Identity Feb 2022 by Motivate Media Group

ARCHITECTURE, DESIGN, INTERIORS + PROPERTY

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ISSUE 217 / FEBRUARY 2022

The Slow Living Issue

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Features 14

Reality of Riyadh Two architects in the Saudi capital race to rescue the city’s Najdi forms

Natural rhythms Studio Terre discuss its experimental practice that centres on ‘slow living’

Basic instincts identity visits Bone’s home-and-studio space in Dubai

The bonds that bind Kisawa Sanctuary prioritises leaving minimal impact on its environment

A surrealist sanctuary A dilapidated home from the 1950s is transformed into a colourful retreat

A clean slate This home in the South of France is designed to reconnect with nature

Photography by Joachim Guay

A still life A minimally-designed home in Vancouver embraces a pared-back approach

Regulars 22

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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 Sales Manager Jules Acciarresi Sales Representative - Italy Daniela Prestinoni General Manager - Production Sunil Kumar Assistant Production Manager Binu Purandaran Production Supervisor Venita Pinto Contributors Alice Finney Anne-Catherine Scoffoni Joachim Guay Karine Monié Pavan Premaney Rima Alsammarae

identity magazine is printed by Emirates Printing Press. Member of:

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Photography by Ema Peter

Contributors

(From left)

Rima Alsammarae is an architecture and culture journalist based in Barcelona, Spain. She is the co-founder of Round City – an online publication that reports on architecture, art, design and construction from the Near East and North Africa – as well as an MSc student in urban resilience. “Trying to understand how we can contemporarise traditional built forms to meet the demands of growing cities today is one of the greatest challenges that planners and architects are facing all over the world. The answers to our problems today lie in our ancestors’ wisdom, and it’s really inspiring to see such questions being posed in Saudi by the Um Slaim Collective.” Alice Finney is a London-based writer who specialises in art and design. She graduated from Central School of Ballet with a foundation degree and holds a bachelor’s degree in English Literature from Sussex University. She has written for international titles including British Journal of Photography, IGNANT, Mixmag, gal-dem and SLEEK. She is currently a design reporter at Dezeen. “Dina Nur Satti’s commitment to researching the communities and cultures that inform her creative vessels remind us of the importance of slowing-down time.”

Anne-Catherine Scoffoni is an editorial photographer, writer and agent, and has produced interior design and lifestyle features for worldwide publications. A free-spirit and a globetrotter, she grew up in France but has always travelled extensively. For this issue, she writes about French architect Bertrand Guillon, who successfully designed a contemporary house for a family while preserving the slow-life spirit of the South of France. Having lived in Cyprus, Thailand and Vietnam before settling permanently in France to study at the National School of Architecture in Marseille, Guillon cultivates a keen interest in craftsmanship through a timeless but sensitive style.

Joaquim Guay is an award-winning, internationally published travel, landscape and portrait photographer. Having cultivated his passion for photography from an early age, he has worked his way around the globe creating captivating images using his refined lighting techniques, attention to detail and signature style. For this issue, Guay photographs Bone’s home-studio in Dubai. “Imagine this green, lush and peaceful environment, the shadows from the morning sun peeking through the leaves of tall trees and tropical plants surrounding the courtyard,” he says of the space. “A big open communal workspace where a melting pot of young spirits and cute puppies gather to get their creative juices flowing. The moment you step into the Bone studio, all your senses are tested – you can feel the positive energy; interpreting this to images was a super fun challenge.”

Pavan Premaney is a writer, digital content producer and social media marketer whose bylines have appeared in magazines such as GQ Middle East, Architectural Digest Middle East and Marie Claire Arabia. Currently based in Dubai, Premaney writes of his passions; fashion, design and culture. For this issue, Premaney covers the newly opened coffeeshop, Heaf, in Dubai. “In today’s world of ‘bigger and bolder’ design, it is incredibly awe-striking to see restraint. Encapsulating and modernising Bedouin-inspired design, Heaf comes as a respite, where one can revel in its stillness, just like you would in the desert.”

Karine Monié was born and raised in France, where she graduated with a master’s degree from La Sorbonne University. She is a trilingual content creator and editorial consultant and is currently based in California. Monié contributes to international design, architecture and fashion publications, including Architectural Digest and Interior Design, among many others. She has contributed a few pieces for this issue, including a home called ‘The Meltdown’. “Artist Shawn Button created a retreat in the California desert like no other,” she says of the home. “The surreal décor makes you feel like you’ve stepped into another world.” THE SLOW LIVING ISSUE

Photo by Young Habibti

In 2008 Carolyn F. Strauss, founder of the Slow Research Lab in Amsterdam, and Alastair Fuad-Luke published a paper called ‘The Slow Design Principles — A New Interrogative and Reflexive Tool for Design Research and Practice’, which outlines six key principles that respond to the need for new tools and strategies in design that focus on social, cultural and environmental sustainability. The principles are there to encourage and inspire a more holistic and collaborative approach to design in which practitioners are considerate of the short and long-term effects of the products, structures and spaces they create, reflecting on their ethical and social impact. Contrary to its name, the slow design movement is not necessarily about time (although it may manifest as the pace one takes to research, design and create) but refers to an increased state of awareness and accountability towards the environment and other individuals and communities. During my own research on the topics of slow design and slow living (the two are vitally inter-related), I often came across articles that described them as ‘radical’. And considering the pace and lifestyle many societies around the world operate in, this potentially makes sense. On second thought, it seems almost strange to refer to something that is inherent to us – be it in lifestyle or in the way we create – as ‘radical.’ It only reasserts the disconnection with our natural states, which makes the call to return to our roots that much more important. The slow design movement is also not ‘anti-technology’. Climate and culture magazine Atmos’s editor in chief, Willow Defebaugh wrote in its weekly ‘The Overview’ newsletter (which I recommend everyone to read): “I am a strong believer in returning to traditional wisdom. I am also wary of any[thing] binary. The scale of our problems requires scalable solutions, which technology can help with – especially if guided by traditional ecological knowledge (a technology in its own right).” The way I see it, the purpose of slow design and slow living essentially comes down to respect: respecting the earth, respecting each other and each other’s time. And the way we create must mirror that.

Aidan Imanova Editor

Photography by Yann Deret

Editor’s Note

On the cover: A home in the South of France, designed by Bertrand Guillon

House in Tulum, designed by CO-LAB Photography by César Béjar

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interiors

Material world Based in Istanbul, Sanayi313 is at the crosswords of design, art and architecture, with projects that highlight the beauty of materiality

WORDS BY KARINE MONIÉ IMAGES COURTESY OF SANAYI313

Bedroom in the Bodrum house designed by Sanayi313

Photography by İbrahim Özbunar

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ne thing to know about Enis Karavil, co-founder of design studio Sanayi313, and his brother Amir is that the duo never outgrew their childhood dreams. “As far as I remember I have always wanted to become an interior designer,” Karavil says. “However, my early training had nothing to do with what I’m doing right now.” Having studied business economics at Bentley University in Massachusetts, Karavil’s passion for design was too strong to abandon as mere reveries. After graduating, he enrolled at the Inchbald School of Design in London. Both experiences helped him grow, while setting a foundation and offering him the necessary skills for his next step. “In England, I was living in Notting Hill in a house I designed for myself,” Karavil says. “I ended up [doing the same] for friends who liked what I had done with my home. It encouraged me to go back to Istanbul to launch Sanayi313 in 2015.” Since the beginning, the objective has been not only to develop an interior design studio but also to combine several creative practices that would inspire and nurture one another. “We added a canteen and a concept store into our business plan, where our designs would rub shoulders with other unique, handcrafted objects and rare vintage finds,” Karavil explains. Designed in-house, every product by Sanayi313 is crafted using traditional techniques. “In Istanbul… [there are] these amazing ateliers on our doorstep, where highly skilled craftsmen have been mastering techniques for many years,” says Karavil. “We love fusing the past and the present, as well as eastern and western elements, in our [creations].” Far from mass-produced, every piece is unique and typically takes around two to four months from idea through first prototype to finished product. “One of the things that I value the most in our products is the high level of craftsmanship,” says Karavil, who particularly likes to

Soho apartment

Photography by Matt Harrington

Enis Karavil, creative director and founder of Sanayi313. From left to right: 28313 frame side tables, 24313 stool, 07313 tiered side tables

work with ash, poplar and maple woods. “I love to bring out the sophisticated beauty of the wood in our products, and let the designs be characterised by a vivid display of [the material’s] natural patterns and textures.” Brass is also often introduced to add sophistication and contrast. “For me, material is a narrative tool,” he says. Both busy and passionate, the designer is currently working on different types of projects in parallel, including: a sculpture park on Turkey’s Black Sea border consisting of a glass building, an old stone structure and a completely preserved old stable; the Vineyard Houses in Bozcaada; Photography by Erhan Tarlığ and a residential project in Miami. And last but not least, a range of placemats created in collaboration with several artists and designers is also in the works. “The placemat provides a new medium for artistic expression – using an everyday object, which becomes our creative outlet,” Karavil says. “The main idea behind the project is to provoke table conversation.”

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Fabricating Iraqi designer Layth Mahdi reveals the approach behind his increasingly popular designs

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WORDS BY RIMA ALSAMMARAE

Path table

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Ripple vase

Path stools

AE-based Iraqi designer Layth Mahdi has only released a few pieces, but his creative output has already spoken volumes. With Ripple, his debut collection of marble vases and tables released in November 2018, and his latest piece, Path table, which is currently exhibiting at Sharjah’s 1971 design space, it would seem Mahdi takes slow but steady steps, revealing himself to the Middle East’s design scene with a quiet confidence. “I’m a very slow designer,” he laughs. “And I think I’m proud of that.” Mahdi has an active background – he’s an architecture graduate from the American University of Sharjah and an MSc graduate in architecture and digital technologies from the University of Michigan. He has also completed fellowships at the university’s Fablab and the stone factory Quarra Stone, and was awarded Best Young Designer in 2018 by Harper’s Bazaar. In the years between, he’s gone from award-winning architecture firms like Woods Bagot to his current position as a senior robotic and design researcher at the Dubai Future Foundation. So where does design fit amidst the changing currents? “I would say design is a hobby,” Mahdi explains. “And technology and robotics are my profession. I think it’s too boring to stick to one thing, and for me, my work and hobbies are not separate. They feed into each other very much.” One glance at Mahdi’s designs is enough for observers to glean the importance of technology in his work. The pieces in Ripple, for example, feature contoured surfaces milled by 7-axis Kuka robots and were designed using software algorithms. Three years later, and the modular Path table offers a natural continuation of Ripple’s fluid and unexpected forms, with its soft edges and surface swells. “People get scared of the word ‘technology’,” says Mahdi. “But if we really think about it, it’s just another tool, like a pen or a hammer. You tell the technology what to do, so you are still the creator at the end of the day, and you can use it to push the material beyond its limits.” Until now, Mahdi has mostly worked with stone and wood, exploring the properties of each and maximising their inherent qualities. His design process is divided into two phases: he starts by creating nearly 70 digital iterations of the same object, and once he’s happy with the computerised prototype, he builds the physical model several times, adjusting and finalising the size, shape and materiality. The Path table, designed along with the Path stools by Omar Al Gurg’s MODU Method as part of the Sharjah Islamic Art Festival, reflects Mahdi’s approach: the solid black stain finish highlights the natural lines of the oak wood, while the organic shape of each of the four modular parts allows the surfaces to flow into one another, creating a conversation between each section of the table. “It makes me really happy to see people come to the exhibitions and just enjoy looking at the pieces,” said Mahdi. “Because I think the majority of the pieces I design are not merely objects to put in a room or to be used, but to be looked at as well. They shouldn’t only be functional; they should help make a space look beautiful.”

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Reality Two architects in the Saudi capital race to rescue the city’s Najdi forms

Adobe house in Um Slaim, Riyadh

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of WORDS BY RIMA ALSAMMARAE

Riyadh THE SLOW LIVING ISSUE

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ubbed a ‘twentieth-century city’ by Saudi educator and architecture critic Dr Saleh al-Hathloul, Riyadh is one of the fastest-growing urban centres in the Middle East. Expanding from an area of one square kilometre with a population of 14,000 in 1902 to an area of 1973 square kilometres with a population of 7.6 million in 2018, the Saudi capital has witnessed massive and rapid transformation in the past century. And while remnants of the wall that once bordered old Riyadh are sparse, dilapidated Najdi homes still dot the landscape, offering reminders of the vernacular architecture and construction techniques that developed on the Arabian Peninsula over centuries. Named after the geographic centre of Saudi Arabia, Najdi architecture largely defines the historical development of the region. Characterised by its limestone and mud-brick application, flat roofs, courtyards, decorated doors, arcades and triangular details, Najdi architecture is a slowly cooked response to the local climate, social customs and available resources and technology. However, as international architectural styles were imported, particularly in the 1950s and onwards, the face of Saudi cities began to change, and the vernacular became vulnerable. Hoping to slow the fast-paced spread of development and save the remaining Najdi buildings, two Saudi architects recently launched a collaborative initiative in the heart of it all – Um Slaim. Founded by Sara Alissa and Nojoud Alsudairi, Riyadh-based architects and co-founders of the architectural archive Saudi Architecture, the Um Slaim Collective aims to explore and address the “displacement of Najdi architecture in Riyadh”. The work, which sits under the Situated Practice MA at the Bartlett School of Architecture UCL, involves public participation, research, interdisciplinary collaboration and documentation of architectural typologies under threat of demolition and redevelopment. “We’re both interested in vernacular mud building, and what happened in its displacement,” says Alissa. “At the beginning, we wanted to restore one of these structures, but we weren’t able to acquire a licence due to the replanning and regeneration of central Riyadh. So, the second idea that occurred

“Life in Saudi has changed dramatically since the 1950s, so how can we accommodate that? It’s not by going back, but perhaps it’s by taking ideas from successful systems and reiterating them.”

was to research more into this phenomenon and develop a new contemporary language for Najdi architecture.” Having established the Um Slaim Collective at the tail end of 2020, Alissa and Alsudairi have already managed to run various exhibitions in collaboration with Saudi artists such as Maha Malluh, Tarfa Fahad and Bin Atiah Studio, as well as begin bringing together the city’s municipalities and the diverse communities that have long called old Riyadh home. The collective’s activities, while largely aiming to contemporise the vernacular architecture and conserve the Najdi structures, also gives voice to the workers and families that have been coming to Riyadh since the 1980s. According to Alsudairi, the community has built an interesting, diverse and rich scape in the centre of the city, “which is something we would never want to lose in its regeneration or redevelopment,” she says. “There’s an approach to how you define identity in the city, and we’re really taken by the idea of al hawiya sa’eda, or the identity that manifests in a city, and there are many different factors such as the materiality of sites,” Alsudairi adds. “We aren’t necessarily advocates for mud buildings or vernacular buildings, but adobe architecture in Riyadh has been developing for the past 4000 or 5000 years, and suddenly [over] 50 years, we began to import different iterations of what an urban city looks like. Of course, we are trying to reverse that, as people who are passionate about cities that are humanistic. Life in Saudi has changed dramatically since the 1950s, so how can we accommodate that? It’s not by going back, but perhaps it’s by taking ideas from successful systems and reiterating them.” At the moment, Alissa and Alsudairi, who’ve enjoyed a positive response to their work from public officials, have an exhibition running at the Bartlett and an exhibition in the Um Slaim Collective’s lab, as well as a monthly partnership with the students at the Royal Institute of Traditional Arts. They also have ongoing projects in other areas of Riyadh through their practice, some of which are restorations that feed off their research with the Um Slaim Collective. And as they continue to investigate ways to contemporise Najdi forms and attributes, Alissa and Alsudairi hope to invite more people to the conversation, which they agree is much bigger than the two of them. “I don’t know if we can tell you at this moment what contemporary Najdi architecture would look like – but it’s good that this question is still being posed,” said Alsudairi. “Do we erase all remnants of the site and rebuild it just because Riyadh has another population growth in the next 20 years? I don’t see that as a solution – we should conserve what is left and really think about how we can amplify it for contemporary practices.”

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The Conservatory II, site-specific intervention, Riyadh

Still from an installation titled Pursuit of Site, Riyadh

The Conservatory,site-specific intervention, RIyadh

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Ceremonial treasures

WORDS BY ALICE FINNEY

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Drawing on the slow-paced ancient techniques used in African craft, Dina Nur Satti’s ceramics are an attempt to reconnect with her heritage

t’s no secret that diasporic artists often have a complex relationship with home. The experience of being an expatriate, of living thousands of miles away from ancestors and family, prompts questions about what the ‘motherland’ can mean. In particular, those who reside in Western Europe or the US find themselves practising in an art world that places European craft at its centre while widely undervaluing creations from the countries of their heritage. New York-based designer Dina Nur Satti, founder of Nur Ceramics, is no exception. Originally from Sudan and Somalia, the artist spent her formative years in France and Kenya, where her father worked as a diplomat. This intercontinental upbringing informs her work and her research. “In those early years, when I started going to museums in Sudan and seeing these shapes, I would pick up a book on ceramics and flip through the pages and see I was creating such similar shapes to what my ancestors were probably creating,” she says. Such shapes include vessels informed by the acacia tree, for example – a tree native to tropical and subtropical regions of the world, including Africa. Other references to home can be seen in Satti’s incense ceramics, which are a tribute to the Sudanese incense and perfume culture. “Ceramics have been intertwined with daily personal rituals and communal ceremonies since they first emerged in Africa around 6000 BCE in Sudan, Egypt and Ethiopia,” she explains. “Censers [incense burners] are some of the earliest vessels to be featured prominently, and are still widely used in the region,” she adds. Although Satti’s ceramics draw on a variety of traditions, places and cultures, they are strongly united in their aesthetic. The artist uses muted colours such as beige, brown and greys for her sculptural pieces, which range from incense burners and vessels to bowls, mugs and candle stick holders. Her use of earthy hues harks back to

Photography by Riccardo Piazza

the sandy desert planes found in northern Sudan. The collections also all have a distinctly minimalist look, which is a result of Satti’s love for the movement. “I’m someone who loves minimalism, who loves clean lines, and I’ve been allowing myself to create in a much more organic way,” she muses. Today, the international and intercultural studies graduate often travels to the African continent to meet the communities who still practice the ancient methods of craft, including wheel throwing. Here, she conducts research into the use of objects in ceremonial traditions and uses this to inform her own clay-sculpting. “You have to be present,” she explains. “For me to feel like I’m in that place of flow, I can’t be too attached to making things too perfect.” By taking cues from the genial pace of bygone times, she encourages us to slow down, to ground ourselves and be mindful.

Previous page, clockwise from top: Lotus vessels, inspired by the blue Lotus flower. Acacia vessel, inspired by the "beautifully awkward" branches of the Acacia tree, a staple of Africa’s landscape. Footed ritual bowl. This page: Designer Nur Satti in the midst of creation.

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Desert modernism Inspired by Emirati coffee culture, Heaf’s design is a masterclass in restraint WORDS BY PAVAN PREMANEY

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esigned to bring a piece of the desert into the city, Heaf is a bare, unpretentious and raw coffee shop space located only a stone’s throw away from the popular Al Khawaneej campsite, nestled in Madinat Badr in Muhaisnah, Dubai. Drawing inspiration from traditional Emirati hospitality, Heaf derives its name from the custom of serving three cups of coffee: Heaf, Dhayf and Kaif. The first cup is tasted by the host as a proof of trust, the second is poured for the guest while the third is shared as a symbol of togetherness. “Heaf invokes the Arab culture of yesterday, where the host drank from the cup before

delivering coffee to guests. [It is] an Arab custom built on the principles of trust, safety and the utmost sanctity of the guest,” says Abdalla AlMulla, founder of MULA. The vernacular architecture of the desert is translated into a modern and minimalist space inspired by its context, where tall Douglas fir posts anchor the room. The rugged timber holds up a large beige canvas tarp, mimicking a camp with tentpoles and sheltering those underneath. Giant glass windows open up to expose the café to the elements, allowing the space to be bathed in light. Three large African teak slabs are set at the centre and serve as the coffee bar.

“The ceiling and structure are directly connected to the concept of the Arabic tent, using wooden posts and fabric ceilings,” AlMulla explains. “The identity is subtle and refined, and designed to be discreet yet embedded in history. [Back then] coffee was made using wooden logs; this infuses the vibe at the bar.” Dotted with pared-back furnishings, Heaf is adorned by Ferm Living, Moooi, Khalid Shafar’s heritage-inspired furniture and the brutalist assertions of Studio Corkinho. What Heaf does successfully is curate a space for stillness – an impossibly craved respite from day-to-day stresses, alluding to a timelessness that echoes traditional sentiments of hospitality.

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Natural rhythms

identity delves into the world of Milan-based experimental practice Studio Terre, whose members have constructed a sense of ‘utopia’ through their works, which aim to reclaim the lost pleasures of time and encourage a return to natural rhythms. Here, we catch up with the design trio to learn more about their slowed-down approach WORDS BY AIDAN IMANOVA

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tudio Terre describe their work as creating art “from the act of living” through collectible pieces that are both sculptural and functional. The brainchild of Eva Noemi Marchetti (Nino), Francesca Guarnone (Jufa) and Ricardo Brunetti, the studio embodies its philosophy of slow living by creating outside the bounds of materials and techniques, and is instead driven by creative instinct. The studio’s work is embedded in the Mediterranean way of life, returning to the roots and foundations of the founders’ shared culture.

Aidan Imanova: What prompted you to start Studio Terre? Studio Terre: We founded Studio Terre in 2020, in June. In the midst of the pandemic, we [became aware of] the direction we were going in and that we wanted something more real; something that would give us feelings of positivity. We were looking for a lifestyle and satisfaction that was closer to our ideals. Moving away from the chaos of the city to Trivolzio in the [Italian] Province of Pavia, close to nature and to a slower pace, we decided to set up our experimental art studio. AI: What does the concept of ‘slow living’ mean to you as a studio? How is it reflected in the way you design, and the way design impacts your lives? ST: Slow living for us, as a studio, is also synonymous with ‘slow design’. [We are] creating intimate and personal objects and environments that tell a story of their own, made of time and care, and the need for a Mediterranean way of living, linked to the origins. In our vision, there is a strong reference to the home, to tradition and to the land; a return to the roots and foundations of our culture. AI: What do you think is the importance of creating awareness around the movement of ‘slow design’ in today’s society? ST: We think it is important to spread the message of ‘slow design’, to make people aware of the importance of using sustainable raw materials and the time needed to

study and create objects that respond to this credo of sustainability and circularity, which is more necessary today than ever before. AI: Can you tell us more about your work? What is your creative process and what materiality do you work with the most, and why? ST: We don’t usually define the object we are going to create in great detail. We have a more emotional, instinctive approach – in which we try to [define] the message we would like to send. We do not set ourselves any limits in terms of materials, techniques and tools to be used, in order to communicate our vision. We create unique pieces without creative constraints, where art, craftsmanship and design come together. We prefer sustainable raw materials such as earth – both cooked and raw – [and] Murano glass, combined with terracotta powder and naturally dyed Sardinian wool.

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“Imperfection for us is the real thing. We have been so beset by the perfect and the absolutely beautiful, that we now seek the opposite.”

AI: You often speak about the concept of imperfection – how is that reflected in the way you design? ST: Imperfection for us is the real thing. We have been so beset by the perfect and the absolutely beautiful, that we now seek the opposite. We should go back to the awareness that our grandparents had, according to which, if an object has been scratched, or is not perfect, it does not automatically become less important or less valuable; it is the memory intrinsic to it that makes it live. We can define this as the extreme [interpretation] of the concept of the ‘true and authentic’. It is not an ode to the crack, but a conscious and positive acceptance of the non-existence of perfection; accepting imperfection as one does within a family, and beginning to love it. AI: Tell us about some of your collections. ST: We started by working with soil from different Italian regions, in the Conserve series, in which jars and small jugs become containers of values to be shared. We were inspired by the typical jars of the Apulian tradition, historically used by peasant families to preserve food. It is the concept of preserving that is important to us; putting something aside for someone you care 24

about and returning to methods and traditions of times gone by for a modern craft. Later, with the Maxi series, we made coffee tables, candelabras and larger vases, investigating the concept of imperfection even further. Shortly after, we felt like changing mediums, so in Terre in vetro – a small collection of four amber-coloured Murano glass and terracotta powder glasses – we wanted to experiment by creating a relationship between two apparently very different materials, a symbol of sharing and conversation. AI: What was your installation about which was showcased during last year’s Milan Design Week? ST: Last September, during Milan Design Week, we presented our first installation, entitled ‘Interazione sperimentale’. It is a visualisation of a place of sharing and conversation, in which all the elements are in conversation, managing to create a dialogue within themselves. It is a reinterpretation of a

living space, synthesised and maximised in its communicative value, [focusing on] the creation of usable art in actual use and not only through observation. The installation was composed of six integral parts: Terre in vetro, Incontri, Le Sedute, Mina, le Crude and i Comari; where, in each piece, the different mediums also communicate with each other, all with the aim of fostering an experimental interaction; a process that begins with the material and aims at the total involvement of the individual. id

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Architecture and design practice Bone advocates a holistic approach – whether it is at work or in life. In fact, the two are often assimilated in a cohesive style of living, such as with the merging of their home and studio. Intrigued by this hybrid, identity visits Bone to learn more about the young practice and its design ethos

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design WORDS BY AIDAN IMANOVA PHOTOGRAPHY BY JOACHIM GUAY

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ome of the most revered artists and architects of the past (and present) have lived and worked in the same space. Think of Frida Kahlo and Diego Rivera’s twin house the other Casa Azul – designed by painter and architect Juan O’Gorman, or recently passed Spanish architect Ricardo Bofill’s ‘La Fabrica’ – a converted cement factory outside Barcelona that housed his home and studio. For many creatives, merging home and work life is a natural occurrence because, after all, the creative process does not stop once one leaves a space of work; it is a continuous cycle of thought and creation. In this spirit, a single-storey hacienda-style villa houses Bone’s home and studio. Built in 1985 and located in Dubai’s Jumeirah neighbourhood, it features ample arches, white stucco painted walls and terracotta roof tiles; and is surrounded by a forest of lush greenery including bougainvillea trees and other local flora. For Bone, this integration came naturally: firstly, because design is as much a part of their work life as it is their personal life; but also because it is a continuation of its formation as a studio. Bone started in 2018 by co-founders Achraf Mzily and Natalie Mahakian when the two came together to collaborate on a project with no future plans in place. “It was more of an experiment,” Mahakian recounts, “and it worked.” Upon discovering common interests and a complementary vision of and approach to architecture, the duo began collaborating with other creatives on a small number of projects. The team has since grown to seven people, some of whom were part of the studio’s beginnings, working in a one-bedroom apartment. The move to the new space happened last year. 28

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“I think for us, our work and our life from the beginning has been very much integrated. We’ve never really separated the two… and we are happy with it,” Mahakian begins, “Design for us is a passion and everything we do revolves around this common practice. [It is through our travels that] we discovered the way people live across Mediterranean cultures: there is this beautiful manner of taking things easy and living in a way where your happiness comes first. And being in a city that is ever-changing – the technology, the architecture, the construction is all so fast – we quickly realised that if we are going to be here, we had to create our own sanctuary and our own way of life, whether we are at home and working, or out in nature, discovering parts of the UAE. It keeps us grounded to who we are.” “When we found this house, we didn’t even hesitate,” Mzily remembers. “Just seeing everyone sitting in the garden and taking breaks and walks in between – it reinforced everything we believe in.” In response to the fast pace that often dominates the architecture industry, Bone is taking a step back. Whether it is by remaining selective on the number or type of projects they take on at a time (no more than three), or staying true to using natural materials, the studio aims to show that there are alternative ways to practicing within the field. “If you’re really passionate about what you’re doing, you don’t have to follow a common path. If you see architecture in a specific way, even if it is more abstract, you can still pursue that. But you need to be kind of brave. You need to grow

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and nurture yourself and understand what it is that you want, and also look into other fields to see how they work and how it can be integrated into what you love and what you do. And if there isn’t a demand for something, you create it – and create a new way of living,” says Mahakian. Mzily describes the dynamic in the studio as being closer to an artist’s studio than a corporate office, where the team upholds a hands-on approach across all projects, playing a major role in the handling of materials, site supervision and close collaborations with craftsmen and specialists. “I don’t even want to call it working – we are creating. It’s like a painter, painting on his easel every single day; it’s the same thing with us. And we don’t want this to be limited to just sitting behind a desk. Every single day in the studio is different – there is never a routine, and we always make sure that people within the team are doing different things: going out, meeting people, being on site, exploring and learning. Life is flexible. And we bring into it the things that we are passionate about.” Bone’s focused number of projects ensures that the studio is involved in all areas of the work – an approach that has been established since its founding and is to remain as a core part of the practice’s ethos. “I think in order to know how to design and

build, you must know what you are dealing with, and you cannot just rely on the specialist to inform you; you have to inform yourself. And if you know how a material responds and reacts, you will be able to have better solutions when you design, and I think this is part of why we are doing what we are doing,” says Mahakian. Mzily agrees: “Visiting the different specialists who will be working on your projects is essential, and it is something we always do. How can you know the door that you designed without seeing the person [who] makes it? Visiting these makers opens up so many different

opportunities and possibilities because you learn so much about the process, and it keeps you informed on the potentials and restrictions of different techniques and materials.” Many of Bone’s completed projects are F&B spaces, such as La Petite in Al Ain, Terra Eatery in Dubai and the recently completed artisanal bakery in Dubai Design District called Bageri Form. While the duo don’t assert to a signature style in architecture, many of Bone’s projects sit at the unusual nexus of nature and Brutalism, where monolithic forms are complemented by materials of the earth, such as clay and natural woods. THE SLOW LIVING ISSUE

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“In Brutalism, you are just using the building material as the finish itself – and yet concrete in its essence is a heavily processed material,” Mzily explains. “[With Terra], we looked at something that generally comes from the earth and [at] using it in its very simple form and with as little processing as possible – and translating that in the space in the same way concrete is translated into Brutalist buildings, and seeing what the result is. “I love when people say, ‘this reminds me of something, but I can’t tell what it is’,” he continues. “It means we are challenging you as a visitor, because we are merging styles and architectural gestures in a way that is sparking curiosity and a sense of nostalgia – although you can’t put your finger on what it is. And this goes back to merging Brutalist forms – which everyone is familiar with, and are expecting to see concrete beams, columns and flooring – with something that is more ‘countryside’, like your grandfather’s house.” At the moment, Bone is on a path to expanding its scope and focus, casting its net to potentially include product design and a wider involvement in the hospitality sphere. “The hospitality industry is something we gravitate towards, being able to look at how architecture and nature can be one. There is a vision of how we see the truest form of architecture that we still haven’t been able to implement; and we have realised that we don’t necessarily need a client to implement it, we could somehow be our own client,” Mahakian concludes. id

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Rituals of care

Browse identity’s edit of the latest pieces for the home that encourage wellness and self-care, ranging from minimal fitness equipment and chic loungers to organic forms for the bathroom space WORDS BY AIDAN IMANOVA

antoniolupi and Marco Di Paolo Is there a better place to relax than in the comforts of one’s bathtub, especially if the said tub is anything like antoniolupi’s Fida? Designed by Marco Di Paola, this bathtub is not unlike a sculptural work of art, carved from a monolith of brushed Vicenza Grigio Alpi stone. The material has a typical light grey colour, created by the presence of macrofossils, making it a modern encounter between material and functionality; it also features a sandblasted finish for a more natural effect. The lines of the tub take cues from the organic forms of the woods around rivers, giving the work a feeling of fluidity, while the edges are rounded and the lines smooth. Inside, the bathtub hosts an ergonomic environment to convey safety and comfort. “We use natural stone in a conscious and moderate way because natural stones are available only to a limited extent,” says Marco Di Paolo. “The influence of many natural forces formed them through time and each stone is unique and inimitable, [a] thing that stimulates our creativity.” 34

wellness design

VitrA and Tom Dixon A well-designed bathroom space is essential for moments of respite, be it freshening up after a long day at work or indulging in one’s evening skin care routine. British designer Tom Dixon’s first-ever bathroom range, Liquid, is both innovative and original – and ideal for those who enjoy minimal design that is also somewhat whimsical. Created in collaboration with global bathroom brand VitrA, the collection was partly inspired by Victorian bathrooms. “I like the feeling of permanence in Victorian bathrooms, with their big chunky taps and fat tubes,” Dixon says. “It’s an aesthetic that’s closely connected to a whole tradition of British engineering and which influenced the development of the bathroom.” Liquid is aligned with the designer’s recent transition into round-edged aesthetics, with nods to pop art such as Jeff Koons’ Balloon Dog, the work of Claes Oldenburg and the soft forms of sculptor Barbara Hepworth, which have all influenced the collection’s

delightful curvature. Recognising the current obsession with skinny and reduced designs, Dixon has created the opposite, incorporating fatter, softer lines that are inherently more generous, strong and long-lasting. The smooth, rounded edges are easy to clean, alongside taps with simple controls, while soft edges ensure a safe bathroom environment. Consciously choosing to offer only white ceramics, the range combines different materials including fluted glass and metal mesh. “I wanted the collection to look like a kid’s sketch of a bathroom basin or a tap,” Dixon explains, “displaying a clear logic and simplicity in looks and usage.” THE SLOW LIVING ISSUE

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Equipt With ‘home work-outs’ becoming increasingly popular, greater attention is being paid to the design of fitness equipment, much of which now appears to be more like accessories that one wouldn’t mind having around the living space. Ubarre by Equipt is one such item – resembling a table accessory more than a generic piece of gym equipment, fusing good design with functionality. The chic U-shaped weight is made of powder-coated steel and is available in metallic gold or silver finishes, as well as other tones such as burnt brass, rose gold and charcoal, enhancing its sculptural aesthetic that makes it appear ready to be put on display. Ubarre’s ergonomic design and even weight distribution means that it can be used for a variety of workouts and fitness activities, from Pilates, yoga and barre to traditional strength training. 36

wellness design

Pent Combining perfect angles and curves, stainless steel finishes and oiled walnut wood, Pent’s collections are the ideal meeting of luxury and fitness, with pieces that could very well double as furniture. Pent’s fitness equipment is manually crafted, such as with the Colmia dumbbells set or the Lova kettlebells that are made using the brand’s signature oiled American walnut wood – which provides good grip as well as being a delight to the touch – and the highest grade of stainless steel. Walnut wood exhibits antibacterial properties and, in combination with stainless steel, creates a harmonious system of health and nature. Other products in the line include the Moxa balls, which in addition to being handcrafted in Pent’s signature materials, also feature natural leather; as well as the Banka fitness bench that is the ideal combination of practical functionality and beauty – and is perfect for any modern home or hotel gym. THE SLOW LIVING ISSUE

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Technogym and Dior Technogym’s latest collaboration with Maison Dior ensures that we are motivated to complete our daily exercise in style. The wellness brand’s innovation meets the elegance associated with the French fashion house, creating a limited-edition home fitness collection that includes some of Technogym’s most iconic products such as the treadmill, the multifunctional bench and the wellness ball. The Technogym My Run for Dior is a stylish, compact and quiet treadmill that connects to your tablet and offers a wide range of on-demand running and walking workouts, while the Technogym Bench for Dior offers the maximum variety of exercise options in a small space. Its innovative design includes a series of dumbbells, elastics and knuckles that enable more than 200 exercises. Additionally, the Technogym Ball for Dior is designed to keep you on the move, even while sitting – offering both a seat and a wellness tool, with a complete exercise programme for flexibility, toning and balance. Produced in Italy, the collection embodies the values and culture shared by both brands, reflecting a mutual commitment to inspiring a healthy lifestyle that combines physical exercise and style. “Created to inspire the concept of wellness with new generations, [the collection] also offers people the opportunity to live a unique and irresistible experience,” says wellness designer Nerio Alessandri, founder of Technogym. Technogym’s first wellness experience centre in the UAE, Technogym Dubai, will soon open its doors on Jumeirah Beach Road.

wellness design

Cassina and Patricia Urquiola Rest is an important part of wellness and self-care. As many have come to implement routines of relaxation into their daily lives, the outdoor spaces of the contemporary home have become increasingly important as places to regenerate and reconnect with nature. Cassina’s Trampoline series is created in this spirit, characterised by rounded curves and a playful design. The collection now features a new oval-shaped sunbed designed by Patricia Urquiola, with an ivory or taupe powder-coated stainless steel structure. The sunbed – featuring both fixed legs and rear wheels – comes with a comfortable mattress that can be enriched with optional fringes, and also features a comfortable, adjustable backrest to allow for an experience of total well-being in the open air. id

Photography by Gionata Xerra

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architecture

The bonds that bind The recently opened Kisawa Sanctuary in Mozambique prioritises minimal impact on the environment while preserving the cultural heritage of the region

WORDS BY AIDAN IMANOVA PHOTOGRAPHY BY ELSA YOUNG

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estled between 300 hectares of forest, sand dunes and beachfront on the southern tip of Mozambique, on Benguerra Island, Kisawa Sanctuary features thatch-roofed bungalows and clusters of conical volumes created by local thatchers using traditional techniques. “When building Kisawa, we were directly informed by our environment. Design decisions were led by nature and the materials readily available around us. Giving value to local materials was inspirational as well as logical,” begins entrepreneur, creative director and philanthropist Nina Flohr. Kisawa Sanctuary is Flohr’s first hospitality project and was completed by her in-house design studio NJF Design. “I personally discovered a book on biomimicry and became fascinated with ways to apply this process to Kisawa. After months of research, we ultimately used ‘biomimicry’ – the process of looking at nature in order to imitate it – to provide solutions to visual pollution, as well as wind protection. Today, when you arrive at the property, you don’t notice the structures until you are very close to the shoreline. We did this by taking inspiration from the 150-metre-high sand dunes surrounding Kisawa, using their form and shape to design the roofs across the entire property so that the view from the ocean blends the building into the landscape - since we wanted Kisawa to be integrated into the land as much as possible, and of course protected from tropical weather.” Flohr describes NJF Design’s

approach as ‘conscious construction’ that aims to reduce impact on the land where possible, and uses local techniques – in this case, local thatching and timber – as well as expressing the local vernacular through its architecture and design. And while a passive design approach dominates the project, modern technology has also been utilised to fulfil its commitment to the environment. Using non-cement-based surface cladding was one of the decisions which led to the reduction of cement usage on the project by up to 60%; NJF also opted for Surefoot systems, which are concrete-free foundations. Similarly, Sudpave technology, which uses recycled paving materials, was used to construct the entire 8.5-kilometre road system of the retreat. “By taking such steps, and considering our surroundings at every possible juncture, we made sure that we were continuing to pursue our goal of creating an integrated property that values the handmade. Something hand-made in Mozambique should be equally precious as something hand-made in Italy or France, and it is the time and careful quality control that allows for such a process to come about,” Flohr says. Construction work involved artisans from Benguerra and neighbouring islands, making up 80% of the workforce; half were women, contributing skills such as Mozambican weaving (which is a traditional artform on the island) as well as thatching and carpentry, celebrating local and regional know-how.

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“We worked in partnership with a select group of architects, artisans and consultant engineers, as well as commissioned local weavers, thatchers, carpenters and textile-makers, joiners and painters to deliver a unique design solution that is relevant to coastal Mozambique; hopefully rooted in authenticity and long-term cultural heritage,” Flohr says. “During the development [of the project], we made a commitment to not use any heavy machinery, instead opting for more manpower. All equipment, including tools, was carried over to the island on dhows. “We felt an immense duty towards our surroundings, and nature became the driving force in the project. At NJF we believe in inclusive design, meaning we wanted to work in tandem with skilled local craftspeople to establish the desired outcome, not only because this is appropriate but also because it is wholly relevant to create a celebration of coastal Mozambican vernacular. Our processes were always informed by observation and collaboration, not plain direction,” she adds. In addition to being informed by the natural 44

environment, the design studio conducted in-depth research into ‘tropical modernism’ – an architectural movement that was very popular during the 1970s on the African continent and other parts of the globe – which was later implemented in the design. The retreat features a residential ambiance, combining large open-plan layouts with personalised interiors, which are both high-end and comfortable. Local weavers created a bespoke collection of textured, undulating baskets that reflect the waves of the Indian Ocean – in addition to echoing the curved thatched roofs on the residences on the resort and the ‘domes’ of the Natural Wellness Centre. Expert weavers also entwined grasses into sliding door panels that open up to bedrooms and bathrooms to living areas and the outdoors, while artisans carved chairs and tables from local jambir and simbiri woods. All statues and carved forms were created by Kisawa’s in-house craftsman, Andre Antonio Zivane, and range from miniature figures to oversized, organically shaped structures. Born in

Vilanculos, and now a Benguerra Island resident, Zivane used a combination of jambir and simbiri wood off-cuts left over from the sanctuary’s construction. “When choosing the materials for Kisawa Sanctuary we wanted to avoid the approach of ‘this is local, therefore it’s appropriate’. We wanted to make sure that we got as much of a narrative into the story of the property [as possible], but also… that we were doing so in an appropriate and meaningful way. We immensely enjoyed the research phase of this project and tried to pull references from all over Africa to understand the varying approaches, decades and regions. We did this by going into archives, museums, galleries and libraries, both on and off the continent.” Unique art and antiques were sourced from across the African continent to ensure the preservation of heritage artefacts and their remaining provenance within the continent; these sit alongside locally made bespoke furniture, showcasing colourful patterns and prints that are evocative of the region and provide layers of tactility and patina.

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“Kisawa Sanctuary very quickly became a platform for not only Mozambican but also pan-African objects. There are so many interesting and unique stories from the property, one of which includes old school furniture from Cameroon. We lovingly restored each wooden chair and table to give the pieces a new life. The end result is absolutely beautiful, and they could be seen today as precious antiques, despite their humble origin. I think beauty lies in giving value to well-made things, even if they are simple,” says Flohr. In addition to founding Kisawa Sanctuary, Flohr launched its sister property, the Bazaruto 46

Centre for Scientific Studies (also located on Benguerra Island), Africa’s first permanent ocean observatory. Their parallel operations create a new, symbiotic business model where the for-profit hospitality project contributes directly to non-profit marine science through conservation and research. “Minimal impact was our initial design intent, given how precious and untouched the environment is, and we want this commitment to outlive the initial cause. Our hope is that the impact we have created is a positive one that is felt for generations to come,” Flohr comments. “Both at Kisawa and NJF Design, we

wholeheartedly believe that sustainability is a way of life rather than a box-tick in the building or an operations process for a hotel. We have therefore embedded our genuine love for the natural environment of Kisawa into the property’s DNA, and by doing this we have, hopefully, created a product that is long-lasting, largely hand-made (despite its scale) and resilient to the test of time. We hope [that] in years to come Kisawa will be as much of a cultural celebration as it is today; an earmark or small ode to a moment in time that is modern, yet timeless, while continuously employing and creating opportunity for the local population.” id

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A surrealist sanctuary In California, artist Shawn Button transformed a dilapidated house from the 1950s into a colourful holiday retreat with a true sense of escapism

WORDS BY KARINE MONIÉ IMAGES BY BRANDON STANLEY

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his project was born out of the pandemic and fuelled by the drive to create a space that people could come to and forget about the insanity of the world for a minute – a place to completely surrender to the moment,” says Los Angeles-based artist Shawn Button. Located 60 kilometres from Palm Springs, California and bordering Joshua Tree National Park, The Meltdown is a residence like no other. This home – which can be rented through Airbnb – provides mesmerising, panoramic views of the mountains, boulders and “vast stretches of nothing,” describes Button. The scenery immediately convinced the artist to tackle the challenge of renovating the structure, which dates back to 1959 and combines modern and mid-century styles. “When I visited the property for the 50

first time, I immediately got the feeling that this might be ‘the one’ and started to look around for a sign,” Button remembers. “I gazed downward and saw a pair of dice in the sand. The rest is history.” Six months of work were needed to bring to life this unique place that is an invitation to an almost surreal world where the senses awaken through a mix of art and nature. “I started designing the space at the height of [the Covid-19] pandemic, during the summer surge of 2020,” Button says. “I remember there was this insatiable need for people to get out of their homes and travel, but so many of us were stuck. My design was inspired by escapism, alternate worlds and the dream realm.” The interior spaces comprise three bedrooms, each with its own tone: purple, light blue and pink.

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“The palette was inspired by a reverse sunset,” Button shares. “I love the colours that appear eastward in the sky right after the sun goes down beyond the horizon. I spent a lot of time observing the subtle shifts in the sky because I wanted the colour choices to feel as atmospheric as the surrounding landscape.” Adorned with vintage tiles, the bathrooms also give the feeling of being in a surrealist oasis, far away and protected from daily life. All the areas of the house reflect Button’s limitless creativity and talent for having made a sort of art installation of this bungalow. Some outdoor areas were added, such as the covered patio, characterised by its arches and circular openings that balance with the angles and square shapes in other parts of the property. Set close to the al fresco shower, the cactus garden is a perfect spot to admire the beauty of the landscape, in addition to the Jacuzzi that grants exceptional vistas of the national park and the famous Kellogg Doolittle house designed by architect Kendrick Bangs Kellogg, a disciple of Frank Lloyd Wright. “I wanted to create an atmosphere that encouraged an exploration of the dream realm within oneself, while offering a sense of liberation guided by art and design,” says Button, who designed and created most of the lighting fixtures and art pieces. Meanwhile, the eclectic furniture (such as the Memphis-style stools that evoke the sun) is either vintage or locally sourced. The materials were chosen to withstand the harsh desert environment, while also being

visually or texturally smooth. “I like to play with high contrasts when designing, and I was attracted to the ruggedness of the surrounding landscape against the soft textures, curves and lines I incorporated into the design,” adds Button. Working across several disciplines, the artist – who is currently developing a body of sculptural pieces and a series of short films to be released this year – is not afraid of experimenting and taking risks to push creativity further. “When life gives you dice, roll them,” he concludes. id

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Starting from ground zero, French architect Bertrand Guillon has designed a brand-new home in the South of France for a young family desiring to reconnect with nature PRODUCTION & STYLING BY MARIE-MAUD LEVRON PHOTOGRAPHY BY YANN DERET WORDS BY ANNE-CATHERINE SCOFFONI

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A clean slate

Coffee table from Serax. Magsoft sofa by Hay. Carpet by Elitis. Fireplace from Kalfire. White wall lamp from Hofstein. Michel Ducaroy's Togo armchair from Ligne Roset. THE SLOW LIVING ISSUE

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Glazed ceramic lamp with raffia lampshade by HK Living. Cushions in old hemp made by Isabelle Yamamoto. Velvet cushions by Elitis. Fani table by Margaux Keller, made in solid ash wood from sustainably managed French forests.

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ocated only a few minutes away from the city centre of Aix-en-Provence, and close to the Mediterranean sea, it only took a year and a half for this contemporary dwelling to rise under the guidance of Bertrand Guillon’s eponymous architecture practice. Educated at the École Nationale Supérieure d’Architecture in Marseille, the young architect trained for nearly two years before founding his own studio in 2013. Guillon’s style is always attentive and seeks to translate the ambitions of his clients, while guiding them towards new scenarios. When first approached by Nathan and Carole – a couple in their thirties – to design their new home, there was nothing but a neglected house sitting on 600 square metres of land, surrounded by fig and olive trees. The young family of three had originally left their duplex apartment in Marseille to settle in this very handsome region, surrounded by an aromatic countryside full of authentic Provençal houses and traditional French-style gardens. Initially, the couple had only

envisioned a traditional renovation, leaning towards a project in keeping with the style of the region: a dream they had cherished for many years. However, their design rapidly evolved and took an unexpected turn. Guillon, whose expertise offers a contemporary approach, suggested a decisive intervention: to entirely demolish the current house in order to rebuild a brand new one, while respecting the appearances of the local architecture. “The whole dwelling was damaged and [the structure poor],” the architect recalls. “Faced with the complexity of the rehabilitation, the decision was taken on both sides to demolish it entirely and favour a brand new construction that would propose, in a traditional form and construction method, a certain architectural contemporaneity.” Very quickly, and following some exchanges, a sum of ideas came to life. The house was designed according to a classic plan respecting the codes of the region’s style: a roof with two slopes covered with canal tiles, Provençal Frieze and, outside, dry stone walls. All this was later associated with a more modern interior style.

Vanity unit in oiled walnut veneer. GRAFF taps in brushed brass. Alinea mirror. Wall lamp from Caravane.

Wallpaper by Ferm Living. Wall lamp by The Socialite Familly.

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Table in Suar (Indonesian wood) that Caroline later varnished to bring out the grain of the wood, purchased from an Indonesian furniture importer. Traineau chairs by Baumann, bargain hunted online at leboncoin. ‘Mother of Pearl’ catalpa fabric curtains from Larsen Fabrics. The stone of the central island is a cream-coloured Moca marble / taps by Hotbath. Oiled walnut wood cabinets. Suspensions from Honoré Déco.

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The living areas, distributed over two floors, were imagined in a luminous manner and conceived using beautiful natural materials in soft colours – such as stone, concrete and wood. “It is a fairly sober architecture to live in,” Guillon comments. The arrangement of of interior spaces is in a row, one following another – from the kitchen, dining room, living room, to the entrance leading upstairs. All areas of the house are simply punctuated with striking elements such as the oiled walnut wood volume of the kitchen, the stone wall of the entrance, and the claustra from the entry. The open spaces were arranged to create cosy nooks, such as in the living room that is organised around the fireplace whose flue doubles as a partition, creating a relaxed

corner with an abundance of cushions and soft lighting arrangements. To adorn the floor and connect the living areas together, the architect chose to work with helicopter-smoothed concrete. This 12-centimetre-high flooring made it possible to incorporate underfloor heating. In addition to being shock-resistant, it is also more affordable than the usual waxed concrete finish. Adding a sense of warmth to the space are delicate curtains, furniture pieces and accessories that are imbued with soothing brown-beige tones. To guarantee a bright environment all year round, large bay windows have been selected and installed in place of more traditional openings, offering a calming view onto the shaded terrace and the newly designed garden.

Outside, the décor is completed in sandy tones that are magnified by the azure sky. “In this warm region, it was primordial to benefit from a bright and widely open house on a beautifully landscaped garden, while preserving intimate and warm interior spaces,” Guillon notes. During the more pleasant days, it is a delight for the whole family to be able to live so easily indoors and outdoors, in accordance with the rhythm of the sun. For the rest of the décor, it was Caroline who beautifully arranged objects and accessories. With a long-term passion for flea markets, where she uncovers many treasures, her style predominates and merges without Guillon’s own architectural intervention. “This interest in decorating comes from my mother, who always paid particular attention to the environment in which we lived, with the guiding principle of a good mix between new and old furniture. I love to unveil the ‘beautiful’ that can be found in colours, materials, objects and furniture. It’s really fun to combine different objects and furniture; to mix styles; where in the end, everything is harmonious,” enthuses Caroline. After a year and a half of work, the couple and their young child Léon are finally enjoying their nest to the fullest. “It is a place that provides you with the feeling of being on a vacation all year round,” Caroline concludes. id

Artisanal sunscreen from La Scroutinerie. The zellige table is made by Art et Sud in Marseille. The Portuguese chairs come from the Marseille house.

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The terracotta pots of the swimming pool come from La Maison Pernoise, a showroom in Pernes les Fontaines, handcrafted in Morocco. Aluminum bay window by Wicona.

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interiors Extrasoft sofa, designed by Piero Lissoni for Living Divani. Folding chair by Hans Wegner. Vintage PK61 coffee table by Poul Kjaerholm. Daphine reading lamp by Tommaso Cimini for Lumina. Vintage Grasshopper lounge chair by Preben Fabricius and Jørgen Kastholm. Custom stacking bookshef designed by Untitled Design Agency, in aluminum.

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A still life In Vancouver, this home was remodelled by Daniel Ching, principal designer of Untitled Design Agency, for a Swedish couple who are passionate about fashion and art

WORDS BY KARINE MONIÉ PHOTOGRAPHY BY EMA PETER

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interiors

Plank bedside table, by Untitled Design Agency. Akari table lamp, by Isamu Noguchi. Minotaure chair, by Pierre Augustin Rose. Artwork by Casper Sejersen.

riginally from Sweden, Linda and David Bergman crossed the Atlantic a few years ago with their two young daughters to move to the west coast of Canada, where both work as executives at two international fashion labels. With their professional background, combined with a passion for art, the husband and wife have an indisputable sense of style. To enhance their life in British Columbia, the couple decided to purchase a house in the coastal neighbourhood of Kits Point in Vancouver, and asked Daniel Ching – who is at the helm of his studio Untitled Design Agency – to help them transform it into their perfect home. Spread over a little more than 220 square metres, the property had consisted of traditional architectural shapes. The interior designer and the homeowners agreed on 64

reinterpreting the house through a contemporary makeover that would be simultaneously respectful of the soul of the house. “A character home reimagined was the design intent of this renovation project,” Ching says. “During the early stages of the project, the homeowners were after an unapologetically modern interior, which proved to be challenging. The dialogue between the intrinsic architecture of the home and a true-to-form modern interior was disjointed. As the interiors were developed, a softer interior language came to light.” Throughout the different phases, the concept became more precise and adapted to the general spirit of the project, balancing “the bones of a character home and the minimalism of modern design,” as Ching describes.

interiors

Vintage Poul Kjaerholm PK22 chair. Vintage Serge Mouille floor lamp.

Photography by Eddie Wrey

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interiors

Custom table designed by Untitled Design Agency, in fir wood. Vintage Norman Cherner dining chairs. Pendant lights by Michael Anastassiades.

interiors

Below, from left: The archway leads into the living room area, and you can see a bit of the staircase detail. The limestone vanity was designed to tie-in with the floating limestone hearth at the living room and dining room. Tap by CEA.

Pure lines mix with traditional materials - such as the fir wood floors, limestone counters and oak millwork that were used in their purest state, without any ornamentation, in order to patina over time, while balancing with the soft and restrained colour palette. “For each interior project we work on, we establish its point of reference,” explains Ching. “This allows us to form a cohesive understanding of each unique space. For example, for this house our point of reference was time-honoured materials.” As a result, a peaceful, cosy and timeless ambience was achieved – as exemplified in the main living space, where a trim-less fireplace with a natural limestone hearth is an invitation to relax comfortably. “We firmly believe that the atmosphere of our homes should have a visual quietness,” Ching asserts. Vintage pieces by iconic designers – such as Nakashima, Hans Wegner, Charlotte Perriand, Poul Kjaerholm, Jørgen Kastholm, Preben Fabricius, Norman Cherner, Jasper Morrison, Serge Mouille and Isamu Noguchi – adorn the different spaces. Contemporary furniture, including the Minotaure

armchair by Pierre Augustin Rose and the Extrasoft sofa by Piero Lissoni – among other pieces – were added to complement the elegant look; while others, such as the table in the dining room, desks, beds and nightstands, were custom-designed specifically for the project. For Ching, this bespoke touch is essential, and gives a unique character to every interior created by Untitled Design Agency. All from David’s collection, the colourful artworks by Inez & Vinoodh, Larry Clark, Roberta Bayley, Alasdair McLellan, Wolfgang Tillmans, Elizabeth Peyton, Eddie Wrey, Robert Rauschenberg, Casper Sejersen and Sterling Ruby contrast with the rest of the decoration and reflect the homeowners’ passion for the fashion world, in particular through the selection of photographs. “This project was an authentic collaboration between David and me,” Ching says. In this sanctuary – aptly called ‘Still Life House’ – materiality and harmony prevail.” “Interior environments have the ability to conjure calming feelings and emotions,” the designer concludes. “Every element was carefully chosen and placed, and all of them contribute to the beauty of what is essential in a very subtle way.” id

THE SLOW LIVING ISSUE

thought leadership

5083 PIne

thought leadership

Slowing down with fast kitchens Häcker’s kitchens are designed for more relaxation time WORDS BY SAMIR RANAVAYA

ith today’s fast-paced lifestyles, the home has undoubtedly become a sanctuary for most. It is a place in which to slow down and get away from the noise of our busy lives, in order to rest and unwind. With the understanding that free time is ‘real currency’, the Häcker kitchen is created to free up one’s time, thanks to an intelligent design process and seamless installation that allows for more ‘hands-off’ time for users. Creating good design sometimes comes down to blending time-tested experiences; but capturing the unique tastes of the user through a specially crafted process is a vital part of Häcker’s approach to kitchen design, and forms the cornerstone of the brand’s kitchen concept. Creating one’s dream kitchen is an intricate sequence of steps – but it doesn’t have to take long. When

facilitated by a Häcker kitchen designer, these distinct interpretations are seamlessly reflected in the design – efficiently and without compromise. As Europe’s largest luxury kitchen manufacturer, Häcker delivers on the highest claims of quality – and at a faster speed than most. Leveraging over 120 years of experience with materials and design expertise, Häcker’s timely production means your kitchen can travel from Germany to Dubai within two months. And while you sit back and relax, the in-house installation managers will keep a check on site developments, so you don’t have to. Most importantly, Häcker Kitchen’s fusion of elegance and functionality means that however you’re likely to be using the kitchen space, it is a seamless and relaxing experience. And that alone is pure luxury. THE SLOW LIVING ISSUE

products

Organic forms We are loving everything natural and organic this month, from Herzog & de Mueron's cork furniture for Classicon to Dhaka-based designer Maja's Koroi tables

Botera chair Miniforms Available at westernfurniture.ae

products

1. Arcs vase and Arcs shade designed by Muller Van Severen for Hay. Available at thebowerycompany.com 2. Casaque cushions in Vice Versa silk twill and H canvas by Hermès. Available at hermes.com 3. Koroi side table by Maja. Available at maisonmaja.com 4. Corker by Herzog & de Meuron. Available at superstudio.me 5. Entire lamp shade designed by Berit Mogensen Lopez for Ferm Living. Available at fermliving.com 6. Diamond Dots porcelain plates by La DoubleJ. Available at matchesfashion.com

THE SLOW LIVING ISSUE

library

Celebrating couture A new book invites us to discover the fascinating process behind the creation of the first fashion museum in Morocco WORDS BY KARINE MONIÉ

“T

his is a special book about adventure, eloquence and compassion. It is also a warm tribute to Morocco,” writes Madison Cox, garden designer and spouse of Pierre Bergé, in his foreword for Yves Saint Laurent Museum Marrakech, published by Phaidon. Cox is also the president of Fondation Pierre Bergé – Yves Saint Laurent and president of the Foundation Jardin Majorelle. “This elegant book traces the incredible artistic process that enabled a rough, candid sketch to metamorphose like a chrysalis into a bountiful and beautiful building,” he continues.

More than 272 pages and 185 illustrations – including architectural sketches, plans, photographs of Pierre Bergé and images of Yves Saint Laurent’s couture creations – invite readers to delve into the story of a project that combines architecture, design and fashion, through a building designed by architecture firm Studio KO, which was founded and is led by Karl Fournier and Olivier Marty. Opened in October 2017, Yves Saint Laurent Museum Marrakech honours the French couturier’s love for the Moroccan city. The fashion designer created all his collections there and, with his partner Bergé, owned a six-acre compound comprising the Villa Oasis and Majorelle Garden. “Marrakech taught me colour,” Saint Laurent said. “Before Marrakech, everything was black.” Spanning over 4000 square metres and comprising permanent and temporary exhibition spaces, a research library, an auditorium, a bookshop and a terrace café, the museum took four years to be brought to life and involved Bergé in every step of the process, though he sadly didn’t have the chance to witness the final outcome as he passed away one month before the inauguration. For the duo behind Studio KO, the enthusiasm for designing such a compelling project started from day one, right after they received a call from Pierre Bergé to invite the architects to dinner. “‘Neither mausoleum nor architectural gesticulation.’ That was more or less all that he said that evening,” remembers Studio KO. “But he had instilled in us an excitement, mixed with curiosity and a sense of responsibility, that kept us on high alert for several days.” The architects’ creative process pervades the pages of the book, from the selection of the right brick to the tones of the stained glass, to the perfect acoustics. “The building we had in mind was grounded: humble yet proud,” concludes Fournier.

library

Clockwise from top: Main east façade and entrance on rue Yves Saint Laurent. Karl Fournier, Olivier Marty, Björn Dahlström, Pierre Bergé and Madison Cox, under the arbour at Mas Théo (Pierre Bergé’s home, Saint-Rémy-de-Provence). The foundation’s archives room with photograph of Yves Saint Laurent by Helmut Newton

THE SLOW LIVING ISSUE

id most wanted

The latest addition to david/nicolas’ Studio Line is the Metronome, made in Italy using French oak wood, wicker and brass – and upholstered in leather. The design centres on its joinery, highlighting the wooden cylinder and the chair’s surface. Metronome comes in two versions: a comfortable dining chair with generous seating; and the wider and lower lounge chair, created to complete any living space. The curves in the backrest enhance comfort while also adding a sense of softness to its overall shape.

Metronome lounge armchair by david/nicolas 74

THE STORY OF

THE AL WASL OPERA

A behind-the-scenes look at how this ambitious production was brought to the stage for Expo 2020 Dubai. f i n d t h e b o o k at a l l m a j o r r e ta i l e r s a n d o n b o o k s a r a b i a . co m BUY NOW

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