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Set against Tallinn's rapidly commercializing urban backdrop, the installation offers a sheltered courtyard detached from its surroundings, creating a deliberate pause. Here, the sea breeze whispers against silent stones, and sunlight filters onto the warm, sweeping curves of plywood screens. It is a spatial privilege carved from ordinary materials, filtering out external chaos for pure atmospheric luxury.

Fragments of mirrored glass split, gather light, then come together as a new whole. In the storied rooms of Toronto’s Spadina Museum, an 1866 mansion, interdisciplinary artist Ry Van Der Hout’s sculptures catch light and open fresh ways of seeing and hearing family lore. In Broken Light, a deeply site-specific exhibition of Van Der Hout’s new work, opened at the museum on Aug. 26 and runs through Oct. 18.

Spadina Museum. Photography by Ry Van Der Hout.

“At the heart of In Broken Light is the understanding that shattering isn’t the end of a story—it’s the beginning of a new narrative,” curator Adrien Sun Hall says. “Ry Van Der Hout begins their sculptural practice with acts of intentional breaking, shattering glass and mirrors only to painstakingly solder them back together using traditional Tiffany stained-glass techniques. These intricately mended surfaces become metaphors for queer becoming and personal transformation. The fractures become apertures through which overlooked histories emerge, transforming the sculptures into contemporary reliquaries for lives remembered and forgotten.”

‘Open Wing Death’ by Ry Van der Hout. Photography by Van Der Hout.

Five sculptural interventions are staged across the mansion’s four stories, incorporating photography, stained glass, and mirrors. Responding to the house’s various rooms, the sculptures draw on research and conversations with spiritual leaders, family descendants, historians, guides, and conservators. The former resident families supply ample inspiration; their stories, ranging from forbidden love to fatal illness, are often stranger than fiction.

‘Tiber’ by Ry Van Der Hout at Spadina Museum. Photography courtesy of the artist and United Contemporary.

In the basement’s preserved archaeological dig site, a fractured disco ball spins to a NASA-produced audio track, casting a mosaic of light onto stone walls and infilled windows. Upstairs, a stained-glass sculpture printed with photographs of Tiber, a historical interpreter at the museum, has been shattered and reassembled. Van Der Hout made it from a reclaimed antique dressing-table mirror holder, found serendipitously in a dumpster at their studio.

“It felt like I got pulled into this story of an object guiding you to tell you that you are in the right place,” Van Der Hout says.

‘Orpheus Twice’ by Ry Van Der Hout at Spadina Museum. Photography courtesy of the artist and United Contemporary.

The largest work in the exhibition, Open Wing Death, is a 12-foot-high ovoid geodesic dome installed on the unrestored third floor of Spadina Museum. Added in 1913 as a sunlit sanctuary for a resident with tuberculosis, the room later housed the household’s domestic staff, to whom the sculpture is dedicated. Before peering inside, I catch stray glimpses of myself in the mirrored facets at various angles. For a split second, I appear to myself as a stranger, seen as if through someone else’s eyes, before recognition sets in.

‘The Shattering’ by Ry Van Der Hout at Spadina Museum. Photography courtesy of the artist and United Contemporary.

In Broken Light is on view at Spadina Museum in Toronto until Oct. 18.

Mahachai Residence occupies a riverside plot on the Tha Chin River, on land once occupied by the owner's boat-repair warehouse. Rather than erase this history, the house is conceived as a day-use villa, a place for the owner to rest, take in the river, and watch it turn gold at sunset, quietly carrying the memory of the site's working past into its structure and materials.

Prukpirom House Renovation transforms a family home that has stood for more than 29 years. Located on a generous site surrounded by mature greenery, the existing house offered opportunities to expand and reorganize the living spaces while retaining its relationship with the garden.

Situated on the shores of Los Molinos Lake and surrounded by a dense eucalyptus forest, La Negrita embodies the desire for a peaceful retreat amid a beautiful, playful atmosphere with its own unique microclimate.

The Haras House is a single-story residence built on a trapezoidal lot. The "C" shaped volume organizes the spaces around a central courtyard, which features a garden, a porch, and a 25-meter lane, integrated into the resident's daily routine. The design prioritizes privacy and the direct relationship between internal and external spaces.

Located within a 1930s residential building, Casa MG reinterprets and elevates some of the period's most distinctive and iconic architectural features, making them a recurring design language at the heart of the apartment's spatial reorganization.

In the heart of the wooded surroundings of Vught, a unique childcare centre has emerged: Mowgli Childcare Centre. The project combines playful architecture with a strong connection to nature, creating an inspiring environment for young children.

Practically every history book records 1961 as the year man first reached space, an achievement that placed the Soviet Union at the center of the space race. What not everyone knows is that Yuri Gagarin's journey began in a seemingly unlikely place, more precisely in Kazakhstan. From the Baikonur Cosmodrome, Gagarin set off beyond Earth, inaugurating not only a new era of space exploration but also a history of technology and ambition that would transform this landscape.

On the hills of Turin, EX. designs an unfinished house conceived as a domestic device rather than a completed object. A rough concrete perimeter frames an open, adaptable interior where architecture and landscape continuously overlap.

The birth of the Wiki World Forest Store stems from the ongoing natural architecture practice carried out by Wiki World. Although we have always insisted on building with the zeroprint concept and 100% timber structures, along with the birth of one wilderness home after another, there is always wood that inevitably becomes waste. Who wants to be abandoned leftover scraps? So we wondered: could waste materials be used to build a house? Could leftover scraps also have unrealistic fantasies and be turned into interesting wooden products? Therefore, we planned this building and the products inside it. The Wiki World Forest Store is located at the entrance of Merryda Wiki World-Secret Camp, at the edge of a forest. Pure wood and glass are connected, and the recyclable concept does not require more complex craftsmanship.

When talking about luxury fashion, there are certain conventions that consumers have come to expect: sumptuous materials, opulent detailing, and conceptual—if not impractical—design.

Fortunately, Freitag designer Anne Bachmann doesn’t dabble in conventions.

Photography courtesy of Freitag

“I am fascinated by the effortless beauty of objects that were never designed to please,” she says, referring to the used truck tarps repurposed to create Freitag’s newest collection of high-end bags. The Reference collection launched Oct. 8 with four new bag designs that blend artistic upcycling and luxury. With an “elevated, minimalist aesthetic,” the Reference collection highlights what Freitag does best: tell a story through sustainable, unconventional, one-of-a-kind materials.

Photography by Timothy Schaumburg; courtesy of Freitag

When conceiving the design, Bachmann imagined a collection that transcended the typical bag experience. She aimed to create something practical, but elegant; one-of-a-kind, yet ever-evolving. When she was presented with used truck tarps, one of the company’s famed upcycled materials, she knew she had found the key component of the collection.

Tarps repurposed for the Reference collection. Photography courtesy of Freitag.

“Because we cut our bags from used truck tarps, every one-of-a-kind piece already starts out with its own history, character, and unique patina,” Bachmann explains. “And as you take it out into the world, it picks up your own daily scuffs, and becomes a real companion.” It also doesn’t hurt that the sturdy tarpaulins make for a bag that is as durable as it is stylish.

Photography by Timothy Schaumburg; courtesy of Freitag

Each of the collection’s four bags is designed with a trapezoidal silhouette, creating a light, dynamic flow without compromising its sculptural elegance. While there are core colorways—white, silver, red, blue, and a limited-edition black—the variation from bag to bag means each purchase is a unique work of art. Sourced across Europe and hand-selected by the production and sourcing teams based in Zurich, the tarp “patina,” or markings that uniquely adorn each bag, was a pivotal consideration when building each piece.

Photography courtesy of Freitag

“Every tarp ages differently on the road, creating subtle variations in color and character before they reach us. Hand-picking the variations in patina, meaning the beautiful marks that weather, environment, and even tree branches leave behind on the tarp during their first life, became equally as important as the colorways,” Bachmann adds.

Photography courtesy of Freitag

Of course, as the cliché goes, the devil is in the details. That is especially true for a streamlined design like the four featured in the Reference collection. To further elevate the design, each bag features a new label and magnetic clasp unique to the collection. To say Bachmann’s inspiration for the distinct clasp was serendipitous would be to discredit the thoughtfulness of the design; the idea came to her in Freitag’s Zurich factory when she noticed a peculiar hook mechanism on heavy-duty shelving.

Photography by Timothy Schaumburg; courtesy of Freitag

“I would describe it as opportunistic wandering,” she says of the moment. “Strolling through a space or an urban environment without a specific destination, keeping yourself completely open and receptive so you actually catch a spark of inspiration when it hits.”

The intersection of form and function creates a luxury experience that Bachmann hopes will naturally build an attachment that transcends typical fashion. “Emotional attachment prevents waste,” she says. “What we love and share a history with, we rarely throw away.”

Photography courtesy of Freitag

True to Freitag, the Reference collection extends the brand’s circular approach without sacrificing style or craftsmanship. To further encourage a long relationship between bag and owner, each bag comes with a detachable repair kit that can be taken apart and used to repair the bag with its original tarp material.

If there is one tried-and-true element of luxury, it’s exclusivity—the knowledge that the piece you own is the only one in the world like it. The Reference collection promises that every bag created is built to grow and evolve with every use.

Veronica Mishaan grew up with a love of design. Sure, it helps that her mother, Susana Mishaan de Millán, was also a successful designer in Bogotá and Cartagena, Colombia. She credits her mother with her lifelong passion for painting and fine art. “We have different styles, but she has taught me about confidence, layering, and proportions,” Mishaan says.

After graduating from Tufts University, where she studied quantitative economics and international relations, Mishaan wanted to pursue painting as a career. Her father, however, encouraged her to direct her art and design skills toward helping her mother with her interior design practice. “I realized interior design is just another art form,” Mishaan recalls. “And something that was supposed to be six months has turned into 16 years of work.”

Alongside her mother, Mishaan helped build M De M Designs, where the pair designed bespoke interiors and handcrafted furnishings in Bogotá and Cartagena. After six years, Mishaan assumed sole leadership of the firm and evolved the business into Veronica Mishaan Design House, where she began developing her own creative vision and international ambitions. Now with offices in New York City, Bogotá, and Bermuda, Mishaan oversees residential, hospitality, commercial, and product design projects worldwide.

On a clear day, the Andes Mountains in the background become part of the main living room’s interior decor, which prominently features artwork by Peter Halley. A custom sofa upholstered in Lee Jofa wool pairs with marble-top tables and a cast-bronze water lily table, arranged in a circle to encourage connection. “A successful space generates conversation,” Mishaan says. Photography by Max Burkhalter.

Mishaan’s artistic foundation and analytical mind inform her design philosophy. She approaches every interior as she would a canvas, “thoughtfully layering color, texture, geometry, and materiality to create spaces with depth, movement, and meaning,” she says. “When I’m designing a space, I try to balance the materials, the proportions, and the flow of a space. It changes with every client. I don’t like using the same style in every project I create. I use every project as an opportunity to learn more.”

Veronica Mishaan joins us for today’s Friday Five. We spent five minutes catching up with her to learn more about a 6,250-square-foot Bogotá penthouse she recently designed and the ideas that inspired it.

In the family room, dark blue grasscloth walls, a parchment-wrapped custom bookcase, blue leopard Stark carpeting, Lee Jofa mohair upholstery, and animal-print drapery create a layered yet inviting gathering space. Photography by Max Burkhalter.

Bogotá Penthouse

“This project in Bogotá reflects our core philosophy: spaces that evolve with time, embody personal narratives, and harmonize past and present,” Mishaan says. This apartment—which has been in the owner’s family for more than 30 years—blends art, treasured objects, and furniture collected over decades with contemporary pieces designed by the firm.

Guests are welcomed by a custom Rug & Kilim rug paired with a bronze sculpture from the family’s art collection. An Elsa Foulon porcelain pendant hangs above, while a striking cast bronze staircase railing—created from molds taken from an actual tree branch—extends through the home’s vertical circulation. Photography by Max Burkhalter.

What Inspired the Bogotá Penthouse 30 Years of Family Memories

The layout was reimagined for the owners’ current lifestyle while honoring the past. The renovation introduces custom tinted wide-plank oak flooring, a mix of recessed and decorative lighting, and walls finished in smooth plaster.

The highly personalized primary suite was relocated and enveloped in a rich navy wallcovering, with a bed upholstered in paisley wool, Kelly Wearstler bouclé chaise and bench, and custom brass, wood, and glass shelving. The primary bath features pink marble floors that continue up the walls and transition into blue-and-white waterjet marble.

A “dream dressing room” comprises mirrored walls, a custom parchment vanity, and a curved bench upholstered in Pierre Frey velvet. Guest rooms were tailored to the family, including custom bunk beds for the grandchildren.

Custom-built bunk beds maximize functionality while Temple Studio wallpaper introduces playful character for visiting grandchildren. Photography by Max Burkhalter.

“The client wanted this home to be updated to the new stage of life, but did not want to erase all the memories that were lived in that space for 30-plus years,” Mishaan says. Furniture and artwork were reused and placed in new locations; the desk in the primary bedroom, for example, once sat in the living room.

Bogotá’s Greenery and the Andes Mountains

The apartment’s views of the Andes Mountains also influenced the design. “The view of the mountains of Bogotá is not a view you get in many metropolitan cities, so I thought it was something worth using as an inspiration,” Mishaan says.

Photography by Max Burkhalter

That landscape inspired the playroom’s sage green millwork, honey oak floors, dark wood doors and baseboards, and natural marmorino plaster walls. Earthy tones throughout reference the surrounding terrain, while wood and botanical motifs reinforce the connection to the landscape. The dark blue blossom wallpaper by Phillip Jeffries in the primary bedroom creates a serene, transportive atmosphere reminiscent of a peaceful garden.

Marmorino plaster walls provide a refined backdrop for a sage silk Rug & Kilim rug in the secondary living room. Existing furnishings were preserved, while the game table chairs were refreshed in Nobilis fabric to seamlessly blend heritage with contemporary comfort. The client’s personal art, including Flow Followers, 2011, by Patrick Tschudi. Photography by Max Burkhalter.

The Owners’ Art Collection and Material Palette

The art collection anchors the space with cultural and emotional significance, featuring works by Peter Halley, Sophia Vari, Pedro Ruiz, and Larraz. However, Mishaan explains that the selection of materials ultimately drove much of the project. “There was no clear storyline,” she notes. “It became a balanced combination of the materials that felt right to the client and myself.”

Original built-in bookcases and wall paneling in the home office were lacquered in deep blue, extending onto the ceiling for a dramatic monochromatic effect. Existing furnishings were reconfigured, while a blue leopard Stark carpet introduces texture and personality. Photography by Max Burkhalter.

The thoughtful conglomeration of materials, textures, and patterns includes leopard Stark carpets, printed linen window treatments, a reused antique Aubusson rug, a wool bouclé sofa, and dark brown velvet window treatments. Custom furnishings, millwork, bronze hardware, and architectural details add a personal touch, while honey-toned wood flooring, dark wood accents, bespoke doors, and a custom family room bookcase wrapped in white parchment add warmth. “Extensive use of marmorino plaster throughout the common areas [creates] warmth and softness,” Mishaan adds. 

Artisan workshops throughout Colombia produced much of the custom furniture and millwork, giving the apartment another connection to the place it calls home.

Gutiérrez Café opened its doors in August 2025, in the Pocitos neighborhood of Montevideo, with an architectural design that places both design and product quality at the heart of the experience. More than just a coffee shop, it is a space carefully conceived to articulate a sensory and urban experience, where architecture becomes an integral part of the gastronomic offering.

In a large plot of land very well chosen by this beautiful family, the initial request and main importance for the project was to maximize the open areas and prioritize greenery.

The intervention transforms an area previously occupied by a narrow sidewalk and a large parking lot into a new public space for Comillas. Rather than refurbishing an existing promenade, the project creates a new seafront, reclaiming an exceptional stretch of coastline for pedestrians and incorporating it into the town's network of public spaces.

The project is based on total prefabrication in reinforced concrete. Modular panels make up all the building elements: façades, roofs and interior partitions. The typification of elements made it possible to speed up and simplify the construction, while emphasising the building's image.

With the Hönggerberg Data Center (HRZ), Penzel Valier has created an integrated building for ETH Zurich's digital infrastructure in which structure, building services, and design were conceived together from the outset. It houses the server, storage, and communication systems of IT Services and various departments. Complementing the Central Campus data centers within ETH's long-term digital strategy, it replaces several dispersed, outdated facilities and is designed for future expansion.

As cities change, so do our expectations of them. People are asking for more caring spaces: public places open to all ages and genders, nature within reach of every social class, and settings that foster connection. Few design intentions hold these together as well as spaces for children. This selection of unbuilt projects submitted by ArchDaily readers showcases different approaches to care-based architecture. Schools, daycare centers, a library, a youth center, and a new model for orphanages take on the mission of providing a safe and stimulating environment for children at every stage of their development. Not yet built but carefully designed, these proposals offer a glimpse into spaces for play, learning, and calm that fuel creativity in design for people of all ages.

House is Tinos is the renovation and extension of a 115-square-metre residence on the island of Tinos, developed across two levels that follow the natural inclination of the terrain. The project works with the building's existing irregularities, material imperfections, and traces of different periods of construction, embracing these conditions rather than attempting to erase them.