ARCHITECTURE, DESIGN, INTERIORS + PROPERTY

identity
®

ISSUE 210 / JUNE 2021

identity.ae
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The New Era

 contents

Features
16 Contemporary heritage
Don Tanani revives the past through objects that are
at the crossroads of design and art

18 Labour of love
House of Today continues its efforts in supporting
emerging design talent in Lebanon

22 Terracotta dreams
Meshary AlNassar’s homely studio is a reflection
of his ambitions for design in Kuwait City

26 The future is now

A new era of designers, architects and artists are
redefining the future of design in the UAE

38 Weekend lifestyle
This Sydney home achieves harmony through the
perfect balance of proportions, materials and colours

46 Tropical modernism 64 Photography by Tommaso Sartori-

Looking into a São Paulo home that hosts a grand

display of Latin American art and vintage furniture

64 A contemporary legacy
Enter the newly opened Bourse de Commerce – Collection
Pinault by Tadao Ando and design by the Bouroullec Brothers

Regulars
10 Newswire
52 Design Focus
70 Products
72 Library

46 38 74 #idmostwanted
 contents

identity
®

Editor-in-Chief
Obaid Humaid Al Tayer
Managing Partner and Group Editor
Ian Fairservice

Group Director
Andrew Wingrove
Editor
Aidan Imanova
Designer
Hannah Perez
Sub-editor
Max Tuttle

Chief Commercial Officer

Anthony Milne
Group Sales Manager
Manish Chopra
Senior Sales Manager
Neha Kannoth
Sales Representative - Italy
Daniela Prestinoni

General Manager - Production

S Sunil Kumar
Assistant Production Manager
Binu Purandaran
Production Supervisor
Venita Pinto

Contributors
Cyril Zammit
Karine Monié

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26
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 Editor’s Note

Photography by Joachim Guay

Welcome to the ‘New Era’ – identity’s latest issue, highlighting emerging talents from the Middle East as well as
fresh approaches to design, novel perspectives and renewed hopes for our industry in light of the many challenges
facing the region and the rest of the world.
There is no doubt that we are seeing the emergence of a new energy that is also prevalent in the way designers are
beginning to approach their work and the built environment. We are seeing greater empathy and understanding of On the cover:
different needs – but also a greater appreciation for the importance of beauty and art and how they can transform From left: Riyad Joucka, Lina Ghalib,
our spaces while still remaining conscious of environmental impact. Hasan Roomi, Zeinab Al Hashemi,
Husain Roomi, Nuhayr Zein
Our cover story this month highlights a new generation of designers, architects and artists who are paving the
way for the regional design industry – whether by utilising new technologies, reinterpreting cultural heritage or
developing sustainable materials for architectural use.
“Architecture in the region and the UAE [specifically] has seen a positive shift towards design that responds to its
context in terms of its environment and culture,” said Nuhayr Zein, one of the Dubai-based architects gracing this
month’s cover. “I feel that [this has], in turn, raised awareness about the importance of context-specific architecture,
causing a shift towards designers and non-designers wanting to build more responsibly.
“In the future, I hope to see and contribute to more action-oriented material research that would reduce industrial
waste in the region. I believe that our world is constantly evolving and so should our materials,” she adds.
“The GCC region – particularly the UAE and, most recently, Saudi Arabia – has witnessed a remarkable evolution
within the design and architectural realms. As a whole, the region carries a mature and sophisticated design
approach as well as a fearlessness towards doing things differently,” Hasan and Husain Roomi from H2R Design
add. “As a home-grown design firm, we are extremely proud to be part of this journey [and] we hope that the region
continues to champion smaller firms that bring a fresh perspective and skills to the fold.”
Our cover story was photographed at the newly opened Khor Kalba Mangrove Centre (which I advise everyone
to visit!). I would like to give special thanks to their team as well as to Peter Jackson and the Sharjah Environment
and Protected Areas Authority.
Elsewhere in the issue, we interview Cherine Magrabi Tayeb, the founder and chairwoman of non-profit design
platform House of Today, which is committed to nurturing young Lebanese designers and students and widening their
opportunities and career growth within the field. With the huge number of challenges facing Lebanese designers
today, and in the aftermath of the tragic Beirut Blast last year, Tayeb believes now is the time for us to step up to propel
each other forward. She further notes that now, more than ever, design has found its prominence in the world.
“I think that designers have finally found that they have a place in the cultural sphere, and I think playing a
role in that makes it super important. They are part of something that the world is looking at, and all of that
makes a difference.”
Photo by Young Habibti

Aidan Imanova
Editor
 Rimadesio Modulor wall paneling system,
Self bold cabinet.
Design Giuseppe Bavuso
rimadesio.com
 newswire
T
Distant
he voices of 4000 Lebanese citizens have
travelled to the Venice Architecture
Biennale as part of Beirut-based architecture
and design duo T SAKHI’s installation, ‘Letters from
voices
Beirut’. With the hope of fostering dialogue and
honouring the Lebanese community, the installation
shares narratives in the wake of the city’s ongoing
reconstruction following the explosion in Beirut on
4 August last year.
T SAKHI’s founders, Tessa and Tara Sakhi,
collaborated with Sharjah-based Irthi Contemporary
Crafts Council – a platform that preserves indigenous
craft heritage by engaging women artisans through
vocational training and upskilling programmes
– to create a ‘handcrafted poetic project’. “[The
project] immortalises the thoughts of Lebanese
citizens during these tough and constructive times,
and underlines the power of words through letter
writing,” the designers explain.
Comprising a six-metre linear wall that acts as a
surface for contact and exchange, the project aims
to engage pedestrians, who are encouraged to select
one of the 4000 letters (which they are encouraged
to respond back to), set inside handcrafted pouches
that also contain a seed – a universal symbol of hope.
As more people pick up a pouch, the walls of the
10
installation begin to disappear, a metaphor that plays
on the idea of barriers and barricades which can be
overcome by human connection and interaction.
The pouches – which were donated by Irthi –
have been handcrafted by 37 Emirati craftswomen
from the Bidwa Social Development Programme in
Sharjah, and are made from felt, stitched in silver Zari
thread and lined with linen. The process incorporates
a weaving technique inspired by one of the traditional
hand-weaving patterns used in Safeefah, a traditional
Emirati palm frond-weaving craft that uses techniques
similar to basket-making. In this project, the artisans
created a contemporary pattern for the felt pouches,
inspired by the Sayr Yaay technique, replacing palm
fronds with recycled felt.
The handmade paper was created by university
students Mariam Abdulkarim, Amal Al Hammadi
and Zainab Adel as part of their graduation project,
using recycled paper. The seeds included in each
pouch are either coriander, courgette (zucchini)
or green beans, which are all edible plants used
in Lebanese cuisine. Each pouch is scented with
a natural fragrance evocative of Lebanon’s flora:
cedar, pine, genet, thyme or jasmine.
The project is also intended to raise charitable
funds to support various sectors in the aftermath
of the Beirut Blast, donating to NGOs including:
the Bank to School Initiative by Arcenciel, which
supports children’s education; the Beirut Heritage
Initiative, which strives to restore and preserve
Beirut’s architectural and cultural heritage; Beb
w’ Shebbek, which has been rebuilding doors and
windows of more than 80,000 destroyed homes after
the explosion; and the Salam Beirut initiative by The
Big Heart Foundation.
“We aim to continue the dialogue on the
reconstruction of Lebanon’s future and the restoration
of our collective memory,” conclude Tara and Tessa.
Photography by Clemente Ciarrocca.
My doctor prescribed
Switzerland.

Clinique Valmont, Glion, Lake Geneva Region, © NIco Schärer

With its stunning scenery and high level of safety, Switzerland is a favourite with travellers.
But first-rate hospitals and clinics also make it a an exclusive health destination offering
excellent medical expertise in luxurious surroundings. MySwitzerland.com/health
 newswire

12
 identity.ae

An Italian
affair

A
n exclusive collection by online retail
platform Artemest has been curated
by Dubai-based interior designer and
founder of Styled Habitat, Rabah Saeid,
and combines Italian handcrafted pieces inspired by
cosy nights in. Gathering Nights explores design from
a wide range of cultural influences and styles, which
come together to form an intimate atmosphere
centred on warm hues, opulent details and striking
colour accents.
Saeid’s curation of Artemest’s online trove of
50,000 products by skilled makers showcasing the
‘Made in Italy’ stamp includes works by heritage glass
masters, furniture makers and ceramicists, following
Styled Habitat’s own ethos of showcasing the works
of artisans.
“Our Gathering Nights concept is about cultivating a unique “This is the first time we've collaborated in this way with
collection that channels our experiences, memories, travel, a designer based in the Gulf region and we're thrilled with the
nature, architecture, fashion, graphic design and art. [It] allows us result,” the duo says. “In her signature style of low-key luxe,
to explore interiors from a wide panel of cultural influences and warm earthy colour palettes and hyper-tactile aesthetic, Rabah
styles that come together in an atmosphere that is both relaxed has reimagined Artemest's beautifully crafted designs into the
and sophisticated,” says Saeid. Gathering Nights collection.
Artemest – which recently announced its launch in the Middle “Artemest's mission is to celebrate Italian craftsmanship and
East – is working with a regional designer for the first time; with support small luxury brands, artisans, designers and artists [in
Gathering Nights coming forward as its first collection rooted in order to] to gain international visibility: Rabah's Gathering Nights
the region. Artemest is run by duo Ippolita Rostagno and Marco is a curated selection of atmospheric pieces that aims to meet the
Credendino, who launched the brand in 2015. taste and design needs of the market.”

THE NEW ERA 13

 design

Breaking
the mould

A collision of forces has given birth to a new project called The Great Design Disaster. Led by a
passionate duo – interior architect Gregory Gatserelia and design enthusiast Joy Herro – its aim
is nothing short of shaking up the traditional boundaries of the contemporary design market.
identity catches up with Herro to learn more.

14
 design
W
hat is the concept behind The Great
Design Disaster? We give collectors
the chance to step out of the commercial
role and, instead, slip into the role of the
initiator. In a figurative sense, we transform them into designers
or artists. The Great Design Disaster (TGDD) challenges
individuals with one question: “You, who can buy great design,
can you create one?”
How did the idea come about and what is it created in
response to? It began with the simple consideration of the
collectible design experience: instead of the voyeuristic act in
which artists and artisans show off their creations and collectors
passively buy, we are introducing a market based on desires,
dreams and creativity. [We are] matching collectors with
artisans to create completely original custom design pieces. The
pieces created from this process have an individual soul and are
the result of the visions and actions of all three players - the
collector, TGDD agents and the artisan.
How do yourself and Gregory Gatserelia balance your
roles? The sensibility of Gregory toward his clients’ wishes and
visions, as well as his ability to build trustworthy relationships
with collectors as an art and design consultant, is an essential
asset to The Great Design Disaster.
My numerous connections with talented artisans and deep
insights into all things related to tailor-made production, as well
as business-related skills, were the route to TGDD’s approach.
To sum up, he is the creative arm and I am the executive one.
How will TGDD contribute to the contemporary design
market? Our world is full of objects that give us ephemeral
satisfaction, but modern consumption habits leave us hungry.
TGDD introduces a market based on individual desires instead
of the traditional structure of supply and demand.
And how will you respond to demand? Why create a
million copies of a great design when we can foster the creation
of a million great designs, each one a singular vision for the
collector who commissions it?
Why was it important for you to go back to an artisanal
approach and manner of creating design? The craftsman
makes the collector's dream come true! The collector will be
more aware of the value of the hand-made, by literally seeing
his creature grow and take shape. It is a very engaging and
exciting experience for both [parties].
How does TGDD respond to areas such as luxury and
sustainability? TGDD is sustainable. We don’t sell products
and we don’t have warehouses; instead, we are agents of
creation. The market is saturated, and waste and pollution
have reached alarming proportions, so our mission is to invite
people to re-evaluate who they are and what they really need.
The result will be an expression of themselves.
TGDD is also luxury. Our collectors are like the pharaohs
and emperors who commissioned unique works to artists and
artisans throughout history.
How important is experimentation? I would rather say it
is an emotional experience. A TGDD collector waits for his or
her piece as a mother waits for her child to be born after all the
efforts and the imagination.
THE NEW ERA 15
Contemporary
heritage
WORDS: KARINE MONIÉ
IMAGES COURTESY OF DON TANANI
 design

Launched just a few months

ago, new brand and gallery Don
Tanani revives the past with
a contemporary eye, through
objects that are at the crossroads
of design and art

R
econciling ancient and
contemporary savoir-faire and
aesthetics is something that lies
behind new brand and gallery
Don Tanani, which focuses on creating
luxury products made in Egypt. “Imagery of
ancient Egypt is universally recognised but
defining modern Egypt is a struggle,” the
team says. “Don Tanani takes inspiration
from the past to create a new future and identity.”
After two years of work, family-owned business Living In Interiors
– established in 1992 by Ashraf and Alia El Tanani in Cairo – and sister
company Ar-Co Wood Factory, also based in Egypt, brought to life
their first collection, Duality, which was conceived by Egyptian product
designer Lina El Orabi. The wooden tables, consoles and benches that
are part of this inaugural series were inspired by Egypt’s pharaonic
legacy. “They are by no means static objects,” says the Don Tanani team
about these creations. “They are timeless functional art pieces created to
withstand the test of time.”
The idea of delving into ancient Egyptian design and culture while
adding a contemporary twist was key for this collection. “In ancient
Egypt, objects and art were considered a living image of their subject,
preserving their likeness and existing for the afterlife and future
generations,” explains the team. “Carving gave static materials warmth,
movement and life – encapsulating a moment in time. Skin [made] of
stone or wood is serene and tender. Complex wigs, jewellery, fabric and
animal skins are represented with elegant carving and inlay. Material and
skill are combined to express opulence, texture and life, creating objects
that marry function and art.”
The founders of the brand have high ambitions and a clear vision of
what they want to achieve through this project: manufacturing the pieces
in Egypt and elevating design pieces made in the region; creating products
that can be collected as art; and fostering a system that allows designers
from the country to express themselves. This is why, following its El
Orabi collaboration, Don Tanani has already planned to collaborate with
other Egyptian designers. “Modern woodworking techniques have not
changed much since the ancient Egyptians first developed them (we still
use the same basic joints and techniques) but our needs have changed,”
the team says. “If we emulated this ancient vision and juxtaposed it with
our modern times, could we create a new Egyptian point of view? Just
as in our past, each object is imbued with life. Materials and form are
sensory experiences that also belong in a modern functional context.
They capture and create their own time by being both still and yet full of
movement. And so here, in each object, our past and present are united.”
Proud of their uniqueness, the creative minds and collaborators behind
Don Tanani are reviving their heritage in a new way to showcase their
individuality to the world.
“As Egyptians, this is a moment to reclaim our narrative; [for] a
civilisation that represents art and design mastery cannot fade into the
background,” the team says. “We have everything we need here in Egypt;
after all, this is where it all began.”

THE NEW ERA 17

 All photography on this page by Carl Halal

WORDS BY AIDAN IMANOVA

A labour
of love

18
 interiors
design
The House of Today platform has
supported emerging design talent
and students in Lebanon for nearly a
decade. Today, in the face of ongoing
challenges, their efforts remain as
solid as ever.
“A
t the beginning of everyone’s career, there is always a
wish for someone who would hold your hand and guide
you, and I think I am that person for [up-and-coming
designers in Lebanon],” begins Cherine Magrabi Tayeb, founder
and chairwoman of non-profit design platform House of Today.
Since 2012, House of Today has been dedicated to the enrichment
of Lebanon’s design culture and, more prominently, in nurturing
and growing emerging Lebanese designers – as well as alleviating
potential difficulties faced by design students in the country.
“A big part of what we do is mentoring designers, so, no matter
where they are in their career path or academic path, we guide them
and work very closely with them to develop their talents, seek funds
for them or introduce them to the [local] design community as well
as galleries and collectors,” Tayeb continues. “When I first started,
there were a lot of designers who, when you spoke to them, were
either dropping out of design, couldn’t see where their career was
going or were uncertain whether Lebanon or the world at the time
was ready to acknowledge their work. Since then, a lot has changed.
We are now seeing [increasingly] more students entering the design
field, and we just want to try to grow these communities and their
talents and shed light on them.”
“We had the chance to work closely with Cherine and have
fruitful discussions together on how to improve the local design
scene and how it could have a larger international reach,” say David/
Nicolas, the Lebanese duo, who are today represented by Carpenters
Workshop Gallery. “What is great with House of Today is that it
pushes you out of your comfort zone and stimulates your mind.”
Tayeb recounts her earliest encounters with the Lebanese duo,
who met her during their early design careers. “I gave them their
very first commission,” she recalls, moving to another room in her
apartment to indicate a gorgeous cabinet that is unmistakably a
David/Nicolas piece. “This was in 2014 and it says ‘one of one’,” she
laughs. “You can see all their details. Their aesthetic is still intact.
They are now shining among the top designers of the world.”
Gaining wider global recognition has always been at the forefront
of Tayeb’s ambitions for designers in Lebanon. Her goal is for them
to expand their reach, widen the opportunities for their work,
showcase their work with international design galleries and hold
space in the homes of collectors worldwide.
“I also think that when a designer starts travelling with his or her
work, there are different influences that begin to affect their work,
there are specific standards that they have to meet, sitting alongside
other global designers – so everything starts to become more
elevated,” she explains.
House of Today offers a variety of activities and programmes,
including scholarships for students, pop-up exhibitions and
lectures, as well as its prominent design biennales that host open
calls, featuring emerging talent alongside the revered names of
Lebanese design.
“When I include prominent designers [in our exhibitions], it is a
way of thanking them and acknowledging that they have influenced
and set a path for the younger designers [in Lebanon]. They have,
in their own way – and maybe not directly – mentored these up-
and-coming designers,” Tayeb says. With some designers, House of
Today is additionally involved in the design and production stages,
with the aim of pushing them out of their comfort zone. “This does
not mean that the designers [we work with] cannot take on projects
on their own. They can and they absolutely do that,” she notes.
“Our relationship with House of Today is like one of family. We
share our thoughts, our ideas and we trust them with the decisions
they take,” share Stephanie Sayar and Charbel Garibeh of design duo
Sayar & Garibeh, who have been present across most of House of
Today’s exhibitions, including those in Beirut, Miami, New York City
and Aspen. “We have worked with them on commissioned pieces
and projects and this has helped us evolve, push our boundaries,
and enlarge our clients and manufacturers circle.” Today, the duo
produce their own pieces and are now keen to explore and learn from
the world of artisanal craft.
THE NEW ERA 19
 design

Photography by Roshni Gorur

Previous page: From top:

Chair-ry chair by Carlo
& Mary-Lynn Massoud.
Script Desk by Stephanie
Moussallem. Willowy chair
by Sayar & Garibeh. Shapes
and Shades by Hala Matta.
This page: Sayar&Garibeh
at Anderson Ranch Art
Residency.

20
 interiors

Before the spread of the global pandemic, the duo

began exploring terracotta with the intention of
learning from one of the last remaining terracotta
artisans in Lebanon, who lived in a village in the
mountains. Having spent a week with the artisan
in his workshop, the designers had planned a two-
month residency to learn more of the craft under his
mentorship. However, with the global lockdowns
set into place, the duo learnt of the artisan’s passing.
Come 4 August, the dreadful Beirut Blast greatly
affected the designers, destroying their studio, which
was located near the port.
“We were devastated; we lost a huge chunk of
our dreams,” say Sayar and Garibeh. “Then, after
few months, we got a call from House of Today
asking us if we were interested in continuing what
we had started.”
The design platform, with the support of R &
Company in New York, organised a residency for
them at Anderson Ranch in order to continue
their mission.
“[The blast] had a lot of psychological impacts
on designers – as well as everyone else,” Tayeb says. Cherine Magrabi Tayeb
“With that kind of shock, I think it took a long time
for most designers to get back on their feet, and we
started to see what else we can do, so we started looking at of financial support, which will help [with] reorganising
residency programmes.” House of Today is currently also this chaos [we are in], what we need mostly is motivational
working with residencies in Los Angeles and Naples, as well and professional support from experts in the field, so we can
as exploring opportunities in Mexico. break this static situation and plan for a better future.
It was one of the first organisations to respond in the “We have worked hard in the past years to reach a certain
aftermath of the blast, which Tayeb relates to her having stability and we need to gain it back. With the support of
not been in Lebanon during the tragic event, allowing House of Today and the international community, new
her to react faster and obtain a generous amount of opportunities and collaborations are being created to
international support. The platform aided designers and promote the work of Lebanese designers,” they add.
creatives in Lebanon in renovating their studios, replacing “I like to say that I always see the light at the end of the
lost materials and catering to other immediate needs in tunnel – but this is the weakest light I’ve seen since I’ve moved
order to help the creative sector get back on its feet. to Lebanon,” Tayeb admits. “Which is very sad, so I can only
“Young Lebanese designers are struggling today due to imagine what it is like for the designers. But we are here to
the financial crisis and the effect of the pandemic on world change that, and we are here to tell them that we are working
economics, which all led to the slowing down of the design on making things happen for them. There’s never been a more
wave,” say Sayar and Garibeh. “Along with the importance important time to be there [for the design community].” id

THE NEW ERA 21

 interiors

22
 interiors

Terracotta
dreams
Meshary AlNassar’s homey
studio is a reflection of his
mission to spearhead a new
interior design revolution in his
home country of Kuwait
WORDS BY AIDAN IMANOVA

S
et inside an abandoned nursery on the coast of Kuwait
City, overlooking the Arabian Gulf, is designer
Meshary AlNassar’s studio, which he renovated to
feel more like a relaxing home than a traditional working
space – a direction which AlNassar feels is becoming more
prominent (“I think office designs are dramatically breaking
away from the corporate structure and more into open
collaborative plans that are zoned using furniture instead of
walls and barriers,” he says). Spread across the top floor of
the former nursery, the open-plan studio is inspired by the
hues and textures of terracotta clay and mud and dressed
with ornaments from the Arab world, while staying true
to AlNassar’s signature minimal approach to design that is
present across all his projects – be that interiors or furniture
and products.
“I wanted to create a very welcoming space for my clients
to enjoy,” AlNassar shares. “[By breaking] the rigidity of
what a design or architecture studio in Kuwait looks like,
we [created] a home-like plan where a chain of rooms are
interconnected through hallways and entryways.”
Spatially, the office space is divided into two parts: one
part that resembles a more traditional working space and
another – previously a glasshouse with an abundance of lush
greenery – that has been transformed into the waiting area
and a large workroom. AlNassar insulated the glass ceiling
and added HVAC ducts to transform the space into one of
functionality but also of tasteful cosy respite, maintaining
the essence of the former glasshouse with large planters of
lush green palms. The meeting room is also tucked away
at the back, in order to allow for clients to walk through
and experience the space in a way that has been specifically
curated by the team.
 interiors

24
 interiors
The studio’s conspicuous colour palette is an ode to its brand
identities over the years, first featuring varying hues of cream and
sandy tones, inspired by limestone and other natural stones. It later
evolved into the bold terracotta tone, which is a staple hue used across
the space, from the entrance of the studio to the waiting room, among
others. The tone is a nod to AlNassar’s family farm where, one day, he
unearthed a patch of terracotta clay.
Reflecting on the launch of his studio in 2018 in Kuwait City,
AlNassar says that the entire endeavour was completely unplanned. “I
was freelancing one summer in Kuwait and found myself working on
a few projects that led to wanting to hire a team to help me out, then
[needing] a space for us to host our client presentations,” he shares.
AlNassar says that while the design scene in Kuwait is “very small,
there are some spectacular designers and architects in Kuwait that do
such amazing work, allowing me to challenge myself daily.
“I am hoping to contribute to a different approach to design within
the Kuwaiti market, stepping away from the commercial, fast-paced
design we see today to focus more on high-quality spaces and high-
end services. I am certain that in the past two and a half years in
Kuwait we have succeeded in contributing something of value to the
market – and we will continue to do so.”
Having first appeared on everyone’s radar with his trio of marble
lighting sculptures launched during Dubai Design Week – and which
one can glimpse in his Kuwait office – AlNassar now has a number
of high-end residential villa projects under his belt, many of which
reflect his warm blend of minimalism and palette of natural materials
and textures.
“I am trying to introduce design[here] that is welcoming, tailored
and timeless – staying away from trends and seasonal decisions. I aim
to design spaces that can authentically reflect the personality of the
homeowner. Continuing to derive inspiration from the region and
its surroundings, I want to showcase our culture and history with its
current rhythmic contemporary twist,” he explains.
The studio is also currently working on a commercial project in
Doha, Qatar, as well as continuing to deliver high-end residential
projects in Kuwait. AlNassar is also on the path to launching a new
product design collection which is set to be revealed later this year.
Perhaps his biggest news, however, is the expansion of his studio
into Dubai, which is set to happen this summer.
“While still focusing on approaching design from a different
perspective that allows us to enhance our clients’ interior spaces both
aesthetically and functionally, we are now working on launching a
new online project across object and product design, hopefully by the
end of the year,” he also reveals.
It is safe to say that for AlNassar, everything is only
just beginning. id
THE NEW ERA 25
 THE
FUTURE
IS
NOW
A NEW ERA OF DESIGNERS, ARCHITECTS AND ARTISTS IN THE UAE IS
REDEFINING WHAT IT MEANS TO SHAPE THE FUTURE OF OUR ENVIRONMENTS
AND CITIES, FROM THE MIDDLE EAST TO THE REST OF THE WORLD

WORDS AND CREATIVE DIRECTION BY AIDAN IMANOVA

PHOTOGRAPHY BY JOACHIM GUAY
cover story

THE NEW ERA 27

 cover story

28
 cover story
HASAN AND HUSAIN ROOMI
Brothers Hasan and Husain Roomi, the managing
partners of boutique practice H2R Design, are conscious
of creating projects that are future-facing by adopting a
sustainable approach to their projects, not only through
their choice of materiality but also in the ways they tackle
the ageing of spaces. With a focus on the hospitality, F&B
and retail sectors, the brothers have carved a niche for
themselves within the regional and international design
scene, with offices in Dubai and London.
“As tactical as it may seem to have two brothers follow
a similar trajectory and work within the same field, we
actually took an organic approach to the growth of our
careers, as well as our business,” they explain. “A passion
to create and innovate drove us to open our own studio
in 2012 – something we found essential, being young and
full of ideas to push the envelope… While we have grown
in both size and capability, we have stuck to our guiding
belief that organic growth is better than forced growth –
from both a creative and a reputation perspective. Having
H2R Design
Interior Designers
a young, dynamic team that can tackle whatever project
piques our interest is at the heart of who we are and how
we operate.”
Context is at the core of H2R’s designs, and the duo
has completed some of Dubai’s most visited cafés and
dining concepts, as well as being at the helm of projects
such as the renovation of the iconic Al Alamein Hotel in
Egypt and the luxury retail space HOB in Abu Dhabi that
honours the local influences of the region.
“At our core, we have always believed that context is
the key anchor to any design of a space or brand. We have
not deviated from this since the very beginning; however,
what has evolved is the region’s environment and appetite
for innovation, which happens to work beautifully with
our ethos, in our opinion,” the brothers say.
“Moving toward [the future], we look forward to more
hotels, more public spaces and more retail [projects].
These projects spark excitement for us as they have the
potential to impact the region on a larger scale.”
THE NEW ERA 29
 cover story
RIYAD JOUCKA
Middle East Architecture Network (MEAN*)
Architect
Working at the nexus of design, emerging
technologies and local culture, Middle East
Architecture Network (MEAN*), led by architect
Riyad Joucka, is on the path to redefining a new
architectural language for the Middle East by
juxtaposing a contemporary approach to design
with local materials, using cultural heritage as
reference. Having previously worked in cities
such as Hong Kong and New York, Joucka is keen
to apply his experience and knowledge within the
Middle East context.
“The Middle East, and the UAE in particular, has
the most potential and opportunities in terms of
growth, and a forward-thinking vision for a future
of innovation and collaboration. With a young
median age population, there is a wealth of talent
and potential to tap into,” he says.
MEAN* is currently working on integrating new
ideas and methodologies of design into emerging
spaces, buildings and products.
“Our portfolio features an array of projects
that vary in scale and complexity. The overall
theme of the work is to take indigenous culture,
materials and building methods as a starting
point for responding to the client's brief through
meaningful, innovative design. We are currently
30
working on a few commercial interiors that reflect
this method,” Joucka says.
MEAN* has already collaborated with a
number of high-profile partners, such as Audi
(designing the ‘Audio Innovation Hub’, a pavilion
that embodies the brand’s ethos of ‘Advancement
through Technology’ while reflecting on the theme
of ‘connections’), Spanish brand Nagami (creating a
3D-printed chair featuring undulating patterns that
investigates the possibilities of robotic 3D printing
for the design and production of bespoke furniture),
as well as the Roads and Transport Authority
(creating a 3D-printed bus stop scheme that reflects
on the strong influence emergent technology will
have on the future of our cities). Joucka has recently
also revealed a concept for living in isolation –
an architectural response to a post-COVID-19
world. House 00 sits on the soaring peaks of Jebel
Jais, northeast of Ras Al Khaimah, and references
traditional elements of local residential architecture.
“The modern design landscape in the region has
been overpowered by ideas that are imported from
the west,” Joucka shares. “I believe that it is our
responsibility as a new generation of architects and
designers to change that, harness local talent and
focus on build[ing] a better future for our cities.”
cover story

THE NEW ERA 31

LINA GHALIB
Designer

Interior and product designer Lina Ghalib traces her

design inspiration back to her Egyptian roots, and the
ancient civilisation that has granted the world many of its
inventions, from paper and ink to surgical instruments
and foldable beds, among many others.
“A very [well] known phrase in Arab culture is
‘Necessity is the mother of invention’,” says Ghalib.
“Although it’s challenging to invent things in 2021,
I do believe paying homage to history and studying
ancient societies’ methods of living can give us a better
understanding of simplicity and originality.”
Currently working as a product designer at Aljoud
Lootah’s studio, Ghalib was part of the Tanween
programme for Tashkeel in 2020, with a project that
focused on developing and testing a new material made
from upcycled palm tree mid-ribs, known as ‘PlyPalm’.
While the project aims to make a new sustainable material
available to the design market, it also emphasises the
importance of preserving the craft of furniture-making
in Egypt and marrying it with the symbolic heritage and
abundant resource of palm trees in the Emirates.
“I recently submitted a research paper on the
‘Sustainability of Design in Culture’,” Ghalib describes,
“and it was heavy with technical information about the
future of reclaimed palm tree mid-ribs as a material.
I believe research is the number one method in being
honest as a designer, and by doing so I look forward to
manufacturing PlyPalm in a feasible way and making it
affordable for use across different design industries.”
“[As a designer], my responsibility is to be honest:
honest to [my] clients, honest to the design, and honest
with the materials and methods I use,” she adds.
cover story

THE NEW ERA 33

 cover story
ZEINAB AL HASHEMI
Artist and designer
Zeinab Al Hashemi’s works possesses a strong synergy
between design, art and craftsmanship – she is known for
her large-scale site-specific installations. Examining the
contrasts and interdependence of nature and industrial
production, she often creates works that reference the
urban and natural landscapes of the UAE, while focusing
on experimentation with familiar and traditional
elements and future-forward technologies, in order to
create an alternative perspective that is relevant to the
modern context of the country and the world globally.
These juxtapositions have included experiments with
materials that blur the boundaries of what is natural
and what is artificial – and what is local in terms of
resources and cultural heritage. This results in works
that utilise traditional colours, textures and materials
– such as camel leather – which are then offset with
industrial materials such as metal mesh and rods found
across industrial workshops, where Al Hashemi works
with local craftsmen, and with whom she aims to push
the boundaries of craft-making in the UAE “to think
34
outside the box”. Al Hashemi has worked with the
likes of Swarovski, Tiffany & Co. and Hermès, as well
as exhibiting at the Louvre Abu Dhabi and the Sharjah
Biennial 11, with future commissions including the Expo
2020 Dubai. She is now focused on creating more long-
term works that will serve the city at large, particularly
with public art.
“I like to study the public [for whom I create] and how
that piece would change over time,” she explains. “With
public art, as much as a lot of people think it is a way of
beautifying the city, in my opinion, that is not the main
purpose. I think public art is a way to create a legacy and a
way to create long-term landmarks around the city, which
become a very important part of the city.”
“There is so much that is happening today globally,
but I guess my work doesn’t really tackle the issues –
rather, it tries to give a different meaning to what you are
looking at,” she continues. “I am always keen to bring in
harmony rather than disruption. I am into shifting and
transformation through design.”
 cover story

NUHAYR ZEIN
Architect

“As an architect, I have a responsibility towards our planet

and its inhabitants, as their health is directly related to their
harmonious co-existence. To me, culture and ecology are two
important aspects [of] that work,” says architect and designer
Nuhayr Zein. “To re-create harmony in today's digital world,
I would say that the integration of nature, culture, science and
technology is imperative to a sustainable and healthier future.”
Describing herself as someone with “an experimental
mindset”, Zein has worked across various architecture
studios as well as independently on installations, architecture
competitions and furniture design. Inherently inspired by
nature, she reflects this across the totality of her work, hoping
to make a mark on creating design in the region that is “inspired
by process or natural behaviours rather than by style”.
A concern for the earth’s natural resources also drives
Zein’s overall ethos in design: “I respond to cultural, social or
environmental issues to achieve designs [that are] coherent
with their context, without affecting the natural environment
or depleting its resources,” she says.
Much of her efforts are now set on developing an alternative
to animal leather, called ‘Leukeather’, which uses discarded
plant resources. “On the global scale, the animal and exotic
leather industries are large contributors to climate change,
and also threaten wildlife and biodiversity. Although this is
known among designers, animal leather is still being used in
furniture, fashion and product design and it is about time we
start looking for other sustainable and ethical alternatives,”
Zein explains. She is also working with material scientists to
develop a replacement for wood veneer. “These materials are
not yet available at an architectural scale, but I hope this can
initiate more radical research into sustainable construction
materials,” she adds.
Zein explains that while there have been positive shifts
within the regional design industry in relation to culture
and the environment that are urging more designers to build
responsibly, she argues that more can still be done. “In the
future, I hope to see and contribute to more action-oriented
material research that would reduce industrial waste in the
region. I believe that our world is constantly evolving, and so
should our materials,” she says. id

36
 cover story

Shot on location at the Khor Kalba Mangrove Centre designed by Hopkins Architects.

THE NEW ERA 37

 interiors

Burgundy Utrecht chair by Cassina from SPACE. Wool and art silk rug,
custom designed by YSG, fabricated by Tappetti. The fireplace is custom
designed by YSG, built by Promena Projects and hemp-rendered by
Fernando de Oliveira from Uprising Cement Renderers. Terracotta pavers
from Bisanna Tiles (colour: 845 Maroc).
38
 interiors

WEEKEND
LIFESTYLE

This Sydney home achieves harmony through the perfect balance of

proportions, materials and colours

WORDS BY KARINE MONIÉ

PHOTOGRAPHY BY PRUE RUSCOE
STYLING BY FELICITY NG

THE NEW ERA 39

 interiors

Vintage leather and chrome chairs from The Vault with custom powder-coated eggplant
frames by YSG. Terracotta pavers from Bisanna Tiles.

40
 interiors

N
orth of Bondi, in the suburb of Dover Heights
and overlooking the ocean, is this 825-square
metre, two-level house that has everything
anyone could ever dream of: peaceful outdoor
areas on the ground floor (including a patio and garden with
a swimming pool); exceptional views of the ocean from the
balconies on the upper level; a sense of openness in all the main
living spaces; and a balance between the different colours and
materials throughout.
Creating the perfect atmosphere with every element at the
right place was, however, no easy feat. The brilliant mind
behind this elegant and warm Sydney home designed for couple
Portia and Jason (and their children) is Egyptian-Australian
designer Yasmine Saleh Ghoniem, who leads YSG Studio.
To start, some structural changes were necessary as the
project originally was “a rabbit warren of tiny dark rooms and
hallways”, according to Saleh Ghoniem. Several internal walls
were removed, and the ceiling was raised in the kitchen/living
area and the formal lounge room by the fireplace to enhance
an airy flow. This area opens up to the terrace through folding
doors, not only allowing for cross-ventilation but also inviting
natural light inside.

O’Branch II natural
brass wall sconce with
dusted white shades by
Ruduxr Lighting. Tulash
linen copper bedhead
custom-designed by
YSG and fabricated by
Rematerialised
Artwork: Radha Deva
Awakening , 2019.

THE NEW ERA 41

 interiors

42
In this 825-square-meter home, upstairs balconies offer ocean views,
enhancing the connection between interior and exterior.

Custom designed vanity by YSG - ‘Juperana Bahia’ surface from
EuroMarble, 2pac finish tubular leg with surface recess for loose items,
custom bronze-finished brown cattle horn cabinet handles from Spark
and Burnish. Diiva lounge chair by Grazia & Co. (powder-coated finish
with leather backrest and natural sheepskin seat pad).
Custom wall finish by Creative Finishes.
Outside, important transformations also took place. “The pool
was reduced in size and re-surfaced (as its edge practically abutted
the original connecting door to the house), enabling the entertaining
area to sit within its deepened threshold, while the existing gazebo
was transformed to include a dining setting plus outdoor kitchen,”
Saleh Ghoniem describes. “The pool’s cabana and a side courtyard
incorporating a seating alcove and concrete awning (an extension of
the dining area’s blushing aubergine ceiling) converted under-utilised
spaces into all-seasons rooms.”
One of the main objectives of this project was to highlight the
connection between inside and outside – something that was reinforced
through the use of the same terracotta tiles in both the interior and
exterior spaces of the ground floor. Meanwhile, the original travertine
floor was preserved in several other parts of the house.
The wall and ceiling lighting fixtures underline the deep hues in the
public areas, where an arched opening, a curved wall and the fireplace
with a space to sit down give a feeling of perfectly balanced proportions.
“Settings are embellished by tonal and tactile variations that delineate
the neutral zones via swathes of colour and surface patinas,” says Saleh
Ghoniem, who chose the smooth sage and toffee Marmorino polished
plaster walls, the blushing aubergine ceilings in the formal lounge and
dining areas, and the nubby carpets found throughout the home. “This
home is an immersive dreamscape that envelops you the moment you
enter, and instantly quietens your mind.”
Hovering within the entrance of the home, the painting by French-
Australian artist Stanislas Piechaczek featuring dusty pastel shades,
patchy brushstrokes and experimentation with conceptual depth
informed much of the interior. “It was the first artwork the couple
purchased together during a break in Byron Bay,” remembers Saleh
Ghoniem. “Stanislas was doing a residency at Raes on Wategos, where
they were staying. Jason had just proposed to Portia on the headland, so
it’s very sentimental.”
The interplay between polished and raw finishes is highlighted in
the kitchen, where the marble island combines with brass, while the
flooring features rustic tiles. Many pieces were made-to-measure and
all of them were carefully selected for every corner, such as the Utrecht
armchair by Gerrit Thomas Rietveld for Cassina, the sculpture by Sanné
Mestrom and the Mantis floor lamp by Bernard Schottlander for DCW
Éditions in the living room.
Dedicated mostly to private areas, the upper floor is home to four of
the property’s five bedrooms, including the two main bedrooms. One
of them was designed for him and has deep eucalypt green decorative
elements in the bedroom and black marble in the bathroom; the other
was created for her, with powdery plum tones in the bedroom and rose-
shaded marble with black veining in the bathroom.
“Given the seaside location, natural aging is celebrated, providing the
home with a ‘lived-in’ ambience that complements the family’s relaxed
lifestyle and preference for casual daytime entertaining,” Saleh Ghoniem
says. “Every day feels like the weekend.”
In this home, every detail plays a part, with a special ode to materiality
thanks to the rich colour palette, sculptural forms and textures that give
life to a fresh and refined aesthetic, making this Australian coastal house
a tactile paradise.id
 interiors

Tropical
modernism
Brazilian architect Carolina Maluhy transformed this São
Paulo home into a blank canvas to display the owner’s wide
collection of Latin American art and vintage furniture
WORDS BY AIDAN IMANOVA
PHOTOGRAPHY BY RUY TEIXEIRA

Artwork by Fernanda Gomes. Console by Carolina Maluhy.

46
 interiors
Andorinha side table by Jorge Zalszupin from ETEL.
Dinamarquesa armchairs by Jorge Zalszupin from ETEL.
A
tranquil silence engulfs the visitor as they enter the
expansive white space of the São Paulo apartment,
surrounded by glass windows that overlook an
urbanised horizon preceded by a green carpet of
tropical forest – a most spectacular panorama of the Jardim
Europa neighbourhood. The surrounding views are like having
one’s own tropical garden in the middle of Latin America’s
largest metropolis.
The apartment of collectors Stefania and Francisco Cestero
and their two children is a duplex set on the 12th and final
floor of the building located in Cerqueira César, a central
neighbourhood in São Paulo. Given their love for art, design
and architecture, they were looking for a simple, noiseless and
bright space to enhance their collection of works of art and
vintage furniture, with no unnecessary distractions.
“The personality of the couple, who are both passionate about
art, design, music and philanthropy, was key to understanding
how to design the perfect set [on which] to display their art and
design collection, as well as accommodate an intimate venue for
jam sessions with musicians and friends around the grand piano,
one of the owner's main hobbies,” explains Brazilian architect
Carolina Maluhy, the founder of her eponymous design and
architecture studio.
“The style needed to be minimalistic and neutral,
predominantly white, with plenty of natural light and simple
lines, providing a silent stage where the exquisite collection and
the musical soirées could stand out.” Intensifying the panorama
of the city was another vital consideration, which contributed
to the architect’s decision to enclose the apartment with glass.
“The apartment building where the residence is located
is higher than most residences in the neighbourhood, thus
providing a privileged view over the surrounding area.
While the lower ground benefits from a wide glass façade
connecting the interior to the vista, the upper floor used to
be an open terrace, which was closed in order to give way to
a new living space, also surrounded by glass walls, so that the
green view could be let in. In the project, it was important
to keep the elements as transparent as possible – such as
the staircase sided by glass guardrails. Natural light invades
the property all day long, while the plants arranged along
the transparent walls establish a dialogue with the outdoor
environment,” says Maluhy.
THE NEW ERA 47

Pendant by Marepe. White linen armchairs by Joaquim Tenrerio. Petalas side-table by Jorge Zalszupin from ETEL.
The architecture of the building itself lends inspiration
to the design language inside, following the same
minimalistic, straight and pure lines – typical of the 1970s
classical style of São Paulo’s architecture, which was also
characterised by regular angles and a strong use of glass.
“The project follows the same language, which draws
from a Modernist origin, thus respecting the design of the
building itself,” Maluhy adds.
The social gatherings around the grand piano dictated
that it remain the focal point of the lower floor, from which
other areas of the space are arranged. An opening to the
48
interiors
upper mezzanine allows daylight to enter, which also finds a
way in through the glass walls of the living room overlooking
the city. A large table, in the same material as the floors –
travertine marble – connects the living room to the dining
room and kitchen. At the other end of the lower floor are
two suites for the children and an extra suite for guests, as
well as two work studios. A glass and wood staircase – made
of Cumaru wood, typical of the North Region of Brazil –
takes one up to the second floor of the residence, which was
rebuilt from scratch, having previously housed an open-air
rooftop, and later closed to create a second living space.
 interiors

Artwork by Alfredo Jaar. Console by Carolina Maluhy. Leather armchair and ottoman by Sergio Rodrigues.

THE NEW ERA 49

 interiors

Covered by a light ceiling, the upper living

room is lit in the middle through a glass dome
with a set of automatic Brise soleils in wood,
regulating the natural illumination. The
starting point was to respect the minimalist
architecture and to expand the living space to
the second floor, which now houses an extra
living room and the couple's master bedroom
– the only room in the house with wooden
floors and an airy closet. The rest of the floor is
a wide open space providing 180° views of the
city. In the middle of the second living room
of the residence is a fireplace surrounded by an
impressive collection of vintage furniture. Glass
doors sliding through iron frames subtly divide,
or rather connect, the interior space and the
outdoor area, the latter kept green not only by
the view but also by the plants distributed along
the perimeter of the veranda.
“We decided to keep the spaces open to
guarantee ventilation and light,” Maluhy Art by Fernanda Gomes. Ceramics by Shoki Suzuki. Coffee table by Jorge Zalszupin.
continues. “The window frames allow the
breeze in – essential in the warm tropical days
– as well as the clarity that invades the house from end to The art collection is mainly contemporary, featuring
end. These are the main benefits of an open-plan project a strong selection of female artists, notably: Fernanda
such as this one. Additionally, the family enjoys spending Gomes, whose sculptures compose a music sheet above the
time together and with friends, so this absence of divisions sideboard designed for the project; Ana Maria Maiolino,
allows for a more enjoyable space of communion.” an Italian artist who found a second home in Brazil; as
Additionally, the neutral tones of the space allow the well as Brazilian artists Adriana Varejão, Renata Lucas and
furniture and artworks to become the main protagonists Rivane Neuenschwander. The careful selection of works
of the residence. Brazilian vintage design stands out for its is completed by other important Latin American artists,
handicraft and the use of hardwood. Such is the case with including: Mexican artist Pedro Reyes, whose silophone
the rare tables and the Dinamarquesa armchairs by Jorge sculptures are made with guns from a local disarmament
Zalszupin, as well as the iconic Jangada chair by Jean Gillon. campaign; Brazilian conceptual artist Cildo Meireles, with
“The design collection encompasses other key names his iconic Coca-Cola bottles; and Chilean artist Alfredo
[essential] for understanding the prolific production of Jaar, who pays tribute to Italy through poet Giuseppe
Brazilian modernism, among them Giuseppe Scapinelli, Ungaretti's verse M'illumino d'immenso.
Geraldo de Barros, Joaquim Tenreiro, Percival Lafer and For Maluhy, however, one of the most vital and
Lina Bo Bardi. Designers Pedro Petry and Hugo França encompassing features of the residence is ‘unity’. “I think
take the conversation between wood and furniture to that unity, together with natural light and ventilation,
present days through various pieces placed around the brings a feeling of calmness and serenity, which I deeply
house,” Maluhy says. value,” she says. id

50
Landscape design by Renata Tilli. Table by Hugo Franca.
Chairs by Geraldo de Barros. Artwork by Jonathan de Andrade. Chair by Hugo Franca.

Arwork by Ornagui and Prestinare. Artwork by Ana Mazzei.

Dinamarquesa armchairs by Jorge Zalszupin from ETEL. Capri benches by Jorge Zalszupin from ETEL.
 design focus

DESIGN FOCUS

A FEAST FOR
THE EYES

As a place for everything

from cooking and eating to
entertaining and gathering with
family and friends, the kitchen
is the heart of any home. It can
be a space that invites creativity
as well, not only with food but
also with design. Contemporary
or traditional, urban-inspired or
with a countryside feel, adorned
with neutral colours or noble
materials, bespoke or modular:
there are many options to
reflect your own style.

WORDS BY KARINE MONIÉ

V2 kitchen by VIPP.

52
kitchen design

Image: Courtesy of Vipp

THE NEW ERA 53

 design focus
Open
kitchen
Eliminating walls between the
kitchen, dining room and living
area has become the norm in
contemporary homes. Why?
Because it creates an inviting
and bright atmosphere and in
addition allows the host to be
part of the conversation with
guests when preparing food.
In her most recent project in
Sydney, Australia, architect Carla
Middleton achieved exactly that.
“I wanted the whole rear extension
of the house to be open, to create
a sense of space filled with natural
light,” she says. “The kitchen
was designed to fit appropriately
within the [living] space without
looking too large or small.”
For Sashya Thind, founder of
ID8 Design Studio, the extremely
challenging floor plan of a
Boston home by ID8 Design Studio.
54
Boston home she worked on for
clients led her to create an open
concept kitchen. “It was the only
way to make the space feel airy,”
Thind explains. “The house also
has amazing water views of the
harbour, which is visible from the
kitchen.” In this sophisticated and
contemporary kitchen, the play
between materials became the
focal point.
“The stone is a quartzite, which
is strong and easy to maintain
while being extremely expressive,”
she adds. “The wood paired well
with it while warming up the
palette… I hid all the appliances
by panelling them, and created
a pantry under the stairs for
additional storage.” The result is
balanced and elegant, combining
aesthetic appeal and functionality.
Image: Joyelle West
 kitchen design
Bespoke by Samsung. Creating a made-to-measure kitchen is a dream come
true thanks to innovative solutions such as the new
V2 system by Vipp, a new iteration of the V1. It’s now
wrapped in dark oak and Jura marble – a fine grained
limestone – reflecting a design language that refers
both to the Danish roots of the brand and a Japanese
aesthetic. Modularity is what gives these Vipp kitchens
their uniqueness. The four types of modules – island,
island with seating, wall and tall – offer different
possibilities through a building-block approach that
helps customers craft a kitchen of their own.
Other solutions such as Bespoke by Samsung
also put personalisation at the forefront. Versatile
configurations, two finishes and eight colours (matte
A personal touch
black steel, champagne rose steel, navy steel, white Image: Courtesy of Bespoke
glass, rose pink glass, navy glass, grey glass and sky
blue glass) are available to customise the 4-Door Flex
refrigerators and Flex Column and Bottom Freezer
models, fitting any space. Launched a few weeks
ago, a limited-edition 4-Door Flex panel design was
created by Samsung in collaboration with artist Andy
Rementer, bringing colour to the kitchen through a
visual celebration of the diversity and individuality of
people around the world.
By transforming boring appliances into fun design
elements that are accessible, these options provide
more options for personalising products that are part
of our daily life.
THE NEW ERA 55
 design focus

Al fresco
dining
When summer is coming, or for the lucky
people who live under the sun all year round,
there is nothing like having an outdoor
kitchen. To make the most of this true
privilege, designers and specialised brands
pay particular attention to materials, which
have to be specially made for exterior dining
experiences to ensure their durability.
For Spanish architecture studio ÁBATON,
embracing the warm and sunny weather of
the Balearic Islands through the design of this
Menorca holiday home, owned by a family that
lives in Madrid, came naturally. “We wanted
to bring to life a pleasant and comfortable
environment where the owners’ friends could
feel at home,” says co-founder Camino Alonso.
“We tried to recreate the beach vibe of the
area through neutral tones, the cement finish
– which has the colour of sand – and natural
fibres for the pergola.”
Designed by Rodolfo Dordoni, Norma is
the new outdoor kitchen from Roda that
has a contemporary look with pure lines. It
comprises a freestanding island in the Roda
Smoke tone, an AISI 304 stainless steel sink
unit with doors available in Rust or Milk,
and a cooking module available with fixed
feet or wheels. “Norma was designed with a
truly Italian essence, exalting our passion for
cooking and combining it with the practicality
and quality of good design,” says Dordoni.

Norma outdoor kitchen designed by Rodolfo Dordoni for Roda.

56
kitchen design

Image: Joyelle West

THE NEW ERA 57

 design focus

All
about
marble
“This is aesthetically pleasing but also
calm; a space you can happily be in at
any time of day,” describes Edo Mapelli
Mozzi, founder of Banda. Every element
in this London home’s kitchen has
been carefully considered, and the
use of natural materials and texture –
such as wood, bronze and stone – was
extremely important. “The sheer length
of the bespoke cantilevered Calacatta
Oro marble island is incredibly rare
and stands out as a piece of statement
artwork in its own right,” says Mapelli
Mozzi. “This in itself was an engineering
feat and required incorporating a London by Banda Image: Taran Wilkhu

significant steel structure to support the

weight of the marble, [which is] situated
at a perfect height to allow low-level
seating for more casual breakfasts.”
Interior designer Crystal Sinclair, at the helm of
Crystal Sinclair Designs, also chose marble – Macchia
Vecchia – for the New York City apartment she created
for a couple who live in the Upper West Side. “I love
marble in a kitchen,” Sinclair says. “Honed is definitely
the way to go as it won't show water marks and rings.
One clever thing I like to do is to use a gorgeous slab of
marble for the splash and a basic quartz or granite for the
countertop. This way you get the best of both worlds – a
durable work surface with an eye-catching splash.”
Coming in different colours and textures, this noble
material is always a hit. Elegant and timeless, marble
transcends trends. id

58
 sponsored feature

Living in the kitchen

Nolte Küchen embodies
the standard for sleek,
ergonomic and high-quality
design of a truly 'Made in
Germany' brand

L
ong gone are the days when
kitchens were pushed to the back
of our homes and used solely for
cooking time-consuming meals. Today,
there isn’t a more celebrated part of the
home than the kitchen, which – alongside
preparing meals - we also socialise, relax
and even work. For this reason, our
kitchens have become stand-out spaces,
catering to a variety of tastes and design
solutions. Kitchen trends are as diverse
as ever, yet one trend in particular is
dominating the market: modular design.
Aware of wide-ranging consumer
tastes and preferences, German brand
Nolte Küchen has been at the forefront Nolte’s exclusive MATRIX 150 grid
of providing a broad range of kitchen system achieves a flexible design using a
solutions – all of which are designed and 150mm grid in width, height and depth to
manufactured in Germany – that take into turn your kitchen into a truly living space.
account materiality, storage solutions, Nolte also offers the largest ranges
lighting, décor and most importantly, of finishes including real wood veneer,
customization and modularity. concrete, metal, lacquer and glass. It also
Regarded as one of the most revered provides high-end imitation ranges to cater
German-made kitchen brands, Nolte to various prices and markets.
Küchen was founded in 1958, eventually Sustainability is also at the heart of Nolte
establishing its presence in Dubai in Küchen, whose figures for the emissions of
2011 and subsequently delivering more harmful substances are significantly lower
than 40,000 project kitchens across the than legal requirements. As a confirmation
Middle East. of Nolte’s environmental commitment, the
Today, Nolte has more than 75 brand has been awarded with both FSC and
exclusive showrooms in the region PEFC certification.
catering to retail customers. “When the time comes to deliver your
Whether one is looking for a kitchen, we only use environmentally-
contemporary-style kitchen or a more friendly packaging that can be recycled. By
classic composition, Nolte Küchen’s doing so, we are able to provide the best
range of products ensures that there is conditions for a healthy life with your
something for everyone. kitchen,” the brand says.

UAE: Universal Trading Company, +971 2 633 5331 - utc@ugc.ae /Kuwait: Ali AbdulWahab Sons & Co., +965 2 2261700 Ext.1900 - ahd@aaw.com / KSA: BedQuarter, +966 55 131 7471 - sultan.k@bedquarter.com
Oman: Ahmed Mohsin Trading Company LLC, +968 9922 4311- sarfaraz@amtoman.com / Bahrain: Khalaifat Company, + 973 3968 9495 - hesham@khalaifat.com / Corporate Office: info@noltefze.com - www.noltefze.com

THE NEW ERA 59

 sponsored feature

At the nexus of design and function

Casamia is home to truly contemporary kitchens for lovers of elegance and understated style

60
 sponsored feature

F
or Casamia, the kitchen is the centre
of creativity, regardless of who is at
the helm. Its minimal yet resoundingly
innovative kitchen series appeal to homeowners
as much as to expert chefs. Boasting spacious
units and versatile designs that are inherently
contemporary, kitchens at Casamia are defined
by their linear structure and understated finesse.
Their effortlessness in balancing design and
function is at the heart of what differentiates
kitchens conceptualised by Casamia from other
brands. Optimisation of space, in addition to
iconic designs, offer a refined elegance to any
space or theme.
Choosing to remain bespoke, the look of
every individual kitchen by Casamia can be
reinterpreted by interplaying the many units of
its many series.
So what goes into putting together that
perfect kitchen that will last through time and
generations? Kitchen countertops are at the
heart of a culinary workspace - functioning
as a kneading counter, chopping board, and
even a rest-top for pots brimming with piping
hot meals. For kitchens curated by Casamia,
countertops have to be as beautiful in form as
they are durable in function, making Laminam
a preferred countertop placement. Laminam
slabs are renowned for their lasting qualities,
making them an obvious choice for countertops
that will withstand the blade, the burns and the
spills we so often encounter in the kitchen.
Similarly, lighting is an important choice for
the kitchen space. Providing the perfect lighting
for the cooking process and even the exciting
culinary photoshoot after, kitchen lights do
more than just illuminate - they speak an aura,
one that brings to light more than just food.

info@casamiauae.com / casamiauae.com
+971 50 227 2642
7 Street 2A - Dubai, Shaikh Zayed Road

THE NEW ERA 61

 sponsored feature

A taste for luxury

Häcker Kitchens is on a mission to 'disrupt the kitchen industry' in the Middle East

62
 sponsored feature

G
erman kitchens have long remained synonymous
with high-quality manufacturing and materials,
precision, ergonomics and clean design. Established
in 1898, German luxury kitchen manufacturer Häcker
Kitchens prides itself in these defining qualities. Being a
family-owned German company, it embodies the national
qualities for excellence, integrity and love for craft, as well
as high-quality materials and processes, resulting in long-
lasting and well-designed products. Its 100% tropicalised
cabinets means that the Häcker kitchen is fully sealed using
the latest adhesive and sealing technology, with the highest
resistance to heat and humidity – robust enough to stand
the test of time in the toughest of climates across the Middle
East, Africa and Asia.
In the Middle East, Häcker Kitchens specialises in
consulting, design, supply and installation for the luxury
residential sector, with a kitchen studio located on Sheikh
Zayed Road.
Being a carbon-neutral company, Häcker Kitchens has a
strong commitment to sustainability, having been awarded
multiple certifications for its ‘healthy furniture’ and plant
flowering meadows and trees, as well as its support for
social institutions globally.
In the UAE, Häcker has made a strong commitment to
‘disrupt the kitchen industry’.

“By educating and enlightening our clients to make

informed decisions when it comes to buying their luxury
kitchens, we want them to look beyond the brand names and
the emotive stories that deliberately distract the customer
from important details,” says Samir Ranavaya, CEO and co-
founder of Häcker Kitchens UAE.
“We want to lift the veil of fancy luxury marketing
gimmicks and help clients make informed decisions so that
they can get the maximum value for money for functional,
elegant and long-lasting kitchen spaces. That is what we call
real luxury.”
One of Häcker's best-selling collections is Systemat
3.0 - Hi Gloss Lacquer. The timeless design, finished in
white, continues to be the industry benchmark, providing
designers with ultimate flexibility when it comes to shapes,
sizes and proportions. Its minimal OneLine product line
keeps the kitchen space pure and pared back to its essentials,
while maintaining ultimate functionality.
What Häcker regards as its ‘iconic’ line, the Black Star
kitchen is finished with natural granite doors. The statement
piece brings natural stone elements into the kitchen,
following the rising demand for bringing nature indoors.

THE NEW ERA 63

 design

Photography by Tommaso Sartori

64
 A contemporary legacy
The opening of the Bourse
de Commerce – Collection
Pinault, under the guidance of
Tadao Ando and the Bourellac
Brothers, marks a new era for
contemporary art in Paris

WORDS BY CYRIL ZAMMIT

 A
new gem has been added to the cultural crown
of Paris and it is none other than the Bourse
de Commerce – Collection Pinault. Set in
a historical building in the heart of the city, this new
destination has been carefully planned over the course
of three years to preserve the stunning legacy of its
400-year history. Now, it is projected into the world of
contemporary art.
And because all good things come to those who wait,
the postponed opening, which finally happened last
month, coincided with the reopening of all cultural
venues across France.
“For years, I have longed to be able to show my
collection in Paris, the city I love. This is why the
inauguration of the Bourse de Commerce – Collection
Pinault is of such special and symbolic importance
for me. Paris is not only the city of passion; first and
foremost, it is the natural home of artists, of their
creative genius and their beliefs.”
With these words, art collector François Pinault
expresses his vision. The man behind the driving
success of luxury brands such as Gucci, Balenciaga,
Yves Saint Laurent, Boucheron and others is also the
patron who gifted the Palazzo Grassi and Punta della
Dogana to art-lovers in Venice. Having been on a quest
for the perfect Paris location since 2006, he was refused
a former Renault car production plant on an island on
the river Seine before being contacted by the Mayor
of Paris to evaluate the possibility of taking over the
city's former Bourse de Commerce, the Parisian home
of an incredible collection of over 10,000 works by 380
artists, from 1960 until today.
It took more than three years to reimagine its interior
and immediate surroundings, which have been realised
through the combined talents of Japanese architect
Tadao Ando, and Lucie Niney and Thibaut Marca of the
NeM agency and Pierre-Antoine Gatier.
The immediate surroundings of the building were
designed by Ronan and Erwan Bouroullec, who have
developed the forecourt of the building opposite its
entrance portico, which opens onto the Rue du Louvre.
Within this perimeter, the designers had to signpost,
both elegantly and effectively, the presence of a new
venue, while allowing walkers to stroll freely and rest
for a moment. Their goal was to create a signal that a
Photography by Tommaso Sartori
new venue was open.

66
Photography by Patrick Tourneboeuf

THE NEW ERA 67

 design

Photography by Patrick Tourneboeuf

Photography by Marc Domage

68
 design
It was also necessary to make the space comfortable by protecting
it from the flow of the street; this was done by creating seating using
simple forms and materials that are both robust and elegant, while
leaving room for circulation and the feeling of being present in
the space. As a response, the Bouroullec brothers created a system
based on tubular benches made of aluminium bronze – a corrosion
and wear-resistant copper-aluminium alloy that possesses the same
appearance as bronze and copper. They assembled horizontal and
vertical lines by means of ‘ball-and-socket’ forms and legs. The tubes
are laid in a curve, horizontally, becoming benches that outline the
circularity of the street around the Bourse de Commerce; they then
rise to become poles carrying banners and signals. Benches and
masts are connected by reclining boulders, which can be climbed,
leaned on or used as seating. The brothers wanted a delicate
presence to glorify this building; there isn’t much that is needed,
except for a few elements of great quality.
Once you push the doors inside, you are suddenly hypnotised
by the proportions of the building and its circular shape. In 2015,
during a first visit to Paris after a gap of nine years, Ando met
with Pinault.
“He suddenly asked me whether I could design a project for him
that he was planning in Paris. That project was the redesign of
the Bourse de Commerce. Before I knew it, the key members of
his project team had assembled in the room. I was stunned by his
unexpected request, but I accepted it on the spot.” It became Ando’s
largest project in France.
On site, the architect has inserted a 29-metre-wide cylindrical
space, bound by a nine-metre-high concrete wall, into the circular
building’s central rotunda. The cylinder will house an exhibition
space on the ground floor, with an auditorium beneath it.
Additionally, on the outside, a circulation space has been
created in the gap between the concrete wall and the internal
façade that was designed by Henri Blondel at the end of the 19th
century. Staircases provide access to the top of the cylinder, where
a circular walkway is located. The frescoes (140 metres long by 10
metres high) overhead act as the culmination of this sequence of
spaces. A team of 24 restorers worked for six months to return it
to its former splendour.
Other architectural treasures include a glass cupola from the 19th
century, a hidden former engine room and a brand-new restaurant
by Michelin-acclaimed chefs Michel and Sébastien Bras on the 2nd
floor, overlooking Les Halles and the Pompidou Centre.
Walking around the building, the discreet but beautiful
furnishings are signed by the Bouroullec brothers as well as the
zenithal light from the cupola, where the French designers added
new features, specially developed with Flos Bespoke.
In the entrance hall, the horizontal light welcomes visitors, its
interlocking structure composed of tubular elements of Murano
glass and aluminium (each measuring six metres), which are
parallelly positioned. This installation is suspended from the ceiling
above the entrance, in a group of five tubes.
Close to this, a striking chandelier follows in a straight line
the curves of the staircase, like a point of gravitation where light
dialogues with the architecture. id
THE NEW
Photo ERA
Courtesy Studio69
Bouroullec
 products

Heart of glass
We turn our gaze to all things glass,
transparent, luminiscent and gauzy, from
the square glass slabs of Oriano Favaretto's
Ribbon light for Masiero to the cast-glass
Cinema bookends by Schönbuch.

Ribbon light
Oriano Favaretto for Masiero
Available at masierogroup.com

70
 products

1 3

1. X Lito 24kt gold-plated & marble vanity mirror by Lito Karakostanoglou for L'Objet. Available at matchesfashion.com 2. Bon Bon plate by Helle Mardahl Available at
matchesfashion.com 3. Patrician crystal decanter by Josef Hoffmann for Lobmeyr. Available at matchesfashion.com 4. Cinema bookends by Jonathan Radetz & Antonia Henschel
for Schönbuch . Available at schoenbuch.com. 5. Collection of mirrors by CB2. Available at cb2.ae 6. Sarb Hoopoe dinner plate by SILSAL. Available at bloomingdales.ae 7. Ombré
linen curtain by Zara Home. Available at zarahome.com

THE NEW ERA 71

 library

An urban legacy
A new book chronicling Sharjah’s modern
urban landscape offers a wide-ranging view of
the UAE’s third-largest city

Photography by Naira Nigrelli

from dozens of sources – most unpublished until now –

covering 60 projects in Sharjah, as well as commissioned
contributions from 17 writers whose work ranges from
literary fiction to neighbourhood memoir and heartfelt
historical analysis. It also includes a curated timeline of the
city between 1700 and 1995, highlighting significant political,
economic, social and cultural events that have influenced the
architectural and urban fabric of the city.
“Sharjah has been shaped in the past century by a number
of historically consequential moments or phases,” the team
explains. “One phase was initiated during the British presence
in the emirates in the 1930s when the UK government built
an air station in Sharjah, resulting in the 1932 Sharjah airport
known as Al Mahatta – the region’s first airport. A subsequent
The Central Souk, designed by British firm Michael Lyell Associates and completed in 1978. Courtesy of Prem Ratnam.
development phase started in the 1960s and left a number of
impressions on the city, including the first master plan, which
was produced in 1963.

T
“Upon oil production commencing in July 1974, most of the
he United Arab Emirate’s third-largest city has city’s modernist architecture began to appear. The following
been gaining global recognition for its efforts phase, which continues to contribute a visible aspect on
across education, environmental preservation and, Sharjah’s urban landscape to the present day, is when the city
particularly, the arts and the built environment, took a conscious decision to adopt a more Islamic-inspired
with many new and upcoming architectural projects by architectural identity.”
regional and international firms placing the city on the map Based on five years of research, some of the projects and
as one to watch. landmarks highlighted in the title include: Al-Shaab Cultural &
While its contemporary projects are gaining traction in the Sports Club, designed by British architecture firm Brewerton;
architectural world, Sharjah’s early modernist buildings have Al Arouba Street in the late 1960s; and the Buhaira Corniche.
been either largely demolished or – albeit recently – renovated
for preservation.
Co-edited by Sultan Sooud Al Qassemi and Todd Reisz
and published by Birkhäuser, Building Sharjah is a new book
that preserves the memories of the city’s urban landscape,
“including the parts once imagined, and those no longer to
be found.”
“Building Sharjah tells the tale of how modern architecture
unfurled across the UAE’s third-largest city,” says the team.
“As much of the city’s early modern architecture has been
demolished or drastically renovated, a vivid collection of
unpublished photographs and a broad range of voices preserve
a disappearing landscape. Together, images and words reveal
an ongoing search for an identity. [It is] a primary source for
visitors, residents, researchers, students and scholars who are
keen to understand how modern ambitions came together to
engineer a global city.” The book features nearly 600 images

72
In front of Sharjah’s landmark hillocks inscribed with ‘Smile, You Are in Sharjah’, stands Sharjah
Tower, designed by Halcrow Group Architectural Practice in 1986. Courtesy of Prem Ratnam.
Exclusive paintings, sculptures and photography
from award-winning international artists.

Sculpture by Freeman Lau

Photography by Baber Afzal Painting by Almudena Angoso

 id most wanted

When Layer was challenged by Danish brand Bang & Olufsen to create the slimmest-possible speaker, studio founder
Benjamin Hubert readily took on took on the task – and delivered. The Beosound Emerge is a home speaker with a
slim silhouette, its sculptural form doubling up as an interior object which allows it to seamlessly integrate with any
environment. It is available in an oak wood cover that wraps around the woven Kvadrat textile on the spine, as well as
in luxurious gold tones and an aluminium Black Anthracite finish.

Beosound Emerge by Layer for Bang & Olufsen

74
 Berlin apartment by Dimorestudio
Photography by Beppe Brancanto

identity.ae
The latest architecture, design + interiors news, now online @identityae
Design. Innovation. Function.

Discover contemporary designs that

embody a timeless spirit.

At Casamia, kitchens
' aren t just built
around you - a reflection of you.