Identity - April 2023

Editor-in-Chief

Obaid Humaid Al Tayer

Managing Partner and Group Editor

Ian Fairservice

Editor

Aidan Imanova

Senior Art Director

Olga Petroff

Junior Designer

Charissa Canlas

Sub-editor

Max Tuttle

Chief Commercial Officer

Anthony Milne

Senior Sales Manager

Sharmine Khan

Sales Representative - Italy

Daniela Prestinoni

General Manager - Production

Sunil Kumar

Production Manager

Binu Purandaran

Production Supervisor

Venita Pinto

Contributors

Karine Monié

Odelia Mathews

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Editor’s Note

I am sure it is now no secret how highly I value craft and its role in preserving knowledge, supporting communities, advocating for slower living and thinking creatively about the future.

This is why the relationship between an artisan and a designer is so special: each one enriches the other in the beauty of what was and what could be. Without the creativity and risk-taking nature of the designer, the artisan is bound by the past; and without the intricate skill set of the artisan, a designer’s vision may sometimes be just that. The convergence of the two worlds is what has brought to light some of the most enlightening pieces of design. As Italian automotive designer Giorgetto Giugiaro once said: “It wasn’t an architect or a designer who invented objects, but an artisan.”

Our cover this month features Egyptian-Australian designer Yasmine Saleh Ghoniem’s – founder of Sydneybased YSG Studio – first collection for handcrafted rug brand Tappeti, titled ‘Real Majik’; a celebration of her heritage that is inspired by Egypt’s pharaonic past.

The 12-piece collection features combinations of art silk [artificial silk], hemp, Tibetan highland wool and nettle, which make up the intricate hand-knotted rugs, revealing an exquisite level of pattern detailing.

“I am impressed with the way Tappeti weaves ethics and environmental sustainability into their business,” Ghoniem told me. “Traditional makers in India and Nepal produce each piece using time-honoured looming and tufting techniques, and are paid fair wages, enabling them to work amongst their traditional community.”

In other parts of the magazine, Lebanese ceramicist Nathalie Khayat reveals her artisanal process, which is less technical and more intuitive: “When I am moved by something I heard or saw, I feel like running to the studio and starting to make,” she tells identity. “While working on a piece, I look at how it sounds and moves. I allow it to have a feeling, something subtle, sensual, uncontrolled. At the end, nature is always present.”

In this issue, I also chatted to interior design and architect Vianca Soleil Roquero, whose beach home in a remote island in the Philippines I had seen on Instagram a year ago and been keen to feature. Called Unna, the home-turned-mini resort embodies everything one can hope for when adopting a slower pace in life: using natural materials, working with one’s local community and allowing nature fully into your life.

“I challenged myself to somehow unlearn the approach I was used to back in the city, [moving] from being too technical and by-the-book to [taking] a more nonchalant and intuitive approach,” Roquero shared. “My idea was to go back to the basics by building like an island local, to embrace beauty in restraint but also leave some room for playfulness.”

While many of us are busy being caught up in the blur of fast-paced city life, paying attention to craft can help one learn how to slow down and appreciate the present moment.

the cover:

Aidan Imanova Editor

Photo by Young Habibti

On

A close up of YSG Studio’s Real Majik rug collection for Tappeti

Photography by Anson Smart

FOR A PERSONALIZED TOUCH IN YOUR BATHROOM

GROHE ATRIO PRIVATE COLLECTION

The Red Dot award winner Atrio Private Collection relies on individuality. The wide range of levers, Caesarstone designed inserts and colours allows a finely harmonized personalization of bathroom interiors. The product collection meets the demands of different styles: the design aesthetic spans from minimalist to classic, while at the same time remaining true to the series’ basic design features. Clear lines and round shapes characterize the timeless appearance. grohespa.com

FOR A PERSONALIZED TOUCH IN YOUR BATHROOM

GROHE ATRIO PRIVATE COLLECTION

The Red Dot award winner Atrio Private Collection relies on individuality. The wide range of levers, Caesarstone designed inserts and colours allows a finely harmonized personalization of bathroom interiors. The product collection meets the demands of different styles: the design aesthetic spans from minimalist to classic, while at the same time remaining true to the series’ basic design features. Clear lines and round shapes characterize the timeless appearance. grohespa.com

Feminine touch

Miminat’s sinuous vases are a tribute to the female form

WORDS BY AIDAN IMANOVA

Mimi Shodeinde – founder of Londonbased design studio Miminat – has rapidly made a name for herself through her artistic sensibility and architectural discipline, creating objects and interiors that are bold and confident in their vision yet still embody a feeling of softness and sensitivity.

Her latest creation – the NRIN vases – further reflects this approach. The series of sculptural vessels pays poetic tribute to the female form, with a name derived from the Yoruba word for ‘female’ (obinrin), as well as to Shodeinde’s Nigerian heritage. Rendered in wood and metal, the design showcases the way a cool material like metal can metamorphose into a seemingly liquid form, giving it a sense of feeling, energy and movement.

The flowing shape of the metal echoes the softness of the female form, while the mirrored finish is a nod to inner reflection, allowing both sides to be seen as one. Upon closer inspection, the cast aluminium that surrounds the vessel is subtly grained with textures that represent the pollen grains of flowers, which the vessels will hold.

The central wooden column, on the other hand, signals strength and stability and references the African materiality which inspires Shodeinde’s work.

“For me, wood is definitely the material I love to play with the most because it represents so much of my heritage,” Shodeinde explains. “It’s such a strong, ancient material that can be manipulated in so many ways. Metal, too, is an

incredibly noble material, with the capacity to take so many forms – just as the female body is continually moulded and remoulded and capable of carrying another body. The material choices are all rooted in the strength of the female body.”

NRIN has been fully handmade in Manchester in the UK, where the metal and the wooden columns have been hand-casted, hand-poured, -carved and hand-finished. “It’s a very intimate, sculptural and personal process,” says Shodeinde. Here, organic gestures are created in harmony with more stoic forms, while maintaining the coherent use of materials. All in all, NRIN is a well-executed experiment in contemporary sinuous shapes that are both functional yet elegant in form. id

Photography by Edvinas Bruzas

Tactile advocacy

(Un)common Threads is a textile art show that interweaves narratives outside the Eurocentric perception of design, craft and materiality

WORDS BY AIDAN IMANOVA

Lagos-born Bubu Ogisi is a fibre artist and creative director of contemporary womenswear brand IAMISIGO. She creates ‘wearable art pieces’ using traditional materials and ancient textile techniques from the African continent, seeking to de-colonise the Eurocentric constructs of creative expression. Her tactile forms feature exaggerated textures and structures that aim “to break and transform the rules and expectations of what textiles are.”

Ogisi’s latest body of textile artwork, ‘Forest of Humanity’, was part of ‘(Un) common Threads’, the debut show presented by creative platform DesignEast, which advocates for artists and designers in the Global South to help them thrive in a global market. Focusing on textiles as an underexposed medium, the show explored its interactions with architecture, art, fashion, interiors, sound and technology through the use of unconventional materials, found fibres, organic matter and traditional woven threads.

“We wanted to challenge our artists to push the parameters of what is possible and what we understand about textiles and weaving, to experiment with space, dimension, beauty and materiality – to create something truly unexpected,” says Rue Kothari, founder and creative director of DesignEast. With ‘Forest of Humanity’, Ogisi seeks to construct and convey new worlds of human imagination by surveying the complexity and ambiguity of the human mind and emotions via the channels of facial expressions. Each piece is created using a

crochet picking technique, utilising a plastic fishing net base as well as wool sourced from Kano, Nigeria’s mercantile and artisanal city. The technique is performed tediously by hand to express the power and the importance of preserving handmade processes. “My ancestral pictorial weaving emerges from a desire for threads and yarn to be articulate again and find a form for themselves to no other end than their own orchestration; not to be worn or used, [but] only to be looked at and respected,” Ogisi explains.

Overall, the show consisted of 17 installations and works by 19 different creatives from across the Global South, including the UAE, Saudi Arabia, Qatar, Egypt Lebanon, Trinidad, Thailand, Pakistan and Sri Lanka.

Beirut-based sisters and trained architects Celine and Tatiana Stephan work on tackling notions of sustainability and the circular economy with the aim of reframing crises into opportunity while spreading awareness about the depletion of natural resources, as well as the production and consumption of goods.

The pair presented ‘Future of Materials’, an installation representing a ‘table ronde’ consisting of benches, side tables and lighting fixtures made out of a blend of materials including upcycled upholstery, fishermen’s waste and textile waste, and natural elements such as the shredded hair of their dog – all sourced in Lebanon. “The goal is to spread awareness about sustainability and [to] use waste for the welfare of humanity,” the duo says.

Opposite page: ʻCrying Green Forest Spirit 1ʼ, 2020 by Bubu Ogisi. Left: ʻKimonoʼ by artist Tatiana Stephan of Experimental Topography

Hailing from Qatar, interdisciplinary designer and educator Maryam Yousef Al Homaid spent her childhood at the studio of her father – acclaimed artist Yousef Ahmed. Having always been surrounded by a family of makers (including her grandparents), Al Homaid has been inspired by the hands-on art-making process, which she now expresses through a combination of craft and technology.

Her recent body of work draws inspiration from her experiences as a millennial in Qatar, where she has observed significant economic and social changes. Instead of taking a nostalgic approach, Al Homaid celebrates the evolution of these memories, designing her artworks digitally yet still paying complement to traditional carpet-making techniques by drawing inspiration from the craft’s graphic elements.

Her pieces for the exhibition included handwoven visual scrolls depicting the most recent monumental highways built in Doha, whose names are presented using a typeface that was specifically designed to embrace the theme, size and format of the artwork.

Also participating in the show, YOCA (‘Young Collective Artists’) believe that it is necessary to have new voices in the field of design. “The international world is ready for a new story; a new vision, a creativity that sparks their curiosity to learn how other cultures create and define…design,” the team asserts. Established in Pakistan in 2006 – and since setting new benchmarks for high-quality hand-crafted

furniture – the collective includes Zayd Bilgrami, Ahsan Najmi and Sarah Najmi Bilgrami, who all trained at the Rhode Island School of Design in the United States.

Featuring wood, brass, leather and silk, YOCA presented the ‘Kirogami’ cabinet, which was inspired by Ralli – a traditional weaving technique used by women in the rural areas of Pakistan to make quilt out of leftover cloth pieces. Here, the designers used chips of rosewood waste to patch the fabric together, which was then stitched together with brass strips.

“These chips of rosewood would be considered waste and end up in a landfill,” the team explains. “But the prudent approach of the village women to clothe their families allowed us to innovate, as it was a well-worked philosophy to recreate, reinvent, reuse and recycle”. id

Right: ʻEl Rayyanʼ rug, 2022, by Maryam Homaid. Below: ʻKirigamiʼ cabinet, 2020, by YOCA

Magical realism

A collaboration between YSG Studio and Tappeti has given birth to a 12-piece artisanal rug collection inspired by Egypt’s pharaonic past. We speak to YSG Studio founder, Yasmine Ghoneim about the influences and techniques behind it

INTERVIEW BY AIDAN IMANOVA PHOTOGRAPHY BY ANSON SMART

Can you tell us more about your collaboration with Tappeti and how it has led to the launch of your first collection together? I’ve worked closely with Tappeti for several years, designing custom rugs and carpets for clients, so when Karinna Gobbo (Tappeti’s founder and CEO) asked me to collaborate with her, it was a no-brainer. For this 12-piece range, I was given incredible design latitude. The collection packs punchy patterns, unique border designs, plus feature motifs, icons, symbols and abstract landscapes inspired by my half-Egyptian heritage and belief in the power of magic. Why did you choose to go back to your heritage for the inspiration behind the collection? It was more an instinctual design direction. The inspiration came when I was visiting my brother in Berlin just after the lockdown lifted in 2021. I visited the Egyptian Wing of the Neues Museum, which inspired the collection. David Chipperfield’s minimalist design approach to the renovation of the museum also really struck me. It’s a piece of architectural sorcery, as it shows how a modernist can take a major historic building and bring fresh life to it without losing the old fabric, its charm and its ghosts. That idea struck a chord with me. I wanted to infuse this collection with where I came from – but in a more contemporary way.

Can you tell us more about the elements of ancient Egypt that inspire you and how this has been translated in the designs? It’s the landscapes of Egypt that inspired many of the designs. Bolder elements include a constellation of Seba stars flickering across a decadent midnight blue sky; [these] adorn the ceilings of tombs… [and] represent guidance to the souls of the departed on their journey to the Afterlife. That journey has always been a huge inspiration for me. To have it forever imbued in a rug, well that’s special. Other designs include rippled outlines recalling sand dunes, whilst checkerboard cut-out borders are a modern take on traditional patterns. Some references are more literal, like giant sarcophagi feet with twinkling gold toes grounding a rug. Combined, the rugs reference ancient Egyptian deities (all the rugs are named after them) plus the promise of the Afterlife, yet they’re infused with a distinctly contemporary feel [through] their playful nature and bold palettes. Tell us more about your pigment choices and forms? Some are compellingly reductive, like the monochromatic red carpet with undulating pile heights inspired by the Red Sea, while classic bright Lapis Egyptian blue hues feature on some rugs, but you’ll also find lilacs, pinks and eggplant shades too. After

Opposite: The Bes rug references Bes, the god of music, merriment and childbirth. His fondness for loud instruments and dancing was thought to drive away evil spirits that attempted to enter the home. He was also a protector of both couples and pregnant women, and was worshipped by ancient Egyptian newlyweds

creating initial pencil sketches, I started playing with water-coloured versions with my team, to determine tonal combinations. That’s why several in the collection have a really expressionistic quality to them that Tappeti’s incredible weavers could translate so exquisitely by hand. Some feature colour-blocking elements plus watercolour-like forms dolloped upon neutral backdrops. Tappeti’s toxin-free dyes are created from small-batch pot-dying techniques which provide stronger colours and higher lustres than massbatch-dying methods.

Can you tell us more about the artisanal aspect of the rugs? Rugs tend to either have short, fringed tassels at either end or a neat finish, so I played with alternatives – from rounded edges and corner baubles and tassels to cut-out chequerboard reliefs; so, you have a wonderful dappled effect between rug and floor finish. Several combine exaggerated uneven pile heights that melt underfoot, plus intricate raised details. Each rug incorporates a mix of fibres. Combinations of art silk [artificial silk], hemp, Tibetan

highland wool and nettle feature in the intricate hand-knotted rugs to reveal an exquisite level of pattern detail, while New Zealand wool and art silk articulate the hand-tufted pieces to achieve various lustrous textures through a mix of loop and cut piles. I’m equally impressed with the way Tappeti weaves ethics and environmental sustainability into their business. Traditional makers in India and Nepal produce each piece using time-honoured looming and tufting techniques, and are paid fair wages, enabling them to work amongst their traditional community. Also, every rug can be customised in terms of size and even colour preferences if desired. What does the name ‘Real Majik’ mean to you? I’m a big believer in the unknown, that things happen for a reason. Majik is always responsible for life’s incredible moments. If you really stop to listen, it’s literally everywhere. I want the rugs to wield that power for everyone who owns one. I can’t guarantee they’ll ever fly, but I want people to believe that they just possibly could. id

This page: Seth represents the god of the same name of the desert, foreign lands, thunderstorms, eclipses and earthquakes. He was also a patron god of the pharaohs and protected the dead on their way to the Afterlife. Next page: The Hawthor rug references the goddess of love,beauty, music, dancing, fertility and pleasure. She was the protector of women and was worshippedby men

For the love of clay

Lebanese ceramicist Nathalie Khayat follows an intuitive creative process to bring functional and sculptural poetry-filled pieces to life

WORDS BY KARINE MONIÉ

The pleasure of making objects with clay was such that I decided I wanted to be in a studio every day for the rest of my life,” remembers Nathalie Khayat. “After almost 30 years of practice, the ceramic process still fascinates me, and I find it very exciting to keep on exploring it.”

Born in 1966 in Beirut – where she currently resides – Khayat studied ceramics in Montreal. Since 2000, she has been teaching ceramics in her Beirut-based studio. She also regularly works in her second studio in the mountains over Batroun, surrounded by nature. “In both, the quality of the light is a blessing,” she says. “I am so grateful for that.”

Inspired by music, choreography, film and the range of emotions they generate, Khayat confesses to not having a specific idea of what she wants to achieve. Instead, she focuses on the

moment and remains “open to take any turn on this journey, as long as it feels right to me,” she says. “When I am moved by something I heard or saw, I feel like running to the studio and starting to make. While working on a piece, I look at how it sounds and moves. I allow it to have a feeling, something subtle, sensual, uncontrolled. At the end, nature is always present, but it is only natural, right?”

Working with stoneware and porcelain, Khayat had preferred white and the absence of glaze for a long time — her way of emphasising the form itself. Now, she is exploring more and more colour, as well as different firing techniques. When it comes to her creative process, she explains: “I have the same approach [whether] making a serving plate or a sculptural object. I usually start with an idea that is very formal. Most of the time it questions the material itself

Opposite: Ceramicist Nathalie Khayat at her studio. Next page, clockwise from left: T4 tray showcased during Khayat’s solo exhibition ‘SALT’ with House of Today in Los Angeles. Magnetic bowl. Dressed vase. SALT Marsh 3 candleholder. Tree sculpture

and its behaviour while exposed to certain conditions and working techniques. The primary inspiration comes from my direct experience with clay. It’s playful. Then things start happening and I begin to drift from the initial project. This is the most exciting part of the adventure; it takes me to unexplored places and gets me to create unexpected works. For this reason, I do not easily repeat the same objects.”

Through this intuitive way of creating, Khayat produces emotional pieces imbued with poetry. “I don’t think there is a message in my

work as much as questions,” she says. “I love making unusual objects for a usual use. It somehow engages the users to be creative in return, in the way they will use them.” While living in a country with many challenges, Khayat feels this environment nurtures her creativity even more, pushing her to find ways and solutions to anything, including her creations. “The tremendous energy, people, light, nature, courage in the face of the daily issues, chaos, intensity of everything… and all the mess around me is ironically a real stimulus,” she says. id

Freedom seeker

Romanian-born, Portugal-based self-taught designer Mircea Anghel has found a way to experiment, reflect personal interests and express himself through wood

WORDS BY KARINE MONIÉ

While working in finance as a trader, Mircea Anghel felt the urge to find something in his life that would grant him freedom. This is how he started woodworking. “Things just flowed, and I became more and more interested, and keen to develop my skills,” he remembers. Today, what was first a hobby has transformed into not only a passion, but also a career.

Originally from Romania, a country he describes as “full of craft culture and history”, Anghel has spent the past 23 years living in Portugal, where he founded Cabana Studio. While inspired by the work of George Nakashima, Constantin Brâncuși, Wendell Castle, Isamu Noguchi and Alexander Calder, he doesn’t feel like a follower of any of them.

“We are very experimental in my studio, and we aim to create objects that feed back into our design process and form a sort of source material, from which we draw inspiration,” says Anghel. “Paper folding, vacuums, explosions, fire and other processes are used to make small tests that create a language, informing our finished pieces.”

Located on the rural estate of Herdade da Barrosinha, in Alcácer do Sal, with views of the Alentejo landscape including hills, vineyards, rice fields and mills among cork trees, Anghel’s studio is about one hour

Photography by Francisco Nogueira

south of Lisbon. Comprising two old rice husking and packaging factories, a former primary school, a canteen, the sawmill and the mills built on the right bank of the Sado River, it will open this summer (starting in June) to the public for the first time, showcasing several of Anghel’s iconic pieces. In parallel, a show of new works will launch at the Francisco Fino Gallery in Lisbon.

Wood is at the centre of Anghel’s process, but for the past three years the designer has started to introduce more materials and techniques – including stone, metal, copper, paper, fabric and resins – simultaneously honouring an innovative spirit and ageold techniques.

“I tend to reflect upon a particular piece of wood for months or even years, contemplating its form and trying to uncover its hidden beauty and aesthetic,” Anghel confesses. “Through my craftsmanship, I reveal the object trapped within.”

Entirely handmade, his gravity-defying creations are about balance, mathematics (a lifelong interest of Anghel’s, reflected through his work by the presence of an element of unpredictability) and equilibrium. “But right now, freedom is probably the most relevant attribute and what I’m looking for the most — and it’s quite strange because by definition, design and the necessity for usability in design create constraints,” he notes.

Always following the natural flow of the creative process, Anghel is influenced by the guiding principles of Japanese

craftsmanship. In addition to his upcoming exhibitions this summer, the designer is currently working on several projects: an initiative aiming to revive the long Portuguese tradition of boat building, in collaboration with local shipwrights; and a project to launch a community of artists, designers, makers and scientists around his workshop, to encourage collaborative residencies for young creators. Adding to his busy schedule is the finalisation of the JAM Hotel in Lisbon with interior designer Lionel Jadot; collectible design pieces for Mix (a hotel, restaurant, library and gym, which will open in June) in Brussels; monumental bespoke pieces for a hotel in Comporta designed by Studio KO; and finally, a boat pier designed on the shores of Lake Como. With so much work going on, Anghel sticks to his motto: “Don’t be afraid to try. Take notes and try again.” w

Previous page: Portrait of Mircea Anghel. Above: ʻLago Di Comoʼ table (2022). Next page: Mircea Anghelʼs workshop in Portugal

Photography by Manuel Moniz

Photography by Francisco Nogueira

Modern folklore

Kiki Goti will be showcasing her ‘Neo-Vanity’ collection in Alcova Milano, merging past and future through traditional hand-painted motifs and rough, sanded aluminium

WORDS BY AIDAN IMANOVA

PHOTOGRAPHY BY CHELSIE CRAIG

For Kiki Goti, a Greek architect, designer and founder of design studio SomePeople, the dressing room is a space for rituals and transformation. While it is often cited as a private area (and a luxury of sorts) reserved mostly for women to celebrate beauty, autonomy and eroticism, Goti’s ‘Neo-Vanity’ collection aims to offer another perspective through a series of objects which together express exuberance and a ‘neo-futuristic’ environment for all who enjoy the process of ‘getting ready’ as much as the main event itself.

To be showcased for the first time at Alcova Milano during Milan Design Week, the collection investigates a new, playful design language that balances utility with femininity, and comprises a pendant light, side table, two sconces and a standing vanity. “The ‘Neo-Vanity’ collection is about bold self-expression via ornamentation, culture and heritage,” Goti explains. “I am re-imagining a dressing room as a transitional space where we reinvent and transform ourselves by embracing our past experiences, namely where we come from, [while] simultaneously looking toward new ways of portraying ourselves.

“This thought process within itself is represented through the contrasting materials. They emphasise the merging of future and past that happens during personal transformation,” she adds.

Fabricated in New York – where Goti is based – the aluminium forms were crafted by metal worker Mark Malecki, while the designer’s signature hand-painted foam pieces were used to dress the material. Inspired by the way identity can be expressed though traditional costumes, the hand-painted patterns reference Balkan motifs, derived from folkloric textiles, as a celebration of Goti’s Greek heritage.

“The colours and patterns of this collection refer to the traditional textile techniques of the Balkan region, such as stitching, weaving and lacing,” says Goti. “The details on each piece reveal how ornamentation,

embellishment and beautification can act as a tool for personal and communal empowerment. Although ornaments have been heavily criticised as redundant, unnecessary and distracting, they traditionally manifest deep cultural bonds and individual expressions.”

The craft process is also central to Goti’s work, she says: “Craft is essential. It’s how I arrive at the finished work. My process is very intuitive. It’s not about a mastery of craft or perfection; it’s more about the unexpected findings and material experimentation.

“My design process is more bottom-up than top-down. I don’t come up with a concept or a design and then fabricate it. I spend a lot of time testing and experimenting with materials in my studio. The ideas and the designs emerge thereafter.”

Describing her work as ‘neo-folklore’ and ‘pop vernacular’, Goti says her aim is for the collection to eventually become customisable. “Dressing rooms are very personal,” she describes. “I would want the painted motifs on foam to personally speak to each user.” id

Woven treasures

Leopold Banchini Architects has designed a textile factory in a Bahraini village using traditional building methods and local materials

WORDS BY AIDAN IMANOVA PHOTOGRAPHY BY DYLAN PERRENOUD

In the north-west of Bahrain is the village of Bani Jamra, located to the west of the capital of Manama. Most of its inhabitants were involved in the farming of date palms before the discovery of oil, and the village is still known in the country as the centre of traditional fabric weaving – now a rapidly dying artform.

“Shaded by a light Arish (palm leaf) structure, Bahraini weavers used to dig a hole in the ground to fit their legs,” begins Swiss architect Leopold Banchini, founder of his eponymous architectural studio in Geneva. “By this simple action, the ground was transformed into an endless table to tense the wires needed for their delicate work.”

Banchini was commissioned by the Bahrain Authority for Culture and Antiquities to design a textile factory and social space for the local craftspeople of Bani Jamra, with the

aim of reinvigorating the traditional crafts and industries across the country. Arish has long been a traditional building technique in the region, using dry leaves of date palms to weave a strong surface.

“The rich traditional architecture of Bahrain is based on the use of locally available materials,” Banchini tells identity. “On the outskirts of the rural villages, Arish constructions were often built for agricultural purposes, using woven date palm leaves. Historical images show that the weavers of Bani Jamra were also protecting their looms with Arish structures.”

With this history in mind, the architect designed the Al Naseej textile weaving factory in a similar way: a regular timber grid covers the entire site of the building, which is then filled with Arish panels, as well as glass or timber panels. This

simple construction method allows for fast and efficient prefabrication of elements, he explains.

“The building is first of all a carved floor surface,” Banchini describes. “All the programmes of the project are hosted in the depth of this carved floor. Some functions are enclosed by glass panels to protect them; however, there are no walls in the project. As such, there is not a clear definition between interior and exterior spaces – but rather a fluid layering of transparencies.”

The tight timber columns and beams are applied to the site as an organising principle, while they also reference the date palm plantations of the north of the island, which are irrigated by a network of water channels. As a result, the building rests as a low and quiet gridded street elevation, stretching across the entire boundary of the site, and is only pierced through the horizontal ceiling

of the building by tall palm trees. The building softens on the inside, where the rigid grid is broken down by precise excavations below the first-floor level of the building, forming pits in which the weavers sit while operating the timber loom to produce tapestries and weavings, as well as spaces for social exchange. In addition to the date palms, ponds and fountains are also placed throughout the interior, creating a structure that is both a shaded garden and a building; open yet protected.

“The factory can be seen as a shaded garden where exterior and interior spaces merge,” Banchini shares. “Date palms and water features inhabit the space, reminding us of the natural springs and abundant green spaces that historically surrounded the villages of the north coast of Bahrain, while the trees and the basins help create a cool environment on hot days.”

Insulated glass panels allow for the thermal comfort within certain spaces throughout the year, while the large pivoting glass doors can be open for most of the year. All in all, the architects used a minimum number of materials for the project: the complex floor of the building is made of terrazzo tiles that have been hand-produced

specifically for the project in a small factory in Bahrain, and the Arish is woven in a nearby workshop. Solid wood also features, while all the small details such as door handles, taps and gutter spouts are custom-made using locally produced aluminium. “I like to see architecture as the expression of a construction process,” Banchini describes. “As such, the construction materials are shown as they are, without any cosmetic layer. The humble architecture is just here to protect the beautiful craft of the weaver.”

The programme itself is also quite humble, divided into separated rooms that are connected by a garden, where each function has its own independent space – be it the workshop, gift shop, kitchen or bathroom. “On top of the spaces hosting the looms, the new building offers a shop, a kitchen, a bathroom and gathering spaces. These elements should help promote and support the weavers and keep this beautiful ancestral craft alive and self-sustaining,” Banchini explains.

“The workshop of the weavers was already a social gathering place for the village before the renovation. Hopefully, the new building will continue to support this important function.” id

This page: The project features a minimal number of materials, including terrazzo for the flooring and solid wood, as well as locally produced aluminium for small details such as door handles, taps in the kitchen and gutter spouts. Next page: The Arish panels were woven in a nearby workshop

Make a statement

Long gone are the days when bathrooms were utilitarian spaces. Today, visual appeal, innovative technology and material exploration has transformed them into spaces that promote impeccable taste and beautiful design

WORDS AND CURATION BY AIDAN IMANOVA

Less is more Alessandro Andreucci brings the idea of an equipped wall to the bathroom through a new concept of retractable storage cabinets with pivoting mirrors, which are both practical and elegant. Bathrooms often become cluttered with countless objects, and so the idea behind Voilà for Agape is to liberate this room from clutter through a minimal storage unit that doubles as a statement piece. “Typically, a storage unit will contrast with the purity of the other elements in the space,” says Andreucci. “With Voilà, the idea is to conceal everything behind an element that is pure in form yet also able to perform various useful roles: it is both a mirror and a cabinet, and a simple gesture is enough to rotate the piece and switch from one function to the other.” With its sleek lines and mirrored surface, Voilà neatly blends in yet also becomes an architectural element in its own right.

Material world

A single element unites the varying pieces of the Sartoriale collection: a gentle engraving that softens the typical solidity of the marble. Designed by Federico Peri for Luce di Carrara, the collection aims to convey an optical softness. The oval bathtub features a series of vertical lines around the entire perimeter, adding to its contours, while the circular freestanding washbasin – which also carries this distinct engraving – features a polished inner surface that creates a gentle junction between the vertical wall and the horizontal plane.

Desert dreams

Inspired by the dynamic forms of sand dunes shaped by the wind, the sculptural design of RAK Ceramics’ Remal collection, designed by Sahar Madanat, showcases the diverse forms and textures that can be created in a desert environment. “Remal was inspired by a moment of tranquillity,” Madanat explains. “We focused on capturing that feeling of rejuvenation when working on the form. Every aspect of the collection was considered to bring people closer to the feeling: that raw, organic and inspiring movement that sand gives. The shape of the washbasins comes from this inspirational image and even the ‘sandy look’ finish makes special what would otherwise be a common matte white glaze.”

Romantic minimalism

Atlas Concorde Habitat explores how shapes can interact and merge with surfaces, using different textures and finishes. Dialogo is the first collection from its Design line, created in partnership with designer Mario Ferrarini. The collection is a dialogue between materials: some in harmony, others in contrast. Using the approach of ‘romantic minimalism’ that often drives the designer’s work, Dialogo offers a return to elemental geometries, combining vitality with the balancing of shapes and forms.

Timeless experience

Philippe Starck’s latest endeavour for AXOR is the new ShowerComposition. Both modern and timeless, it aims to bring a new universal design language to the shower space, and features sleek, flat surfaces and ultra-slim profiles in an architectonic composition. One can choose to opt for an all-in-one shower panel or create a personalised arrangement of floating modules, including the immersive PowderRain spray mode overhead and PowderRain shoulder showers with angle adjustment. “With the new AXOR ShowerComposition programme, we have composed three to four objects in one. That’s what modernity is all about: always doing the minimum to get the maximum,” says Starck.

Tea party Known for its collaboration with a roster of bright design talents that create its high-craft objects for the bathroom, THG Paris’ partnership with designer Alexandra Champalimaud is no different. For her latest collection with the French brand, Champalimaud cites a peculiar yet fun object as inspiration: teapots. “I was having tea with a great friend of mine, Peter, on a chilly fall afternoon in Connecticut. He is a man of great taste with the most fabulous collections. I was enamoured – if not distracted – by the array of Art Deco teapots displayed around us,” she remembers. “The craftwork was impeccable. The lines: modern yet alluring. I started seeing these familiar pieces differently. Suddenly the spouts and pots were taps and fixtures. I knew then how to approach the collection: like a silversmith crafting the finest teapot.” Champalimaud began researching Art Deco teapots, playing with lines and rebalancing what is typical to create the Estrela collection, which is both elegant and timeless – a staple for all THG Paris collections. id

The Gemini House

An intimate intertwining of private and public spaces is at the core of Lebanese designer Karim Nader’s ancestral home in Ghazir, Lebanon. Revealed for the first time, it has now been reimagined as an amalgamation of Nader’s twenty-year career spent designing with spirituality, poetry and nature in mind

WORDS BY ODELIA MATHEWS

BY WALID RASHID

PHOTOGRAPHY

The Little Prince chair by Bokja in royal blue brings in a contrasting colour

Iwish to bring spirituality into architecture through material and spatial poetry,” says architect Karim Nader over a Zoom call where he introduces his childhood home: a place where he once grew up watching his father – an architect and painter – bring dreams to life. It has taken Nader 10 years to complete this sensorial abode, which is set against a grey canvas upon which his sun sign, Gemini, greets the Chinese symbols of yin and yang, like the past meeting the present. “What is currently the dining room was my father’s atelier, where I used to watch him paint and [create] architectural drawings. This is when and where I decided to become an architect,” he recalls.

In reimagining a space that holds timeless memories, Nader has incorporated a sense of transparency and emotion into the home, merging dreams and desires to create something completely new. The Occidental living room is a sight to behold, reimagined using a transparent layering that overlooks the dining room where a monolithic wooden table – designed by Nader himself

Further on, the family garden and outdoor terrace are visible through the preserved wooden window frame that has been a fixture over the years, and from where the light penetrates to create a convivial ambiance. The glass library is nestled in between the dining and living areas, bringing the space together in an embrace of warmth and openness, separated by a raw pink silk curtain from southern India. “The glass library is a memory from when this house was my office,” Nader remembers. In 2013, he turned the office back into a home again – only this time giving it a personal, soulful touch, to create a ‘twin self’, as he describes.

Spread over 163 square metres, the open-plan scheme, when viewed aerially, follows the infinity symbol and was intentionally conceived to promote the flow of energy from one room to another, almost like poetry in motion, connecting the private to the public, and the past to the present. “This is a house with no corridors and no transitions,” Nader describes. “Each space is connected on both sides to the next one, like in a daisy chain. The yin house is the private house: intimate, embraced and warm.

– contrasts with chairs by Naoto Fukasawa, along with the classical Cab chair by Mario Bellini.

Above: The majlis lounge is flanked by paintings on both sides, with a tapestry by Atef Ayat for Wissa Wassef on display to the right. A tribal carpet revisited by Zahia Dani brings this area together. The Gong table by Alivar and handembroidered cushions elevate the informal atmosphere of the space. Previous page: A raw silk purple curtain from south India separates the living room lounge from the dining room and glass library on the opposite side. Seen here is the Miloe sofa by Piero Lissoni for Cassina, a Geometrie table by Poltrona Frau and an LC1 armchair by Le Corbusier. The Shoji partition brings in a sense of intimacy with a play of light and shadow

Above: Karim Nader’s office features a natural stone wall as a backdrop which brings in an outdoor feel to the inside. A Steelwood chair by Ronan and Erwan Bouroullec for Magis, and Homework desk by Bensen create a minimalistic style. Next page: The entrance foyer to the loft is a welcoming space that cleanses energy and doubles as a meditation zone. A silk Tabriz rug with yantras by Isha Foundation and a lamp by Karim Nader for Design in Beirut create a spiritually enriched zone

The yang house is the public house: open, visual and cold.” Inspired by his book, For a Novel Architecture, Ciné-Roman 2000-2020, which was published in 2020 and presents twenty years of his architectural practice and research – as well as featuring 32 projects – it was Nader’s desire to bring his personal space alive with the same immersive theme, where stories emanate from the paintings, materials, souvenirs, photographs and intricate design details. It is his way of revealing his own unique approach to architecture. “It is a house that retakes the three main concepts of my book –which are also the titles of its three chapters: a home within nature; a ‘reprise’ (second take) on past lives; and a cinematic loop,” he explains.

A Japanese Shoji-style sliding partition separates the ‘private’ and ‘public’ house, casting a soft halo of light to welcome friends and family. At the entrance foyer, which is used as a space for offering and meditation, is a custom-made piano that sits elegantly beside a painting illuminated by a glass chandelier. Upon the piano rest three calligraphic works by Joumana Medlej, allowing one to feel the sound of music intermingling

with the visual calmness of this meditative space. The central majlis and the yoga platform in the bedroom become sacred areas of rest, relaxation and creativity, while the office studio, which is bathed in light, is separated from the guest bedroom with a transparent floor-to-ceiling glass partition.

Set against a stonewall that works as a natural backdrop, this area is a nod to the garden terrace, which retains the rustic harmony of its surroundings and is where a zen-inspired fountain dances to the sound of the surrounding nature – including the trees that have been preserved for over forty years.

Every nook and corner of this sprawling residence tells a story – a story that captures emotions which are hidden from plain sight yet visible with deep insight, expressed only upon invitation.

“Three concepts eventually return in all of the houses I design,” says Nader. “The labyrinthine keeps us in search for meaning, nature keeps us [inspired to be alive] and the cinematic keeps us in wonder and dreaming. Many houses were built before this one, and yet this one is the embryo for all of them.” id

Above: A view of the forty-yearold wooden frame in the dining room window that remains preserved to this day. The wood sampler table designed by Karim seats 8 to 12. The Belux One by One chandelier above the table is handmade, lending a warm glow to the space. Each element, including the Cab chairs by Mario Bellini for Cassina, and the Muku chair by Naoto Fukasawa for Driade, along with the decorative elements are intentionally sourced by Nader himself. Next page: At night, the terrace is lit up with Ficupala floor lamps by Cassina. A Venexia couch by Ethimo, a trampoline chair by Patricia Urquiola for Cassina, and a tribal table from the Abidjan market make the terrace a welcoming space to relax and unwind

An urban respite

The views from this Istanbul apartment perched in the sky could have been enough – but its sophisticated design elevates it even further

WORDS BY KARINE MONIÉ PHOTOGRAPHY BY IBRAHIM OZBUNAR

Above: In the main bedroom, floor-to-ceiling windows allow one to admire the skyline. Opposite page: The mix of textures and materials creates a warm and elegant atmosphere

While many people dream of spending time surrounded by nature to find peace, living in a high-rise in the middle of a city that never sleeps can, surprisingly, offer a similar level of tranquillity – with the right design. It was this challenge that was tackled by the team at architecture and interior practice Erdem Hamza Architecture – led by Erdem Hamza – in this project.

The apartment is centrally located in Istanbul, in an area where the density is among the highest in the city. Nestled on the 21st floor of a 48-storey building, it boosts panoramic views of the skyline through floor-to-ceiling windows. From every

area of the apartment – and by both day and night – the urban scenery provides a captivating spectacle. “The project aims to create a dynamic, modern and refined space inspired by the hustle and bustle of Istanbul,” says Hamza.

Designed for a young couple, the apartment’s existing floor plan was transformed for more efficient use and to create more openness and spaciousness. Spread over 90 square metres, it comprises the main bedroom and a guest room, plus two bathrooms, in addition to the living room, dining area and kitchen. Whilst independent, every space is visually connected to the other through a cohesive colour and material palette.

“Through the design, the idea was to create harmony between everything, between the rooms inside and the landscape and city outside,” says Hamza. This search of balance pushed the team to find smart solutions. For example, instead of having a TV wall that would have blocked the view in the living room, the team designed a hidden cabinet, which consists of curved panels that continue in the dining area, providing a sense of flow and continuity.

From the Gubi and PhareStudio lighting fixtures to the artworks by Mehmet Gün and Ekrem Yalçindağ – among other artists – every element falls into place in the different spaces, which reflect some masculine touches and a dynamic aesthetic. At the same time, Erdem Hamza Architecture succeeded in bringing a calm atmosphere to life. Known for offering something unexpected, and a sensory experience through design, the Turkish studio did exactly that in this project, where materials such as marble, tecnocemento, ayous wood and brass were used throughout to strengthen the architectural elements.

Combining attention to detail, varied textures and soft shapes, the main bedroom becomes an emotional space that invites dwellers to rest and contemplate. Positioned in front of a corner window, the bathtub further highlights the tranquil ambience of this apartment that gives the impression of being protected from the outside world while almost living in the clouds.

The abundance of natural light that fills the interiors is paired with the subtly coloured walls and the vivid hues of some of the furniture, resulting in a perfect mix-and-match, with the always-mesmerising vistas as the backdrop.

Sophisticated yet liveable, refined yet colourful, in the heart of the city yet serene, this home seems to exemplify the definition of yin and yang. Here, Hamza put a timeless language at the service of the habitants’ needs and aligned with their unique tastes. id

The

earthy tones of the bathroom walls add to the textured feel of the apartment

Unna is a beach home on a remote island in the Philippines that advocates for slow living and local craftsmanship

WORDS BY AIDAN IMANOVA PHOTOGRAPHY BY VIANCA SOLEIL ROQUERO

Natural beauty

Set on the small island of Puro (meaning ‘pure’) in the Romblon province of the Philippines is Unna, the family home of interior designer Vianca Soleil Roquero, who is in the process of transforming this tranquil beach home into a small resort. Her goal is to support the local community while sharing a slower way of living with others.

“The island has no roads nor establishments and is inhabited by less than a hundred families,” Roquero shares. “Our property is located in a cove facing south, between the ocean and a mangrove forest. What I love most about the property is its wide beachfront, of about 260 metres. The island lives up to its name because the nature here is untouched and the beaches are always empty. It reminds me of old Philippines.”

Roquero – who also works in photography and creative direction – grew up in the country’s capital of Manila, where she studied interior design. Shortly after graduation, she went on to work for a furniture brand in Dubai for four years, after which she took time to travel and became drawn to exploring rural towns.

“I felt such a special connection to its humble way of life,” she remembers. “Their beliefs and how [they’re] translated to how they build their homes, how they craft everyday things. This experience was so inspirational to me and became my push to start my dream project, Unna.”

What started as a vacation home for her family turned into a small beach resort as the ideas kept on evolving. “Through this project, we will be able to provide livelihood to the island residents and, hopefully, bring out the potential of the community through craftsmanship,” Roquero says.

Unna comprises a series of huts with thatched roofs, including one for living and dining, as well as a kitchen hut and bedrooms, which are all simple in shape: a square with a triangular roof, as if sketched by a child. The kitchen hut is inspired by traditional Filipino outdoor kitchens – shaped like a box and made entirely from coconut palm and timber, sourced on the property. Other materials such as gmelina wood and cogon grass are sourced from within the province. With Romblon being rich in marble deposits, the veranda flooring was made from white cement and coral pieces, while the interior

consists of marble chips found on the other side of the island. This material was also used in varying colours for the furniture and accessories.

“I challenged myself to somehow unlearn the approach I was used to back in the city, from being too technical and by-the-book to [taking] a more nonchalant and intuitive approach,” Roquero shares. “My idea was to go back to the basics by building like an island local, to embrace beauty in restraint but also leave some room for playfulness.”

By building a humble structure made of natural materials, the structure is minimally disruptive to its surroundings, which brings the focus

back onto the landscape and encourages one to reconnect to the natural world. The huts are laid out amongst the palm trees, providing shade and a beautiful play of light and shadow throughout the day. The openings are purposefully wide, to create a feeling of openness and to maximise the views of the ocean.

In the living and dining hut, the sand extends to the inside, blurring the distinction between interior and exterior. When the tide is high, the sofa sits just a couple of metres from the water. Surfaces are left unfinished to showcase beauty in imperfection, while the floors are a similar shade to the beach sand and have been left unpolished to create a sense of harmony with the surroundings.

“I take my time filling the corners, making use of what nature provides – such as a pair of

washed-up logs, which I turned into a bench and accent chairs. Other examples are a side table and pedestal [created] from a tree on the property, uprooted during a storm. We also have antique pieces, mostly from the tribes of the Cordillera mountains,” says the designer.

“I appreciate a minimal look – to the point of it almost looking ‘undesigned’. Sometimes a streak of sunlight is enough to create poetry in a space. I’d say the style is a modern take on Philippine vernacular architecture – a nod to simple and honest craftsmanship.”

Most of the furniture pieces are made on the property, with the exception of some of Roquero’s favourite pieces, such as the Frank Gehry Wiggle chairs and the Noguchi lamp. “I wanted to stick to the traditional way we craft bamboo furniture,

then strip it of any ornaments and keep the shape really basic. I also designed some marble pieces which are produced on the neighbouring island. We also have antique Batibot chairs; this is an iconic Filipino design, it reminds me a lot of my childhood,” she adds.

Unna is still being built, with current works including the storage hut and a library/studio.

Roquero’s team is composed of island locals who are her neighbours, and she bases her designs on their skills.

“As an interior designer, it’s important to preserve tradition and highlight objects that are made by someone’s hands, as they age through time,” she muses. “To respect one’s artistry and create a space for it to be shared and appreciated by others. I think we’re doing just that with Unna.” id

Brutalist glamour

The Ned opens its third location, in Doha, with a design that draws inspiration from Brutalist architecture and 1970s glamour

The large open lobby space features a live performance stage beneath an atrium surrounded by a collection of restaurants

WORDS BY AIDAN IMANOVA PHOTOGRAPHY BY JOE CHUA AGDEPPA

Originally designed in the 1970s by Lebanese architect William Sednaoui as Qatar’s Ministry of Interior, the third –and latest – Ned hotel and private member’s club now occupies five floors of the former governmental building in Doha, having opened earlier this year. The Brutalist-style structure has been redesigned by David Chipperfield Architects yet maintains many of its distinguishing features such as its bold geometric façade, which has been restored, in addition to the preservation of its unique interior elements, including the original concrete waffle ceiling in the bedrooms. The most notable addition to the building’s architecture

Above: Ned’s Club features a lounge with a warm wood palette and statement vintage furniture. Opposite: The Corniche suites have separate lounges with a sofa, coffee table and dining space for four, and two balconies with expansive views

is an outstanding podium that surrounds the building, creating relaxed public spaces with an abundance of shade, greenery and unobstructed views of the Cornice waterfront.

“The design as a whole is about layering,” says Severine Lammoglia, principal designer at Soho House Design, who was behind the interior design of the property. “The architectural bones we had in the space are geometrically strong at a large scale; so, we layered this with finishes, furniture and fabrics that are familiar to The Ned and a nod to the 1970s”.

Like the original Ned London – which is set in the former Midland Bank headquarters – the

building occupied in Doha has a strong history and connection to the city, which Soho House Design wanted to maintain and promote throughout its design decisions. “The restoration of the façade and the bold 1970s geometric features run throughout the scheme and provide the perfect backdrop for the layered finishes, furniture and fabrics that make it familiar [as a Ned hotel],” adds principal architect, Michael Cowen.

While Soho House Design focused on detailing and creating a separate identity for each of the spaces, the interior design maintains a sense of consistency through an underlining palette of tones and materials. The arrival space features

contemporary sculptures, a water feature and a concrete pergola. An open atrium space greets guests once inside, with nods to ‘70s glamour, complete with terrazzo flooring, silk drapery and marble furniture, as well as woven and mirrored fabric headboards. Drawing from its original London address, a live performance stage is set beneath the atrium, surrounded by a collection of restaurants and featuring a rich green marble sourced from the Greek island of Tinos.

The outdoor areas – Hadika and Malibu, which includes a pool – were designed to create a feeling of intimacy within an open space, complete with sheers, fabric awnings and plenty of flora. “It was

important to retain a domestic atmosphere, layering natural textures and patterns,” describes Karen Tsui, senior architect at Soho House Design. “We used residential-style curtains and drapery around the pool and daybeds to create an inviting space. The exterior furniture was mostly timber with soft and plush upholstery, to retain the warmth of the material palette and a focus on comfort.”

On the top floor is Ned’s Club, as well as the gym and spa, which are designed in slight contrast to the openness of the ground floor restaurants. They are instead more focused on cosiness and warmth, while still using materials and details inspired by the ‘70s glamour brief, complete with warm wood cladding, silk rugs, antique brass detailing and vintage furniture, such as the iconic Vladimir Kagen Serpentine sofa. The bedrooms focus on the existing geometry of the building and feature upholstered headboards

on rich timber arches and antique mirrors in the suites, as well as Murano glass chandeliers and leather-ribbed wardrobe doors.

The design team at Soho House Design worked with local artists and craftspeople where possible, commissioning them to design tapestries for the bedrooms, while some of the textiles within the property, such as the curtains or upholstery, were made by local craftspeople. “It was great to explore the local makers and the manufacturing market in Qatar,” says Sophie Baker, senior designer at the firm.

The art collection within the property was curated by Wadha Al-Ageedi and Elina Sairanen, co-founders of Mathqaf, and features a selection of over 350 works in diverse media such as textiles and paintings, with many of the artists drawing inspiration from the modernist building itself and its important location. id

The bedrooms, which are inspired by the ʻ70s, showcase the original concrete ceiling of the building

Daily routine

Technogym’s Personal Line combines innovative design, interactive content and personalised training

With 30 years of experience in the world of fitness and sport, Technogym — official supplier to the last eight Olympic Games — is clearly a reference worldwide. Its success can be attributed to a combination of several factors. Among them are: the stylish lines of every piece of equipment, created by Italian designer Antonio Citterio; the luxurious materials; and the use of digital technologies to create a complete sensory experience where exercise becomes fun — and almost addictive.

Equipped with the pioneering Technogym Live digital user interface, Personal Line products provide the ultimate training experience thanks to an extensive on-demand video library with guided trainer-led sessions, personalised workouts, engaging outdoor virtual training and many entertainment options.

Reflecting the concept of form following function, the Run Personal treadmill is silent yet

powerful. Characterised by its small footprint and big potential, the elegant and ergonomic Bike Personal is easy to use, with controls close at hand and built-in sensors.

The recipient of the 2012 ‘Best of the Best’ Red Dot Design Award in the product category, Recline Personal features a seat and backrest co-designed by Vitra and Antonio Citterio to replicate the style of Vitra’s new ID chair, in addition to having Quick & Easy pedals, instant posture adjustment and interconnectivity options. The smooth Cross Personal elliptical trainer — which enables combined movement of upper and lower limbs — suits all levels of fitness and invites users to enjoy music from an Apple or Android device via Bluetooth with high-performance Treble Dolby Surround tweeter speakers.

Power Personal is designed for those looking for strengthening and toning exercises, and includes an adjustable professional bench that allows

barbells and plates to be supported safely thanks to the Smart Lock and Precision Glide systems. And with Kinesis Personal, 200 exercises are available within a footprint of just one square metre, enabling gentle gymnastics. Technogym’s Personal Line collection represents the utmost in the latest technology, making it efficient and enjoyable, no matter the level of effort. Technogym Sessions can be based around personal goals created with the help of an online trainer, while the Exercises collection is dedicated to traditional training focusing on a specific time, distance or number of calories. Routines comprise a variety of intuitive exercises with video, personal feedback or pop-up messages, while Outdoor Virtual Training transports users to anywhere in the world. As the first artificial intelligence trainer used in fitness for a completely personalised experience, the Technogym Coach platform analyses individual tastes, preferences and needs to make the most of your workout.

A home for craft

The new Casa Loewe flagship store in Dubai offers a blend of fashion, art and exquisite craft

WORDS BY AIDAN IMANOVA

Arich burgundy ceramic shopfront is the first eye-catching element of the new Casa Loewe flagship store in Dubai, which takes cues from its other stores, including Place Vendôme in Paris and Loewe Galleria in Abu Dhabi. The tiles continue inside, accented by additional hand-glazed and enamelled Spanish ceramics in other shades – including deep greens and blues, as well as grey and gold. Vibrant tones are emblematic to its design, as are natural materials and a cool industrial finish, creating an interplay of materials, forms and colours.

Other defining elements in the store include poured concrete floors, walls and fixtures in more neutral shades that echo the ash wood shelving, while marble and glass podiums – a signature detail – are scattered throughout the space. Brass and black metal rails bring in a delicate solidity.

Curated by creative director Jonathan Anderson, the assortment of furniture and

lighting has been carefully selected for the space, including Gerrit Thomas Rietveld’s Utrecht and Steltman chairs and Belgian designer Alex Vervoordt’s slate table, as well as a trio of specially commissioned benches by Brazilian artist Domingos Tótora – a Loewe Foundation Craft Prize finalist who uses a recycling process involving a hand-sculpted mixture of cardboard pulp, soil and water that is baked in sunlight.

Harmonising the space is the soft flow of Isamu Noguchi’s Akari lamps, as well as artisanal wool carpets, crafted in Spain and designed by longstanding collaborator John Allen, invoking bucolic scenes in bold shades.

Hand-selected works from Loewe’s expanding collection of international art and craft can be found throughout the store, including an array of sculptures, ceramics, paintings and textile pieces. From South Africa artist-potter Hylton Nel’s ceramic plates with green surfaces featuring

abstracted skeletons of animals, to Alice Andrea Ewing’s solid bronze casts of oyster shells and Kazuhito Takadoi’s sculpture constructed from hawthorn twigs and waved linen twine, all the pieces add to the eclectic yet symphonious flair of the space.

On the walls, John Allen’s mesmerising ‘White Horse’ tapestry and Bill Lynch’s oil painting both burst with colour and life, while smaller ceramic pieces such as Joanna Constantinidis’ ‘Spiral’ vase and Ewen Henderson’s ‘Shallow’ dish invite one to pause and observe their textured surfaces.

And while Casa Loewe is primarily a place for shopping, it offers so much more by curating a space for creative conversation of different forms and eras: from traditional Spanish ceramic vessels to works by contemporary artists, it is a place where heritage and modernity meet to showcase the beauty of craft. id

Pop Art

We celebate all things bold: from bright colours to striking patterns and strong forms

1. Olivier sconce by Studio Terre. Available at studioterre.com 2. Palm tree ceramic candlestick by Les Ottomans . Available at matchesfashion.com

3. Horn marbled-resin vase by Dinosaur Designs. Available at matchesfashion.com 4. Love rug by Mattar Bin Lahej for Illulian. Available at illulian.com

5. Duomo Bubble vase by La DoubleJ. Available at mytheresa.com 6. Cherry raffia napkin rings by Mrs. Alice. Available at matchesfashion.com

A cross-cultural collaboration between Cassina and One Block Down has led to the launch of a new limited edition version of the iconic Zig Zag chair, this time available in three colours that are intrinsically linked to the work of designer Gerrit Rietveld and the De Stijl art movement. Like its predecessor, this new version of the Zig Zag is crafted in two opposing materials, wood and sheet metal – now saturated in red, yellow or blue – allowing light to manipulate its surfaces and create an evocative visual effect.

Zig Zag by Gerrit Rietveld for Cassina

Hall C4 - Stand 530

personalities for personalities