From the Gaudí Year and the unveiling of the Sagrada Família’s tallest tower to more than 1,500 events across the city, Barcelona becomes the World Capital of Architecture 2026 with a programme that unfolds month by month across public space, sustainability, and experimentation.
With the Karst Finch model, developed alongside Satoshi Kondo, the collaboration between Camper and Issey Miyake continues to push forward a vision of footwear increasingly rooted in movement, use, and a design culture that goes beyond fashion.
From Andrés Jaque’s transspecies installations to Balkrishna Doshi’s sensory pavilion at the Vitra Campus, and on to a museum-temple in Vietnam, in its April issue Domus positions the body as the new frontier of contemporary architecture.
After a memoir, a no-makeup phase, and a return to acting, the reinvented diva adds a romantic furniture collection inspired by family memories to her rebranding.
Kengo Kuma is the winner of the international competition to design the expansion of London's iconic museum, which is preparing to redefine its cultural role in the future.
Compact, lightweight and designed to be carried anywhere, Dyson’s new fan miniaturises cooling without sacrificing power or battery life.
In Oulu, European Capital of Culture 2026, the Danish artist builds a digital ecosystem among Finnish folklore, seed banks and underground architecture.
For Design Week, RH transforms one of the most invisible buildings on Corso Venezia into a design gallery: a building that everyone recognizes, even without knowing it.
From the home-studios of Gae Aulenti and Vico Magistretti to the archives linked to Gio Ponti and the Castello Sforzesco, 150 usually little-accessible funds open exceptionally to the public during Design Week 2026.
On the outskirts of Milan, the storage spaces of the Christian Stein Gallery — home to works by Boetti, Kounellis, Paladino and Pistoletto — open to the public for a limited time, becoming a temporary exhibition space between archive and display.
A magnetic display that brings a screen to the back of your smartphone, letting you use the main camera for selfies: intuitive in theory, more ambiguous in real-world use.
At the Giardini of the Venice Biennale, the bar is no longer what you remember: with the new Central Pavilion, the café designed by Tobias Rehberger—awarded the Golden Lion in 2009—has disappeared.
The historic space at 860 Broadway, where Andy Warhol worked between 1974 and 1984, changes function again: from art workshop to store for the Japanese brand, in a transformation that seems to exaggerate his idea of art and consumption.
