredo Zalce sees the Yucatan, a target of agrarian reform, as a paradise. Yet his figures struggle with the overgrowth.
Death enters even before the revolution. Celebrated in his time, José Guadalupe Posada continued the tradition of pages dense with text. Couples embrace, but “death is inexorable,” and wooers, bikers, and angels alike are skeletons. So is the “people’s editor.” Less well known, Emilio Amero stands apart in 1930 with a clock and telephone in Surrealism’s ghostly light. This is modernity, and art is in the vanguard, but it might end in darkness.
Where: MANA Wynwood Convention Center (318 NW 23rd St., Miami, FL 33127)
Head on over to the MANA Wynwood Convention Center, where Spectrum Miami and Red Dot Miami will host highly curated exhibitions spanning 150,000 square feet of indoor space.
Spectrum Miami will feature special programs that showcase exhibitors, art industry professionals, and select nonprofits and institutions. One of their featured programs, The Discoveries Collection, will spotlight highly collectible works from around the world and showcase some of their favorite affordable pieces ($3,000 or less).
Running alongside its sister fair, Red Dot Miami will offer the unique opportunity to connect with blue-chip galleries and emerging artists under one roof. Their featured programming includes SPOTLIGHT Galleries, which will provide collectors with a focused look at several cutting-edge galleries and their artists, who are recognized for their skill and achievement in the visual arts.
Sallyann Corn always knew that she would end up in a profession where she could utilize her imagination and translate ideas into forms. Growing up in a small town, however, meant that she had only heard of three potential tracks: art, architecture, and fashion. Her interest in clothing then led to an exploration of visual merchandising. But when she switched to an industrial design program in college there was an immediate click. “I knew that was exactly the path meant for me,” Corn says. “It felt so all-encompassing, and it has allowed me the freedom to pursue many mediums, scales, and project types.”
In 2008, Corn founded the Seattle-based studio fruitsuper with Joe Kent. Partners in business and life, the duo’s collaboration emphasizes playful simplicity, spanning a range of arenas from products to physical environments and curation.
Sallyann Corn of fruitsuper
Yet the pair not only caters to individual clients, they also welcome the public to join in and experience the energy for themselves. Their retail space and wine bar in Pioneer Square serves as a neighborhood hub, featuring fruitsuper’s signature items alongside pieces by other makers from across the United States. It is here that the team hosts rotating exhibitions, panel discussions, gatherings, and private events. These endeavors are part of fruitsuper’s ultimate mission – to celebrate a diverse and growing independent creative community.
With jobs and the day-to-day often intertwined, at times it has been challenging to maintain a healthy balance, especially when Corn and Kent had one shared space for all of their activities. Even with the separate studio they have today, the couple still finds easy ways to help make the switch from work mode to down time, like lighting candles or changing outfits.
There’s one element, however, that remains essential, and offers endless inspiration. “Travel is imperative to our practice, because it immediately makes us see the everyday in a new way,” Corn notes. “Objects as simple as toothpaste, traffic signals, and garbage cans surprise and delight us.”
To label us “Book Lovers” would be an understatement. We love to scour, hunt, and bury ourselves in local bookstores, no matter what city we’re in. We find that a small, independent bookstore with teetering stacks and narrow paths truly showcases the unique voice of each store owner and their city. We never shy from purchasing books while traveling, as we’ve found some of our absolute favorite literary treasures around the globe. A few of our favorites: Arcana Books (Los Angeles), Book/Shop (Oakland), Books & Things (Kyoto), Booklarder (Seattle), Casa Bosques (Mexico City), and Monograph Bookwerks (Portland).
We’re less spandex-wearing and gear-focused and more the bells and baskets, stop-when-we-see-a-wine-bar type of bicycle riders. But we find nothing more exciting than renting bikes to explore new areas. During travel and at home, we love to find a neighborhood spot that provides bicycle rentals; as they’re almost always far better quality bikes than hourly rentals and often come with personalized route suggestions, bike adjustments and favorite neighborhood tips. Renting a bike for a day allows us to cover so much more ground and explore more than we ever could on foot. And always provides a much deeper connection to new neighborhoods than jumping in a car or on public transportation.
3. Saunas & Soaking
From a dry cedar sauna to natural hot springs, inside or outside, we love a soak/steam it out session. It’s such a meditative and restorative activity! We love that it essentially forces you to be nothing but present; no phones, books or other distractions can be involved. So your only focus is on your breathing, your sweat, your thoughts and your company. It’s incredibly invigorating!
4. Walking
For years I was foolish enough to not make time for walking. But now that I’m in the habit, I find myself less able to focus and be productive if I haven’t gone on at least two long walks each week. My commute from home to our studio or shop is around 3 miles and takes me about one hour. I’m not a headphone wearing person, so this hour of solitude is fantastic and now integral to my creative practice. I’ve found that I now arrive at work with a clear head and I’m much more prepared and ready to start my day. Between weather shifts and route options, it feels like endless choose-your-own adventure paths that lead me to new observations in places I’ve walked by dozens of times before. Two favorite walking spots that provide endless inspiration are the Myrtle Edwards Park/Olympic Sculpture Park in Seattle and the Highline in NYC.
For the past 3 years we’ve been fortunate to participate in DesignMarch in Reykjavik. We’ve fallen in love with smaller (by comparison to Milan, NYC, etc.) art and design festivals. The scale of these smaller/shorter festivals feels far more manageable and the work feels less dominated by large corporations and budgets and instead filled with young, independent, fresh work. We love seeing what can be created and presented with the constraints of smaller budgets and limitless enthusiasm.
Works by fruitsuper:
fruitsuper SHOP 2019-present A gift shop and wine bar Photo: Brooke Fitts
Cedar Hall 2023 A curation of PNW artists. Collection title: All Along. Photo: Chris Gunder
Solids and Voids 2019 An exhibition of 2D and 3D abstractions Photo: Christina Marie Hicks
Solids and Voids 2019 An exhibition of 2D and 3D abstractions Photo: Christina Marie Hicks
Sculptures for Books 2024 A collection of objects designed for page holding, placemaking, and in celebration of books. Photo: Brooke Fitts
Anna Zappia is a New York City-based writer and editor with a passion for textiles, and she can often be found at a fashion exhibit or shopping for more books. Anna writes the Friday Five column, as well as commercial content.
This 1989 movie from Turkish director Tunç Basaran is a gentle and touching but also energised and emotionally urgent piece of work, whose cast present themselves to the audience with a rough-and-ready immediacy, like a theatrical company. But there’s no question as to the star turn: a rather amazing performance from five-year-old newcomer Ozen Bilen as Baris, a wide-eyed little boy who is sent to a women’s prison with his mum Fatma (Füsun Demirel) after Turkey’s 1980 military coup.
Fatma has been convicted for drug-smuggling and now, lethargic and embittered, has not much time for Baris who wanders freely around the shabby hallways and into the bathrooms and dormitory cells. He forms a poignant attachment with Inci (Nür Surer), a political prisoner whose own loneliness finds a heartbreaking expression in her quasi-maternal relationship with this vulnerable child. The movie is recalled in flashback, as Inci (now released) looks over the hills of Ankara and remembers how she promised young Baris that her spirit would fly over the prison like a kite.
In the prison, the politicals mix freely with what in Ireland might be called ODCs or Ordinary Decent Criminals, although it’s the state authorities who look indecent; the male governor is pompous and tyrannical, with a Stalinesque or Stasi-like habit of making a subordinate do something, getting a second subordinate to check that the first subordinate is doing it and then a third subordinate to ensure the second is doing the checking. Innocent Baris learns how to say words he hears from the grownups like “communist” and “slander”, has a ringside seat at ferocious arguments and brawls but also has life-changing experiences in jail, such as circumcision.
This is a film which in some ways could be put alongside Empire of the Sun, another story about a child’s paradoxically liberating experience of imprisonment, yet there is real heartbreak in Inci leaving Baris behind in jail.
The design also draws from the work of Secession architects such as Adolf Loos and Josef Hoffmann, with an angular ‘Sketch’ Lamp illuminating the skirted waiter station while simple bistro tables in steel and wood paired by saddle leather and wood chairs, all by Tutto Bene, create an inviting, laid-back atmosphere. The angular geometry of the furnishings is softened by the curvaceous lines of a monolithic stainless-steel bar that shifts the space from a relaxed coffeehouse to an aperitivo bar as day turns to night, further emphasised by the circular forms of the Studio’s ‘Oblo’ wall lights that are dotted throughout the space.
Tutto Bene’s thoughtful integration of deep green cement flooring flows effortlessly from inside to the lush courtyard, evoking Milan’s hidden gardens and offering calm, reflective moments in the heart of busy Mayfair. Restrained yet impactful, it is gestures such as these that make the Nightingale’s classic, future-forward interior feel so timeless and transformative—in a concept space that invites guests to linger, connect, and escape against the otherwise noisy city’s hustle and bustle.
