WORDS Gina Dionisio PHOTOS Mariela Apollonio

This 1920s home in Turís has a storied past – its old walls have seen generations of everyday life, family holidays, summer gatherings and even a medical practice – and now, almost 90 years later, it has been returned to its former glory, allowing the house to continue its long tradition as a place of gathering.

In 1941, Nilda’s grandparents rented this house, a dwelling built fifteen years earlier and distinguished by its generous backyard, which at the time still opened onto surrounding farmland. A few years later, they purchased the property and carried out the first major transformation, extending the house towards the garden. As the village doctor, her grandfather devoted part of the home to his medical practice, a common arrangement at the time. In the late 1970s, after his retirement, the family moved to Valencia, and the house became more of a holiday home than a permanent residence.

Small adjustments were made over the years, but as the family visited less and less, the house gradually fell out of step with contemporary living. Decades later, Nilda decided to return and make the house a home once more.

Jose Costa ARQ Studio was tasked with restoring the 300 m² home so that it could serve as both a primary residence for Nilda and a shared space for the extended family during summers and holidays.

The street-facing volume, with its brick facade, timber windows and tiled roof, now serves as accommodation for visiting family members, with five bedrooms and three bathrooms. The entrance gate and carpentry were restored, while original tiles and flooring were carefully preserved and reused.

The main living areas – living room, dining room, kitchen – and Nilda’s primary bedroom are all contained in the garden-facing half of the house. Due to its deterioration, this section required a more substantial intervention. The architects replaced the roof and opened up the facade to strengthen the relationship with the garden. To bring natural light deep into the interior, a new courtyard was carved out above the kitchen. Enclosed in glass, it takes on the character of the garden beyond. The staircase, a central element in the house, links both halves of the home while establishing a visual dialogue with the courtyard.

With the renovation completed last year, the home is now a meeting point between past and present – a contemporary space where the family continues to come together, just as they always have. | josecosta.es

Don’t forget to sign up to our weekly newsletter for the latest architecture and design news.

The post Spanish Family Villa appeared first on Visi.

COMPILED BY Gina Dionisio PHOTOS Ishita Sitwala, PHX INDIA, Arch-Exist Photography, Jeanne Canto, Fernando Guerra, Avesh Gaur and Sohaib Ilyas Design, Andrés Cedillo, FLINK Studio, Studio CAPN, Paul Warchol, Andrés Cedillo

The 2026 WAF shortlist features 416 projects across categories ranging from best Creative Re-Use, Housing and Education to best Hotel, Health, Sports and Culture. Selected from over 630 entries, this year’s shortlist celebrates incredible, groundbreaking architectural and design achievements.

Among the entries, these remarkable buildings celebrate architecture that responds to its environment while creating distinctive, immersive and sustainable places:

Ayana

by aslam.sham architects in Coimbatore, India

Terra House

by Atelier Design N Domain LLP (ADND) in Kerala, India

The Mountain Fold – Nanshanli Community & Visitor Centre, Mount Emei

by Lacime Architects in Shanghai, China

Kiaora Residence

by STRANG in Coconut Grove, United States

ES House

by Jacobsen Studio in Guarujá, Brazil

The Hungry Caterpillar

by lyth Design in Delhi, India

Mercado Nicolas Bravo

by AIDIA STUDIO in Quintana Roo, Mexico

Bisate Sanctuary

by Black Sable Designs in Ruthengeri, Rwanda

Stöng – (Re)interpretation

by SP(R)INT STUDIO in Stöng í Þjórsárdal, Iceland

Chatham Residence

by Desai Chia Architects in Chatham, United States

Parque Quintana Roo

by AIDIA STUDIO in Chetumal, Mexico

The World Architecture Festival 2026

This year’s 205 shortlisted completed buildings include everything from an immersive tropical clubhouse in Vietnam to a landmark fish market in Sydney and a 1.2-acre oceanfront park in Florida.

The 48 shortlisted interiors range from an off-grid private wildlife sanctuary and guest lodge in South Africa to a design-led rooftop bar in Bangkok, while the 12 shortlisted landscapes include a clubhouse in Vietnam designed as a living organism and an ecological landmark in the Philippines that showcases the structural material qualities of bamboo.

The 151 future projects shortlisted include a climate-responsive home in Mumbai and an ambitious vision for a children’s hospital in Texas.

World Architecture Festival and Inside World Festival of Interiors will take place in Fort Lauderdale, Florida, on 18–20 November 2026. | worldarchitecturefestival.com

Don’t forget to sign up to our weekly newsletter for the latest architecture and design news.

The post Nested in Nature appeared first on Visi.

WORDS Annette Klinger PRODUCTION Drew Architects PHOTOS Elsa Young

Estate design is a challenging typology. Cookie-cutter homogeneity isn’t a good look – but then, neither is a hodgepodge of unrelated architectural styles. The trick? Aiming for that sweet spot where singularity meets context. Architect Andrew Payne, whose Courtyard House in Serengeti Estate bagged an excellence award at the PIA Awards in 2025, knows a thing or two about estate architecture. “Estate guidelines almost always hamstring whatever design ideas you may have,” he says. “The funny thing is, I wrote the guidelines for Serengeti about 15 years ago, back when I was their estate architect!”

While Andrew’s past self was quite strict in terms of the estate’s architectural parameters, he maintains that his future self had enough creative leeway to design a residence that continues to turn heads. “We love the kind of home that gives you a little hint of what might be beyond the facade when you drive past,” he says. “This house tempts you to hit the brakes and ring the doorbell – because you’re desperate to see what’s inside.”

The low-slung rectangular street facade is almost unassuming in its simplicity, punctuated only by a slatted steel gate and porthole to the right. “To balance budget and aspiration we worked hard to keep the design simple and sculptural, using only concrete, brick plaster and white paint – almost as though the house has been hewn from a single material,” says Andrew. Beneath the seeming austerity, however, runs an undercurrent of fun. Visible through the front gate, a five-metre-long steel window box juts out from the bottom of a wall, allowing passers-by to glimpse – depending on their timing – the residents’ feet, their small dogs, or the eponymous courtyard beyond. And what a courtyard it is: accessible from all sides of the home via sliding pocket doors, the lush, tranquil space accommodates a lounging area with a mature jacket plum tree peeking its canopy through a cutout in the concrete slab above it. “The curved corners of the cutout bring softness and balance to all the straight lines, and the tree offers a layer of privacy between the main suite and the lounging area,” says Andrew.

A courtyard-centred design not only accommodated the clients’ wish for privacy, but also made the most of the plot’s golf-course frontage and nature-reserve views. “We started with the question of how we could create a building that looks only at itself and at nature,” says Andrew. “We pushed the building to the boundaries of the site to create the courtyard, which bleeds beautiful natural light into all the rooms, and north light into all the bedrooms.”

While the layout seems relatively simple on paper, it translates into an immersive experience in practice, with pockets of interest tucked around every corner. As you approach from the motor court, for example, a solitary olive tree stands marooned on a square island in the middle of a koi pond, which has to be traversed via floating slabs to reach the front door. The double-volume entrance hall is a gallery space that houses the family’s art collection – plus another gently gurgling pond, for good measure – and allows you to survey the landscape beyond through the courtyard. Then, as you make your way through the house, a discreet staircase behind the courtyard lounge leads up to a covered rooftop bar with views for days. A bonus level, if ever there was one. “We love the idea of being led through a home via a series of curated and playful experiences that both entice and delay the journey,” says Andrew.

It’s a journey that doesn’t get old, according to the home’s owner Daniel Courtney, who has lived there with his family for three years. “The way the house connects us to nature, the sound of the water features… We feel like we’re on holiday every day,” he says. “Stepping into the entryway and being greeted by that view through the courtyard and onto the greenbelt is something that doesn’t wear off . I’d say we probably leave the courtyard doors open for nine months of the year.” We’d say, with surroundings like these, an open-door policy seems par for the course. | studiodrew.co.za

Don’t forget to sign up to our weekly newsletter for the latest architecture and design news.

The post Kempton Park House appeared first on Visi.

The most human-centric offices share a common architecture of beliefs. From the materials chosen to the way space flows, each decision contributes to an environment that puts people first.

For Trend Group, office interior design-and-build specialists with studios in Cape Town, Johannesburg, Durban, London, Dubai and Cairo, creating spaces that work for people is both philosophy and practice.

Trend Group brings design and delivery together, giving clients the flexibility to engage the studio for a complete Design and Build solution or to work alongside their own Design Team. Either way, clients receive one accountable team and a dedicated single point of contact from first conversation to final handover. Working alongside architects, interior designers and professional teams, the studio functions as the trusted delivery partner behind some of Africa’s most considered workspaces – managing the complexity of project coordination, construction and fit-out to carry the vision through from concept to completion.

Four key principles help define a working environment that people genuinely want to spend time in:

Sustainability

Sustainable thinking starts at the design stage, with decisions around orientation, natural light, energy use, material selection and the efficient adaptation of existing space. It then carries through into the build, from responsibly sourced, durable construction materials to waste reduction during installation and careful consideration of how the space can evolve. Sustainability is not a final layer added to a project, but something embedded in the thinking from the outset.

Culture

Brand culture is expressed through the way a space feels, functions and brings people together – from the materials and spatial hierarchy to the environments created for collaboration, focus and connection. A thoughtfully executed design reflects how an organisation actually operates and what it values – and the workplace, in turn, becomes a genuine expression of its culture.

Connection

People need different environments for different tasks throughout the day, which is why people-centred office design prioritises flexible working environments – from café-style spaces that invite collaboration to focus zones that support deep work without interruption. This reflects a broader shift away from corporate minimalism towards a sensory, hospitality-driven aesthetic. As a result, offices are becoming layered, textured and emotionally supportive spaces that feel genuinely comfortable to inhabit.

Atmosphere

One of the most significant shifts in office design is the incorporation of biophilic design principles. Natural light, greenery and acoustic solutions are no longer treated as decorative add-ons or post-design afterthoughts. Working in conjunction, they boost not only staff productivity but also employee well-being.

For Trend Group, this is the purpose behind every workplace it designs and delivers: creating environments that respond to the people who use them, support the way they work and reflect the organisations they represent. Because the best workplaces aren’t simply built for work – they’re built for people. | trendgroup.co.za

The post Designed for Work appeared first on Visi.

WORDS Gina Dionisio PHOTOS María Missaglia

Rather than reconstructing an idealised past, idearch studio – a Spanish architecture practice – worked with what remained of the 140-year-old Menorcan lloc, allowing architecture, memory, and landscape to continue evolving together.

Son Martorell’s original buildings, a house and cattle barn, had fallen into advanced disrepair after years of successive alterations. Previous renovation attempts had split the main house internally into two independent units, profoundly altering its original configuration and dissolving the spatial unity that once defined the whole.

Driven by a desire to restore the deep connection between the property’s historical architecture and surrounding landscape, idearch studio approached the renovation not as an isolated gesture, but as a continuation of a place shaped by generations of farming and habitation.

The interventions introduced by the architecture studio were based on a strategy of careful subtraction and recovery. Deteriorated elements were removed, non-structural partitions cleared, and compromised roofs and slabs taken down. As a result, the studio was left with a ‘useful ruin’: a stable spatial and material base that allowed them to reorganise the house.

Son Martorell’s entrance, defined by a double-height void, is now the spatial heart of the home, organising circulation. A light staircase and walkway unfold within this space, wrapping around the existing stone wall, understood both as structure and as a material memory of the building. From this central core, all levels are connected. The new interventions do not compete with the existing fabric, but rather engage with it through precision and lightness.

Inside, new openings, cut through the marès walls, act as thresholds between rooms. The house is organised as a continuous sequence of spaces, where corridors disappear in favour of fluid transitions and direct spatial experience.

The renovation draws on the traditional logic of building in Menorca, where climate and place prevail over form. The positioning of new openings responds to this reading of the landscape rather than compositional rules, capturing light, framing views, and bringing the outside in. To the south, the main living spaces open fully to the landscape through floor-to-ceiling glazing. To the north, service areas are placed behind a more recessed facade, where smaller openings act as a buffer against the prevailing Tramontana winds. idearch-studio.com | @idearchstudio

Don’t forget to sign up to our weekly newsletter for the latest architecture and design news.

The post Menorcan Farmhouse appeared first on Visi.

WORDS Gina Dionisio PHOTOS Felix Speller

We’re big fans of Brutalism at VISI, so when we heard that MADE – a UK-based, design-led homeware brand whose aim is to make high-end design accessible – was launching a new interiors collection with the Barbican, we knew it was going to be something special.

For those who aren’t in the know, the Barbican is arguably one of Britain’s finest examples of Brutalist architecture. Opened in 1982, the vast multi-use complex comprises a major arts and conference centre (the Barbican Centre) and a residential estate with its own network of walkways, gardens, schools and even a library.

Rooted in design history, yet focused on modern living, the MADE x Barbican collection reinterprets the interiors and features of the iconic estate for today’s lifestyles.

Throughout the design process, MADE’s in-house designers worked closely with the team at the Barbican, undertaking extensive research into the estate’s rich architectural and cultural history. Through a deeper study of the archival objects, the team discovered Miriam Howitt’s interior approach to furnishing the original show flats, which shaped the project’s direction.

The result is a 23-piece collection of furniture, lighting, textiles and accessories that channels a design language defined by bold geometric forms, modular layouts, grid structures and curved forms. Think sculptural silhouettes, layered materials and warm neutral hues, alongside moss greens, ochres and deep rusts. You’ll also find stained ash, chrome accents, woven fabrics and deep-pile textures.

The final designs reimagine products, graphics, and architectural details through a new lens, distilling them into a cohesive collection that captures the Barbican’s iconic essence while remaining entirely liveable. made.com | shop.barbican.org.uk

Don’t forget to sign up to our weekly newsletter for the latest architecture and design news.

The post Made to be Brutal appeared first on Visi.

WORDS Chris Reid PHOTOS Helene Sandberg, Supplied

Concrete is not a material that has historically kept good company with living things. It doesn’t bend, it doesn’t breathe, and it’s difficult to love at times. Which is exactly what makes Eco-Brutalism – the movement built on the marriage of raw concrete and rampant greenery – one of the more surprising design stories of recent years. Yet the more you sit with it, the more inevitable it feels.

As a reminder, Brutalism is an architectural style that’s known for its pragmatic yet monolithic design, as well as its heavy use of unfinished building materials. (The latter is the source of the name: a reference to the French term for raw concrete, béton brut.) Emerging in the 1950s, it was used for institutions such as universities, civic buildings and hospitals. Post-war governments valued its speed and cost-efficiency. City planners loved its scale. The public was, however, oft en less convinced.

Eco-Brutalism takes the same commitment to material honesty and pushes it into more verdant territory. In this approach, hard edges aren’t softened with paint or embellishments, but with plants. And not just a discreet flowerbed here and there: we’re talking climbing vines, living walls, rooftop gardens and indoor trees – the kind of foliage that sprawls and reaches and eventually makes a building look more like a terrarium than a monument. It feels like it should clash. But in the right hands, it produces something genuinely arresting: the hard and the soft, the permanent and the growing, locked together in an aesthetic that feels both radical and deeply natural.

Tough Love

A shift in attitudes to Brutalism has been brewing for some time. In London, the Barbican is the most instructive example. Once polarising, it is now the subject of a £231-million renewal programme approved in late 2025, with plans to restore its public spaces and conservatory ahead of its 50th anniversary. What has long been regarded as a cold, labyrinthine edifice has become one of the most desirable addresses in Europe. Architecture tours are sold out. The shop sells Brutalist memorabilia. The turnaround is remarkable – and it signals something broader.

As a style, Eco-Brutalism has some associations that make it quite apt for the current point in history. For a start, it has an innately socialist bent and forward-looking perspective. At a time when income disparity feels like it’s constantly increasing and retrogressive politics are on the rise, that is comforting. It also taps into the biophilia trend that defined the last decade or so. But where biophilia often feels surface-level, this turns the volume up and takes the greenery from an accent to an essential core. Also, in a world where the future will only get hotter and where cities will continue to densify, the smart use of greenery alongside concrete creates instant oases that people can appreciate regardless of their feelings on the aesthetic itself.

More than Skin Deep

With this type of design trend, there’s an implicit question: how much of the green thinking is substantial, and how much is purely symbolic? After all, Brutalism with a few plants added to it hardly feels like it warrants a whole new name. Added to that, concrete is a material that has come under significant scrutiny in recent years for its environmental impact.

What we’re seeing in this new iteration of Brutalism, however, is the “Eco” aspect going deeper. New, sustainable cement innovations by companies like Seratech are helping to sequester carbon in the build process. Architects intentionally include passive cooling and rainwater collection to reduce their environmental footprint. Plus, there’s an argument that this kind of anti-ostentatious design removes the unnecessary features that tend to add to a building’s overall impact.

Perhaps most importantly, this aesthetic is defined by permanence. In a world of fast design and disposable interiors, there is something quietly radical about creating buildings that are designed around function and intended to be scaffolding for nature. Brutalism in all its forms resists simple interpretation. But sometimes the most beautiful things are the ones that refuse to be easy.

Don’t forget to sign up to our weekly newsletter for the latest architecture and design news.

The post Concrete Jungle appeared first on Visi.

WORDS Martin Jacobs PHOTOS Renata Dominik, Michael Lassman, Felix Mooneeram

One would think originality inevitable when access to the endless scroll places a world of architecture, interiors and design at our fingertips. Yet in a culture of constant visual assault, sameness persists, leaving us yearning for the shock of the new. Too often, we circle the expected when shaping our homes – but when convention is set aside, and different choices are given space, the results can be extraordinary. “Global thinking about how we use our resources is shifting, but architecture is lagging,” says Clinton Cole, founder of CplusC, a Sydney firm of architects, interior designers and builders, of the conventional bigger-is-better approach to bespoke homes. “What happens when we turn from excess towards nature? What does human-centred architecture look like now on our fragile planet?”

The collaboration between CplusC and interior designer Jase Sullivan, who brought his decorating expertise to this unusual home, offers a compelling response. Positioned above Manly’s Shelly Beach, with distant views of Manly Beach, the house could have followed the familiar path of its neighbours, maximising bay views. Instead, it turns inwards, focusing attention on a man-made body of water: a natural pool inspired by the homeowners’ love of a freshwater creek several hours from Brisbane. “We wanted our home to feel like the outdoors every day – like camping in the woods, but with the luxury of a house,” says Karin*, who commissioned the home with her husband Jurgen for their young family. In many ways, the pool is the heart of the home, with every room opening onto it.

In consultation with landscape architect Duncan Gibbs, CplusC’s design for the swimming pool is part of a broader rainforest creek concept. Following the slope of the property, water cascades through a series of biofiltration ponds and reedbeds into the pool, and down into a waterfall alongside the home’s entrance. Overhead is perhaps the most unusual feature: a canopy of timber, steel and translucent jade-coloured lattices into which more than 20 planters are embedded. Permeable to the elements, this is a breathing architectural structure that filters sunlight and heat, forging a constant connection to nature. “Eventually the canopy will resemble tree canopies, with leaves swaying in the wind and water dropping like rainfall into the tranquil watercourse below,” says Clinton. “It’s a contemporary interpretation of a landscape and environment, invoking memories of our human experience in nature.”

“With the doors open, the sounds of water outside make you feel as though you’re in a forest,” says Jase, a runway model-turned-interiors specialist whose award-winning work dots not just Australia but also Beverly Hills and Hollywood Hills in California. “I knew from the start that the furniture choices had to honour this incredible architecture. There is no way I could have gone subtle with this house – I had to take it to the extreme!”

The double-volume living room, with its stained-glass windows (in the colours of Sydney sunsets) inspired by Mondrian artworks, best illustrates Jase’s approach. Confessing that this may be his boldest pairing yet, he explains how the colour palette of the stained-glass windows was his starting point. “I’ve always had a passion for rare Mid-century pieces. When I began in the industry, at a time when most designers weren’t turning to them, I believed pairing such pieces with contemporary ones offered a fresh perspective on vintage design.” He’s combined a pair of 1960s yellow Pierre Paulin Ribbon chairs with Hessentia’s Gio sofa and two Soniah floor lamps by Ukrainian designer Victoria Yakusha. “Collaborating with DenHolm, I designed the pink coffee table to tie everything together,” he says. “Even though the pieces are from different eras, their curves complement one another beautifully.”

Jase’s decorating extends beyond aesthetics and, where possible, mirrors Clinton’s sustainability-forward measures, such as exterior timber cladding in a low-maintenance shou sugi ban finish, hydronic heating and cooling, electric car and bicycle charging stations, and a solar-panel battery system that generates more energy than it consumes (all of which contributed to this being the first certified Active House in Australia). “The drive towards sustainability always enhances my design thinking,” says Jase who, for seating at one end of the nine-metre kitchen island, turned to Dutch designer Dirk van der Kooij’s Chubby barstools, created from extruded recycled plastic. Upstairs, headboards and ottomans were made from upcycled plastic and clothing, and wooden furniture (as well as architectural elements throughout the home) utilised recycled timber.

“This is a home in which the air is filled with the play of water, a light- and soundscape awash in colour from stained-glass windows,” says Clinton, reflecting on the project. “It’s playful and rejuvenating all at once.” And for homeowners Karin and Jurgen, it’s about so much more. “We imagined a beautiful carbon-positive house that inspires others,” says Jurgen. “Our goal is for our home to generate more energy by 2050 than was used to construct and operate it.”

It’s ambitious thinking like this that jolts us into creating things that feel genuinely new. jasesullivan.com | cplusc.com.au

Don’t forget to sign up to our weekly newsletter for the latest architecture and design news.

The post Sydney House appeared first on Visi.

WORDS Gina Dionisio PHOTOS Paris Brummer

When EF Education First – the world’s largest privately owned education company – relocated its language school from Kloof Street to a modern office building at the V&A Waterfront, the move called for a bold design response.

EF’s in-house Architecture & Design Studio – which brings a contextual design approach that ensures no two schools look the same – was tasked with transforming the interior of the existing building into an environment that fosters creativity and learning, while remaining true to its location.

“A strong use of colour was meant to activate this space, shaking loose any office associations, while alluding to the confluence the Waterfront embodies – a rich mixture of people, languages, buildings, industries, geography coming together to form an incredibly sophisticated and cosmopolitan neighbourhood,” says Philip Iosca, Head of Interior Design, Architecture & Design at EF.

This delicate balance between location-centric design and EF’s global brand values is achieved through careful space planning, ensuring each school’s floor plan is both globally consistent and locally responsive. “A welcoming reception area, a flexible auditorium for learning as well as social events, classrooms with natural light, inviting lounge spaces and, often, a student café in the centre that becomes a kind of ‘heart’ of the school – these have all become standard features of our schools,” says Philip, “but how they are realised – furniture, finishes, and graphics will vary based on each location.”

Material choices were guided by both aesthetics and function. “Good acoustics are one of the most important requirements for language learning,” says Philip. “For Cape Town, we paired custom-painted wood-wool ceilings with cork floors – both selected for their inherent acoustic properties, and both sympathetic to the Cape Town climate.” Glass walls allow natural light to filter deep into the floor plates, while the layout of each classroom follows a C-shaped configuration to facilitate conversation, with tables for spreading out books and comfortable chairs throughout.

Incorporating local designers, artists and makers has always been a core principle of EF’s in-house Architecture & Design Studio. The team selected Cape Town-based Red Nail Design to oversee the fit-out of the space, with furniture locally produced by Coral + Hive, Dokter and Misses, James Mudge, Okha, Pedersen+Lennard, Studio 19 and Voegel Design. “We knew we wanted to curate a selection of these brands and worked to find a cohesive selection aligned with our contextual design approach,” says Philip.

For the project, the team collaborated with Dokter and Misses on bespoke pieces including a ‘Big Five’-inspired reception desk, an animal-print podium, striped banquettes and perforated wall lights. “We were charmed by Dokter and Misses’ disco chair, which was completely delightful, while still referring back to a long tradition of wood chairs – Gerrit Rietveld, Donald Judd, and Enzo Mari, among others. Unlike some of the artist versions, this chair was carefully designed to be comfortable – with a sloped backrest and contoured seat. This attention to detail permeates their collection, which feels singular at a time when products are beginning to be increasingly flattened by social media,” says Philip.

The team approached Dokter and Misses to ask if they would be willing to collaborate – with seemingly impossible timelines and a modest budget – and were thrilled they were up for the challenge. “We gave brief design directions for each item – material, rough dimensions, quantity and references to their work we admired. They did one or two rounds of proposals for each item, where we quickly homed in and agreed on the final designs. We are absolutely thrilled with the results – everything was made locally, fitted within our budget and, most importantly, arrived on time. They absolutely nailed it!” says Philip. ef.com | @ef

Don’t forget to sign up to our weekly newsletter for the latest architecture and design news.

The post Class Act appeared first on Visi.

COMPILED BY Gina Dionisio PHOTOS Courtesy of the Restaurant & Bar Design Awards, The Room (Natelee Cocks), Alrecchino (Jan Ras), Arum (Inge Prins)

The Restaurant & Bar Design Awards is arguably the most influential global design competition specifically dedicated to food and beverage environments. Now in its 18th year, this prestigious event honours and celebrates the most innovative venues and the brilliant minds who bring them to life.

The shortlist comprises five regional categories – Asia, Australia & Pacific, Europe, Middle East & Africa, and The Americas – plus a number of global categories.

Shortlisted for this year’s awards are four outstanding South African projects:

Kolonaki

With its inviting atmosphere, Kolonaki in Parkhurst has been shortlisted in the Multiple category. The indoor-outdoor flow and breezy character, along with screed flooring, touches of wood, luscious plants and abundant cane slatting, lend an authentic Aegean island feel to the Atmos-designed interior. | atmosadd.com

Arlecchino

Shortlisted in two categories – Visual Identity (Partner & Form) and Ceiling (Verhaal) – Arlecchino possesses a certain theatrical charm, thanks to its interiors and design details inspired by Natasha Sideris’s childhood memories of Italian restaurants and holidays in Cape Town. With its ode to 1970s design, the restaurant offers a slice of Mediterranean glamour – think terrazzo floors, solid wood surfaces, patinated finishes and eye-catching ruffle chandeliers. partnerandform.com | verhaal.studio

The Room

Designed by award-winning South African interior architect Tristan du Plessis, The Room has been shortlisted in the Small Space category. For the space, Tristan drew inspiration from the atmosphere, materiality and cultural excess of 1970s recording studios, aiming to create an immersive, music-driven environment that balances intimacy, energy and a strong, contemporary sense of place. | tristanduplessis.com

Arum

Shortlisted in the Heritage Building category, Arum at Boschendal was conceptualised and designed by MR. Studio. The design of the farm-to-fire restaurant reimagines farm life as a spatial experience through materiality, texture and light. | bymr.co.za

To see the full shortlist for this year’s awards, visit restaurantandbardesignawards.com.

Don’t forget to sign up to our weekly newsletter for the latest architecture and design news.

The post Restaurant & Bar Design Awards Announces its Shortlist for 2026 appeared first on Visi.