COVER IMAGE COURTESY: JOSEPH WOLFGANG OHLERT
DECEMBER 20, 2015
20 THE THING
REFLECTION OF LIGHT
Born from a fusion of contrasting elements with only 40 limited edition pieces around the world, “Riflessi Millenari” by Helidon Xhixha is a functional work of art that blends different eras into one creation.
28 DECONSTRUCT
PLAYING WITH UNDERTONES
A modern minimalist living room arrangement from BoConcept is unified with subtle undertones of colour, making it perfect for relaxation.
36 THE EXPERT
CREATING CONDITIONS FOR PALPABLE CHANGE
Muneera Spence, the chair of the Department of Graphic Design at Virginia Commonwealth University in Qatar, explains that ideal field studies should create conditions for change.
46 REGIONAL FOCUS
CHANGING PERCEPTIONS OF DESIGN
Provoking thought and breaking boundaries through her work, Ayah Al Bitar, a Saudi-based designer is wielding her designs as a catalyst for social change.
52 GID- ARCHITECTURE
A community space created by J. Mayer PAGE 52
SHAPES, SPECIFICS, AND SPATIAL RELATIONS
Expanding boundaries of architecture with thought-provoking designs, Architect J.Mayer’s buildings respond to the history that surrounds it.
Clockwise from left: Brillian Beirut, an exhibition curated by Rana Salam during Design Days Dubai; Harvey Nicholas window design by Salam; an animal-inspired lamp; Ayah Al Bitar’s social-inspired designs, and images from a field study.
22 THE FOCUS
42 GID- VIEWPOINT
VIBRANT WORLD OF RANA
Pop culture posters, emotive billboards, and different facets of bold imagery pave the way for the continuous success of Lebanese designer Rana Salam.
30 FOCUS
MORE THAN JUST DESIGN
With flexibility, transparency, and reliability being the guiding principles of his work, Jad Basile talks about how Realis design; a brand architecture company is bringing in diversity in innovation.
FOR THE LOVE OF WOOD
Bianca Angelo, Design Manager at Quanto Bello, Qatar shares her appreciation for designs and the materials that create it all.
62 GID- GLAMOUR
A CONNECTION BEYOND LIGHT
With an undying passion to beautify everything with light, Sarvdeep Basur’s work is a testament to when imagination meets ambition.
34 GID- MIX
ACCENTING WITH ANIMALS
Go bold or subtle, from shelves, sofas to decorative throw pillows and artifacts bring a lighthearted comforting feel to your space with the animal trend.
CROWNE PLAZA INTERIORS PAGE 38 6
GLAM INTERIORS + DESIGN
MANAGING EDITOR DEPUTY EDITOR
EZDHAR IBRAHIM ALI
SENIOR CORRESPONDENT
AYSWARYA MURTHY
SPECIAL CORRESPONDENT
SINDHU NAIR
KARIM IMAM AARTHI MOHAN
CORRESPONDENT
KEERTANA KONDURU
PHOTOGRAPHER
ROBERT ALTAMIRANO
SENIOR ART DIRECTOR DEPUTY ART DIRECTOR
VENKAT REDDY HANAN ABU SIAM
ASSISTANT ART DIRECTOR
SENIOR GRAPHIC DESIGNER
MAHESHWAR REDDY B
BUSINESS HEAD
FREDRICK ALPHONSO
AYUSH INDRAJITH
MANAGER – MARKETING
SAKALA A DEBRASS
ASSISTANT MANAGER – MARKETING
MATHEWS CHERIAN
SONY VELLATT
IRFAAN A H M
SENIOR MEDIA CONSULTANT
DENZITA SEQUEIRA
SENIOR ACCOUNTANT
PRATAP CHANDRAN
SENIOR DISTRIBUTION EXECUTIVE
DISTRIBUTION SUPPORT
BIKRAM SHRESTHA ARJUN TIMILSINA
BHIMAL RAI
BASANTHA P
PRADEEP BHUSAL
YOUSUF JASSEM AL DARWISH
PUBLISHER AND EDITOR–IN–CHIEF
CHIEF EXECUTIVE
EXECUTIVE VICE PRESIDENT
SANDEEP SEHGAL ALPANA ROY
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FROM THE DRAWING BOARD In a very comprehensive commentary, Leone Lorrimer, an architect based in Australia outlines the challenges facing architecture in the coming years. One of the challenges she mentioned seems to particularly resonate with Qatar’s urbanisation plans. She calls on architects to lead the debate on future built environment and asks whether we are asking the right questions about our cities. She says, “Urbanisation is a global phenomenon. Governments and private developers are preoccupied with creating better cities and sustainable communities; from the regeneration of Detroit to the vision for the Bays Precinct. Such focus provides the perfect platform for architects to find their voice, not just on a single plot, but at the scale of the precinct, district and city.” She urges architects to reimagine the future, inspire officials and engage with local communities. Qatar has so far not revealed its master plan (MP). It is a work in progress, though according to a firm that has worked on the MP, the work was complete three years ago. But is it a work in conjunction with all the visualisers and architects of the country? Does it identify the country’s specific challenges and do the designs of each precinct come together to represent the country? That the stunning Metropol Parasol, a waffle-like crown structure in Seville, Spain, fascinated us, was because of its goal to be the meeting space for the citizens of the country, to be a cultural pin that acts as a magnet to attract all the citizens. We start exploring the project by this designer and find a fascinating story of architect J. Mayer H. and the strong influence that new materials and technologies has on each of his work. It is therefore not surprising that his works spills over from buildings to art works and products. Rana Salaam’s design interventions make us wonder yet again on the seamlessness of design. From magazine covers, to restaurant concepts and retail window designing, Rana seems to flit from one design role to another. Another young regional talent, Saudi-based Ayah Al Bitar uses design to create social impressions. Local designer Realis works on the design factor in exhibitions and creates perfect solutions. Lighting design, materials and social context plays a major role in all our design interventions and as in each of our issue, Glam Interiors and Design celebrates these interfaces of design. Wishing all of our readers a design-infused 2016.
SINDHU NAIR
GID
GRAPEVINE
B&B ITALIA OPENS IN DOHA With a concept showroom of 230 square metres, B&B Italia made its debut in Qatar. The store has a strong and international image, and hosts the offices of B&B Italia Middle East. The space displays the B&B Italia and Maxalto collection, which have been inspired by the latest design guidelines in terms of mood, image and presentation. The interiors are designed with graphic wallpaper in black and white, sophisticated partitions in metallic mesh net and visual elements that offer a unique atmosphere. The offices of B&B Italia Middle East aims at being an important meeting place for the Emirate professionals and main contractors for “turnkey” projects in the hospitality, office, retail and contracting sectors, as well as for the most prestigious residential interior design projects.
IKEA PARTNERS WITH QATAR CHARITY In its third year of partnership, IKEA partnered with Qatar Charity to encourage everyone to donate soft toys for underprivileged children across the country. Donation boxes were set up in the store after the checkout where customers were urged to drop off new IKEA soft toys they wish to donate to children across Qatar. Those looking to donate can choose from a range of soft toys designed for children of all ages. However, putting special thought into this year’s campaign, IKEA launched a co-created limited edition collection, designed by children themselves through a global drawing competition held last year. Focused around children, the annual drawing competition provided an engaging element allowing children to go beyond the boundaries of their imagination to create the soft toy of their dreams which IKEA has helped bring to life. Ten winning designs from last year’s competition were chosen to comprise the SAGOSKATT limited range, now sold in over 370 IKEA stores globally.
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TWO WINS FOR QATAR The Qatar Faculty of Islamic Studies (QFIS) at Education City, which was constructed by UK & Barcelona- based firm Mangera Yvars Architects and the yet-to-be-built new centre for children with formidable medical needs have been named as winners in the Building of the Year category in World Architecture Festival 2015 in Singapore. QFIS is a Qatar Foundation project that took three years to build and won the prize for eremite buildings on Day 2 of the festival. Meanwhile, designs for Hamad Medical Corp’s upcoming Al Maha Centre for Children and Young Adults won the health- future projects prize on the first day of the festival.
TAKING IT _A NOTCH ABOVE Lotte World Tower, a 123-storey tower in south-eastern Seoul, aims at matching Dubai’s record of having the world’s highest outdoor observation deck. At the Top, Burj Khalifa’s observation deck, which is located on the 148th floor of the tower, currently holds the world record at 555 metres high. Burj Khalifa overtook its competitors in China last year with the opening of the observation deck. There is another observation deck at 452.1 m (1,483 ft) on the 124th floor, which has been open since the building was opened to the public. The Korean tower, being developed by Lotte, is expected to open in the second half of next year and will include an observatory located on the 123rd floor, which will be 555 metres high, according to a report in Korea Times. The $1 billion development is planned to emulate the various tourist offerings in Downtown Dubai, with plans for a 123-metre-high musical and light fountain, a concert hall for classical music, a six-star hotel, and a 1,650,000 square metre mall aquarium that includes an 85-metre-long underwater tunnel.
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THOMAS MARVEL DIES
4TH EDITION OF GHETTO BIENNALE ART FESTIVAL With screenings and performances by artists from across the globe, the 4th edition of the Ghetto Biennale art festival saw an extravagant start. The Ghetto Biennale is a cross-cultural art festival hosted by the collective Atis Rezistans and has been held every two years since 2009 in the Haitian capital Port-auPrince. The idea behind Ghetto Biennale was to enable often-excluded Haitian artists to display their work to an international audience. The event strives to transform “un-navigable” spaces into creative platforms to enable artists from a broad range of socio-economic backgrounds to come together for artistic production. Artists from around the world can apply to take part in the three-week event and create alongside local artists. This edition witnessed numerous installations, a screening of a film of a performance by a Polish opera in a Haitian village, a sustainable urban garden and a Mongolian shaman working with a Voodoo priest. All productions touched on issues of global territorial struggles and linguistic friction. All artistic pieces on display are taken down after four days and are transformed into raw materials, which are then given back to the community. This year, Ghetto Biennale is raising funds through fundraising site Kickstarter and hopes to put together a catalogue of the first four editions to bring all the works together.
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Known for his regional style of modernism in architecture, Thomas Marvel died at the age of 80. Using local materials whenever possible, including cement mined from local limestone mountains, he designed stylish buildings sensitive to their tropical island settings. He preferred natural ventilation to air conditioning. He also liked natural light and incorporated lots of gardens into his structures. He was not only an architect; he was also an urban planner, sculptor, author, teacher, civic leader and world traveler. His notable works include two U.S. Embassies, a federal courthouse, two city halls, and dozens of academic, religious, public spaces and residences. After 2010, Haiti Earthquake, he initiated a collaborative effort of Caribbean urbanistes to plan for the reconstruction of Port au Prince. Thomas always encouraged and inspired all, to think big, draw, write, to have fun and to be involved.
NEW OPERA HOUSE FOR CHINA Beijing-based MAD Architects have completed construction of the Harbin Opera House in the northern part of China. It is part of the Harbin Cultural Island project, which consists of the opera house and a cultural centre located along Harbin’s Songhua river. The complex covers an area of 850,00 square feet. It lies on the city’s wetlands and is designed to reflect the city’s cold climate. It gives the impression of having been sculpted by the wind and seems to undulate and blend in with the surroundings. The exterior is made of white aluminium panels, giving the building a smooth and soft appearance. The curvilinear interior of the lobby has large glass walls that connect visitors with the exterior and the spacious plaza outside. Overhead, a crystalline glass ceiling comprised of pyramid structures offers a connection to the outside and provides natural light. Visitors can explore the façade of the building and walk up the structure’s carved paths, which culminate at an observation platform offering a view of Harbin and the surrounding wetlands. The Opera’s Grand Theater can seat up to 1,600 people. It was constructed with rich wood, giving a warm, cozy feeling and the Manchurian Ash walls wrap around the stage and setting. The materials used and the spatial configuration offer breathtaking acoustics. It was designed by MAD Architects to connect the public with the outside surroundings, and to blend the structure with the environment such that it becomes part of the landscape.
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CELEBRATING CREATIVE COLLABORATION To celebrate 15 years of collaboration with The Rug Company, Paul Smith has designed a new collection of hand-knotted rugs. The modern collection pushes his aesthetic in a fresh direction of muted palettes and unregulated pattern composition, while retaining the spirit of his distinctive design tradition. The collection comprises six rugs and a cushion and is an exciting collision of geometry and colour. Split Light is inspired by triangular glass prisms that break light up to create layers of angular transparent shapes. This soft and neutral palette creates a soothing and calm pattern, while the desaturated palette of Split Light injects a shot of understated colour. Each rug has been woven entirely by hand using the finest natural yarns and age-honoured weaving techniques for which The Rug Company is renowned.
STORY IN MURALS Highlighting the aspects of traditional life in Qatar, Qatar Foundation unveiled its brand-new graffiti wall at Qatar Academy during an official ceremony which was attended by Engineer Jassim Telefat, Group Executive Director of Qatar Foundation Capital Projects and Facilities Management. The wall was created by three local artists, Mubarak Al Malik, Moza Al Kuwari, and Thamer Al Dossari, and depicts traditional aspects of local life and aims at inspiring students, faculty, and community members to work together for a brighter future. It took the artists one month to complete the mural. The artists were given the freedom to create a piece of art that combined each of their different styles. Some of the highlights include a woman wearing a batoola holding an incense burner and a dhow, Arabic calligraphy, and the prize-winning horse from Al Shaqab. A permanent fixture at QF, the murals stand as a representation of the Foundation’s mission and vision to foster a creative and progressive society, as well as a cultural landmark. “Graffiti is not a very well known form of art here, and this is a way to show people what graffiti actually is, that it is not just spray paint on a wall. It is a chance to be able to teach the community about this particular style”, says Mubarak Al Malik, one of the local artists.
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CANDID MOMENT
“I think it’s a cute show,” said IraqiBritish architect Zaha Hadid about the Chicago Architecture Biennial, which features more than 100 works of contemporary design. The exhibition, she added, “doesn’t give me an idea of what to expect in the next 10 years.”
LEARNING FROM ARCHITECTURE As part of the ongoing 20th anniversary commemoration of Qatar, a two-day architectural conference, titled “Learning from Education City”, provided an excellent opportunity for QF to celebrate its architectural prowess, as well as showcase its marked progression as a model for international inspiration. The event, which took place in Hamad bin Khalifa University’s (HBKU’s) Student Center, attracted 245 conference attendees, including 74 students and illustrated the inspiration and creativity behind many of QF’s iconic developments. Highlighting QF’s dedication to creating an environment that is dedicated to learning, the conference was a tangible demonstration of QF’s commitment to unlocking human potential. Attendees were given the opportunity to explore a number of key campus landmarks. Several tours were led by the signature architects involved in the respective projects, which provided a unique insight into distinguishable structural features and
their underlying creative concepts. Speakers such as Ibrahim Jaidah, who designed some of the first buildings in Education City, and Hiroshi Aoki and Karim Chahal, members of the team who created the first masterplan of Education City, were also in attendance, enriching the nostalgic quality of the event. As a testament to the success of the commemorative gathering, QF is in the process of making the conference an ongoing initiative. It will continue to attract the international attention of architectural specialists and designers as a platform to discuss, debate, and develop buildings which will maximise human potential, motivating learning and creativity essential for growth and development.
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REFLECTION _OF LIGHT BORN FROM A FUSION OF CONTRASTING ELEMENTS WITH ONLY 40 HANDCRAFTED LIMITED EDITION PIECES AROUND THE WORLD, “RIFLESSI MILLENARI” IS A FUNCTIONAL WORK OF ART THAT BLENDS DIFFERENT ERAS INTO ONE CREATION. An unconventional artist who explores beyond the use of materials and themes and unveils new realities and forms, Helidon Xhixha is an investigator of “alternative paths” on the artistic scene. He transforms the force and energy of his creative process into sculptural material which is then transfigured into luminous energy. The “Riflessi Millenari” table was designed by Xhixha in 2010 in collaboration with the Italian company Riva 1920. This piece is made using Kauri wood from New Zealand, the only timber in the world which is extracted from trunks submerged in mud for over 50 thousand years without decaying or fossilizing. The stainless steel top comes from an industrial process that started in the 19th century and possesses innovative plastic characteristics and peculiar light and effects that derive from its ability to release a high energy charge. The contrast of the two materials brings a harmonic blend of light and opaqueness, the cold and the warmth, man-made and organic and modern and ancient. In all his steel sculptures Xhixha’s desire is to capture and sculpt light through an intervention by folding it, turning it inside out, and marking it so that the very form of the sculpture becomes of secondary importance while its capacity to reflect and illuminate takes on a primary role. The piece is an expression of Xhixha’s mastery of infusing unique materials and to take you back to its purest form. The handcrafted table is available at Domus Italia, The Pearl.
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THE
VIBR ANT
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POP CULTURE, POSTERS, EMOTIVE BILLBOARDS,
AND BOLD IMAGERY PAVE THE WAY FOR THE CONTINUOUS SUCCESS OF LEBANESE DESIGNER RANA SALAM.
BY SINDHU NAIR
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R ANA
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Rana Salam’s passion for design stems from an entirely relatable kind of love: the love for her country and the admiration for work that stems from it. The daughter of Assem Salam, the renowned Lebanese modernist architect who worked to protect Lebanon’s vernacular and traditional architecture while developing the region’s modern architects, it was only natural that Rana, who grew up amid the city’s community of architects and designers, instinctively incorporated the street culture of Beirut into the development of her distinctive
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designs, making the pop culture of the Middle East her signature style. Her design sensibility, her own quirky reaction to the world and its creations are all guided by her upbringing and her eye for detail. And it was all these details along with her powerful sense of observation that made her so well suited to the role of curator of Iconic City: Brilliant Beirut during Design Days Dubai the first narrative to record the development of design in the Lebanese capital since the nation’s independence seven decades
DESIGN UNLIMITED from top right, clockwise: Rana Salam’s designs: Brilliant Beirut, retail display of Villa Moda, Bojka catalouge.
ago. Brilliant Beirut was the first in a new annual series of Iconic City exhibitions that explored the impact of local urban dynamics in the areas of design, production and creative culture. It was the first attempt to document the development of design, across architecture, education, graphic design, fashion, furniture and cultural trends in the Lebanese capital over the past seven decades since independence (1950s2015). The exhibition Salam had assembled documents and illustrates how the city, with its blend of diverse cultures, produced world-acclaimed designers and reflects on the reasons it remains at the forefront of design in the region. Salam’s experience curating the best of Beirut taught her that her city was ahead in the region in terms of architecture, interior design, products and graphic design. She took her visual cues from billboards, vintage film posters and signs of consumerism and translated them into visually captivating designs. “We choose consciously to illustrate this in a spontaneous billboard-style exhibition to attract and educate people on Beirut and why it’s always been brilliant in design,” she says on the exhibition that put the focus on a range of designers from the city. Her design integration began very early, a detail that is almost taken for granted, given her lineage. “When I was a little girl, my parents used to encourage
“We choose consciously to illustrate this in a spontaneous billboard- style exhibition to attract and educate people on Beirut and why it’s always been brilliant in design,” she says on the exhibition that put the focus on a range of designers from the city.
me to explore my creativity. At 13, I became obsessed with popular western brands that we naturally consumed in Beirut. Brands such as The Face magazine designed by Neville Brody, ID magazine and the strong typography of Japanese designer Yohji Yamamoto enticed me.” Shifting through her projects, it is easy to see the influence the country and what it had to offer had on her; starting from the creation of windows for Harvey Nichols’s summer collection, which was her first project, to the design of interior design firms, designs of magazines, the look and feel for make-up major Bassam Fattouh, the card creation for Paul Smith’s Spring/Summer collection. Diverse projects and creations each different from the other but bound by a wire of quirky creativity that gives you a peek into the Eastern culture while keeping the brand’s equity safe. “When I designed Comptoir Libanais, a restaurant in London, we transported the Middle East to the West,” she says.
HOSPITALITY REDEFINED Salam’s solutions to hospitality projects comes with a unique perspective: bold and vibrant and giving a culture peek into the East.
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Salam opened her first studio in London in 2002, and eight years later she relocated to Beirut where, in 2011, she opened the Rana Salam Design studio. Her artistic intention is to project the Middle East in a fresh, engagingly positive light. Despite and perhaps even because of Lebanon’s political drama, Beirut is brimming with talented designers, of whom Rana is one of the most acclaimed, and each of whom, in her words, is “passionate and proud of their country, and keen to display their creativity and resilience.” It is the power of imagery in Salam’s work that strikes one’s visual senses and overpowers them. She was drawn by this power of imagery during her early years at the art school; she learnt the tricks and how to communicate visually. “I was mesmerised and drawn to this language of graphics, not knowing it would have an influence on how I would work in the future,” she says. Rana Salam Design worked closely with Lina Kanafani designing the logo for her contemporary London design shop Mint, and also worked with architect David Adjaye on his first restaurant design Soba in Soho, London. Salam compares designers to alchemists while she says that designing is about visualising where a client wants to go keeping in mind what his real needs
MORE THAN DESIGNS Brilliant Beirut glorifies designs from Beirut; Paul Smith’s catalogue design and the cover of a magazine; the diversity of work by Salam.
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are. Her keen eye for details, human behaviour and impressions beyond are her métiers. “Visual communication is everything,” she says. It is only natural that she holds designing sacrosanct: “I approach design as a solution. My philosophy is never to underestimate the immense value of great design and the impact it has on the business.” Looking back at one of the turning points in her career, her first big project, Salam says, “Designing the 11 windows of Harvey Nichols in London benchmarked the beginning of my career, though I did not know then that I was unintentionally exporting my (Middle East) culture to the West.” A trend that she has continued since.
“I approach design as a solution. My philosophy is never to underestimate the immense value of great design and the impact it has on the business.”
A FEW OF MY FAVOURITE THINGS Harvey Nicholas wIndow design by Salam; Nada Deb’s popular floating chairs and the most innovative cover design of The Secret Life of Syrian Lingerie.
Salam explains about another interesting project that captured her design sensibilities: “Comptoir Libanais in London was a perfect example of how a restaurant acted as an incredible vessel to transport a culture abroad positively when the design was properly communicated. It touched on how a paper cup could become a glamorous and desirable commodity.” Tony Kitous brought Lebanese homestyle dishes to London with Comptoir Libanais. He wanted the packaging and wall graphics of his restaurant to echo Rana’s distinctive patterns and prints. Trawling through her visual archive, Salam chose Middle Eastern ephemera and played with these images. A favourite project for Salam was the limited edition designs produced in collaboration with Nada Debs for the popular floating chair, which was earlier featured by GID. A project in the Middle East that captured the essence of her work was Ayyame, a Middle Eastern restaurant in Kuwait with an innovative approach to combining cuisine, culture, and design. Salam captured these three elements in the interior design and all marketing material for Ayyame. Gathering information, artifacts and inspiration from Kuwait and its surroundings, the studio used these ingredients throughout the design concept to successfully translate
Ayyame’s restaurant concept, launching it as the leading brand in contemporary, Middle Eastern hospitality. “For Ayyame Restaurant I fell back on the country’s street culture and collected all kinds of visuals from the souk to give it an identity,” says Salam. Salam’s world of design is always colourful and a visual knockout for the senses. For her, the design inspirations are everywhere and waiting to be captured. Her role models are the likes of Oscar Neimeyer, Duro Olowu, Ilse Crawford, Paul Smith and Morag Myerscough, all masters of finding their typical style and expressing design as a layer of fabric weaving into one’s very being, but always conscious of where the design is meant to be placed. Salam’s Dream Projects + Designing a hotel + For Brilliant Beirut, an exhibition which I recently curated in October 2015 at D3 during Dubai Design Week, to travel internationally to serve as an educational medium about Lebanon and how the city has always been at the forefront of design. To publish a book on Brilliant Beirut to show how rich and cosmopolitan the city is. + To design a Vespa + To have my own design school + A past dream project was publishing The Secret Life of Syrian Lingerie GLAM INTERIORS + DESIGN
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P L AY I N G WITH UNDERTONES NEUTRAL COLOURS DOMINATE THIS LIVING ROOM AND GIVE IT A STYLISH APPEARANCE. A SLEEK STUDY DESK MAKES FOR A CHIC ADDITION WHILE THE CORNER SOFAS AND ABSTRACT RUG GIVE AN ARTSY TOUCH. WITH CLEAN LINES AND AN ECLECTIC DESIGN THIS MODERN MINIMALIST ARRANGEMENT FROM BOCONCEPT IS FAMILIAR BUT UNIFIED WITH SUBTLE UNDERTONES OF COLOUR, MAKING IT PERFECT FOR RELAXATION.
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CARLTON CORNER SOFA, GOLDEN BEIGE NAPOLI -QR 23, 189 2 ABSTRACT COMPOSITION ORIGINAL OIL PAINTING – QR 1,899 3 CATO RUG PEARL – QR 5,289 4 OCCA 3710 BLACK OAK – QR 4,195 5 DITTO MAGAZINE HOLDER – QR 349 6 LADY BUST WOOD – QR 314 7 HAPPY MAN SCULPTURE – QR 309 8 SHELL VASE – QR 577 9 SKATING DOG SCULPTURE – QR 399 10 SHEEP SKIN BLACK – QR 599 11 WIRE STOOL BLACK METAL – QR 689 12 ENAMEL BOWL SAND COLOURED - QR 529 13 ADELAIDE HAIR, BROWN LIMA LEATHER – QR 2,432 (ALL PRODUCTS ARE FROM BOCONCEPT)
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WITH FLEXIBILITY, TRANSPARENCY, AND RELIABILITY BEING THE GUIDING PRINCIPLES OF HIS WORK, JAD BASILE TALKS ABOUT HOW REALIS DESIGN, AS A BRAND ARCHITECTURE COMPANY, IS BRINGING IN DIVERSITY IN INNOVATION. BY AARTHI MOHAN
Realis Design is all about modernizing the art of interior design. Started ten years ago in Beirut, Lebanon, it not only focuses on interiors but has also ventured into architecture, exhibitions and points of sale. With offices in Qatar and Dubai, Realis creates spaces that reflect you and your style. “In Qatar, we do architectural designs only and we collaborate with consultants to get clients the relevant permits that they require to build. From starting a project to the execution we provide handson service to our clients”, says Basile. When it comes to interior design, Realis not only creates concepts and design but also manages the project for clients. “Every step of our process is checked for quality and progress: Concept development, project implementation and delivery. Years of experience have honed our ability to meet our clients’ requirements at every step. This disciplined approach allows us to focus on the initial goals and to translate them into unique brand spaces that make a lasting impression”, he says. Another major division that Realis specialises in is exhibitions. They provide exhibition services worldwide. Over the years Realis has gained an insight into the workings of landmark exhibitions and presented clients’ projects at international events in cities like Paris, Berlin, Frankfurt, Madrid, London, Birmingham,
Singapore, Dubai, Abu Dhabi, Cannes, Milan, Barcelona, Jeddah and Doha. Some of their clients include Microsoft, Mercedes, EADS (Eurocopter, Airbus , Astrium, Cassidian), Aurora and Genius. “We have collaborated with many international companies. We have partnered with SYMA, the Swiss world leader in exhibition services. This has enhanced our ability to respond to clients’ innovative exhibition solutions in over 60 countries across 5 continents”, says Basile. Basile’s signature style is modern and he always tries to be as creative and innovative as possible. Whether it is in shapes, colour, materials or design, for him creativity and design must be new, inspiring and fresh; that is when people can really enjoy the entire experience. “Sometimes, we also do classic design styles but that depends on the client’s request. We always look for new ideas, new moods, new shapes and what we design cannot be seen anywhere else. We also reflect the image of the brand of the client or what he needs. To be different is what we strive to achieve”, he says. Design inspiration for Basile comes from different things in life. It involves a lot of referencing from books, the internet and existing designs. He also follows the work of a number of architects such as Rem Koolhas, Norman Foster, Zaha Hadid- the list goes on. “Everything
“Every step of our process is checked for quality and progress: Concept development, project implementation and delivery. This disciplined approach allows us to focus on the initial goals and to translate them into unique brand spaces that make a lasting impression”
A COMPLETE PACKAGE- Realis Design not only creates concepts and designs but also manages the project for clients. Form start to finish they are invloved hands-on in meeting requirements that make a lasting impression.
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“We do a lot of research to find out what is new in terms of materials, trends, design, etc, When a client steps inside a retail store or a home, they must experience a new and unique feeling”
BEING DIFFERENT With new ideas, moods, fabrics, Realis design always looks to innovate when it comes to design.
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around me is inspiration. We do a lot of research to find out what is new in terms of materials, trends, design, etc, and try to incorporate it in our work. When a client steps inside a retail store or a home, they must experience a new and unique feeling”, says Basile. Realis have also partnered with a company called Re-board which manufactures 100% recycled paperboard from Sweden. This can be used for exhibitions and interiors like furniture and partitions. It was introduced in a workshop for the interior and design faculty at VCUQ Qatar. Every venture does involve a few challenges, according to Basile: the design and the creative aspects are easy to achieve, but the difficulty lies in the implementation, time factor and availability of materials. “Our design process starts with collecting information from the client. Then we understand the needs and create a mental picture about how the client would want to view the project. Then we move on to the sketches and it is then applied to a concept. We try to make it as creative as possible in the look, shape and design as well as use of materials. We give our clients 2-3 options to choose from. It can be altered according to what the client prefers. We then move on to 3D modeling for experiencing the mood”, says Basile. From apartments, private houses, retail stores to office spaces, Realis is involved in many projects for both locals and expats in Qatar. The Company has also worked with Qatar Foundation and different oil and gas companies. “We are currently working on two sites, offices and
“We have created an international network which not only covers interiors but exhibitions as well. Many clients go from here to participate in exhibitions outside. We have people that we have worked with in Portugal, Germany, Switzerland and France”.
BUILDING A NICHE Not only covering interiors, Realis has also forayed into exhibitions. With an international network they have worked with people from Germany, Switzerland and France.
a beauty salon. We are also working on a compound of modern villas for which we have finished the design and now we are moving on to the execution stage” he says. Basile handles projects only on the design level with many companies in Europe. It is more like a give and take practice that he follows. Design services are provided by Realis and in return it gets implementation services from the client. “We have created an international network which not only covers interiors but exhibitions as well. Many clients go from here to participate in exhibitions outside. We have people that we have worked with in Portugal, Germany, Switzerland and France”, says the enthusiastic owner. Good design to Basile is all about basic detailing such as functionality and making the client feel comfortable. He believes that good design can exist if one keeps in mind that, it is always important to bring in new ideas and practices but not at the cost of comfort and basic functions. According to Basile, signature architects are a marketing tool. When one project is executed well, the other projects are not necessarily a success. Success is when there is consistency in work. When asked about the interior design scene in Qatar, he says, “It is a country that is going through a phase of very fast development. There is a trend to innovation that is not very rapid but is slowly catching up pace. With Realis Design we want try and diversify in service and innovation under the design umbrella”. GLAM INTERIORS + DESIGN
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QUIRKY FEEL
Make your home interesting and add to the visual effect with this creative monkey lamp by Marcantonio Raimondi Malerba.
INTERESTING CHOICE
Perfect for holding books and albums, these bookends from Black Orchid Interiors give an artsy touch to your bookshelf.
ON THE WILD -SIDE Furry, lacquered or feathered, from shelves, sofas to decorative throw pillows and artifacts, go bold or subtle and bring a lighthearted comforting feel to your space with the animal trend.
TO U C H O F WO O D
For any shelf or tabletop this piece from Midas is sure to catch a lot of attention.
A RT Q U O T I E N T
Add playful animal art to complete the look of your living room with this piece from Midas.
LIGHT IT UP
Illuminate your space with this spectacular chandelier from Midas made with fishes.
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S TO R AG E M A D E F U N
Both practical and innovative, this shelf from Midas adds character to your space.
C R E AT I V E S E AT
Sporting an interesting design, this pelican side chair from Midas can be a unique addition to your home dĂŠcor.
S TA N D I N G TA L L
Create visual impact to your space with this majestic crystal peacock from Trilogie.
R AT TA N F E E L
Whether placed in the entrance or on the outdoor patio, this rattan elephant from Maya Paris is sure to wow your guests.
S O F T TO U C H
A great addition to any kind of home setting, this piece from Midas exudes warmth and comfort.
SENSE OF SERENITY
G O C O LO U R F U L
Light up your home with this creative trio of owls from La Travazza.
This painting from Midas brings positive energy to your space.
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FIELD STUDIES:
CREATING CONDITIONS
FOR PALPABLE CHANGE Muneera Umedaly Spence MFA Yale University Graphic Design is currently the Chair of the Department of Graphic Design at Virginia Commonwealth University in Qatar and has been for the past seven years. She leads a Graphic Design team of ten faculty in a contextualised BFA degree programme. She has participated in and led conference development and presentations, including Tasmeem Doha 2011. Her interest lies in team generative methodologies, collaborative teaching and learning dynamics, especially pertaining to design education in the international context. Her interest in international development/design projects has manifested in Tajikistan, Kyrgyzstan, Ukraine and now in Qatar. 38
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Professors have always wanted to take students outside the confines of the classroom not only for the vibrancy of real environments but also to observe and interact with the world in terms of design. They just know, as I do, that when the possibilities for experiential learning are engaged, real and palpable changes occur in the student and in the heightened levels of their skills. They become able to learn and grasp issues in the world but, even more, they can understand themselves and the variations engendered by multiple contexts. Armed with this knowledge and hope, the two faculty in the Graphic Design Department at VCUQatar designed the theoretical potential experience in what we call Field Studies. Peter Martin and Pornprapha Phatanateacha worked together to frame the educational focus that we could use when in amazing places (as we soon understand that every place and space is really imbued with amazingness!) Together with students, we assess the environment, deconstruct what we are observing, unpack the meaning and implications of the parts to the whole. They presented a paper, “Enhancing Graphic Design Education with Unstructured Learning in an Unfamiliar Place” at a conference based on the thinking behind the concept of field studies. They wrote in their paper, “Students experienced the geographic
transition from desert to tropical country by hiking to the Phra Nakhon Khiri Historical Park (in Thailand). During their hike, they had close encounters with wild monkeys and enjoyed photographing the animals. Given that most of the students do not regularly engage in physical activities, it was interesting to observe their transition from being passive to active.” In subsequent trips we expanded their ideas to include a number of challenges to create active and competitive components. We added a physical challenge, design challenge, various navigation challenges and we also required the students to assist in the design of the field study to make sure that they were wholly committed and engaged. “Learning about interaction design: Using public transport was an unfamiliar experience for students. The practical experience of visiting the BTS Skytrain enabled students to appreciate the efficiency of the transport system, and the importance of design in purchasing tickets, reading maps, and planning journeys, etc,” said Peter Martin and Pornprapha Phatanateacha in describing the first field study to Thailand. Thinking into the future of our designers
“Given that most of the students do not regularly engage in physical activities, it was interesting to observe their transition from being passive to active.”
THE JOURNEY IN LIFE: Images from the first field study the students of VCUQ undertook.
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University, the students worked in groups to discuss the selection of cultural artifacts enabling them to compare culture and ability in design. You may ask, what does this have to do with graphic design? I would say that it is impossible to find a situation, communication or experience that does not influence one’s perception of the world and designers really must be cognizant of their perceptions of places, spaces, people and situations in order to design a piece of communication appropriately. By experiencing how others live in the world, we have found that our students understand themselves and their culture so much better. in training, we asked them to look at transportation systems, the challenge of entrepreneurship in developing countries and the interactions of multiple cultures in common spaces. “Visiting the exhibition entitled ‘Explorations in Thai Modern Design’, where they were surprised by the informal presentation style employed,” said Peter Martin and Pornprapha Phatanateacha as we visited museums and multiple exhibitions. We take advantage of the ubiquitous nature of Graphic Design interventions to look at how context shapes the way in which communication is shaped. We look at the messages, language, and bilingual and multilingual explorations. We also look at colour use and the way in which each culture is reflected in the configurations of any exhibition, be it formal or informal. Each day we briefed the students about what they would especially look for that day and then at the end of the day, the students shared what they observed, collected, photographed and interpreted. They were invited to compare and contrast but also to find similarity in all things. We asked for hyper observation and documentation with conversational debriefs at the end of each day to ensure that the group learning was a contribution of all the individual observations. Students work in teams led by a faculty member to capture their insights in advancing their critical thinking. Working with students at Silpakorn
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Where should we go and why? What will the students experience? Embarking on the journey/curiosity/ preparation/research The department decides who will lead the field study in the coming year. This decision is based on the interest and concept that is presented to the department. The students can get into the decision process by voting but most state their interest by applying to attend the field study. We have generally thought about the idea of a high-contrast experience or looking at important current issues in the world. Many field studies had a focus that enticed students to apply. The application process ensured that the students were already
I would say that it is impossible to find a situation, communication or experience that does not influence one’s perception of the world and designers really must be cognizant of their perceptions of places, spaces and people.
predisposed to this interest and had done some important research and thinking about what they would like to see and learn. The students and faculty meet many times to conduct research about the places and opportunities in the country that we are visiting. Students are invited to help plan, to ask questions, to declare their interests and to organize the material that we always need to navigate the cities that we visit. Many of the trips include a design challenge where students meet with their contemporaries at a university. Meeting and working with students enabled our own students to manage their own educational expectations and experiences. The students would work on a combined project for a day that would help deepen the understanding of their experiences and afford opportunities to share cultural
narratives. The physical challenge has made for many extraordinary adventures and the opportunity to do something that they have never done before. Sometimes we climb a mountain, go into ancient caves, take a bicycle ride through a park, and so many more adventures. Culture observational challenges identified the avenues for intercultural comparison. We spent time, at every site and every day, observing how people of different cultures communicated verbally, visually and in the shaping of nature. We ask questions about how they live and what is of concern to them. We observe what they make, how they pray and what their children do. The students are always interested in their contemporaries. What are they thinking and making happen? We challenge students to realize the important issues in the world. GLAM INTERIORS + DESIGN
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Some of us find it difficult to try new experiences and some are drawn to them.
BACK TO NATURE Images from Thailand of a field study.
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Sometimes the students become more aware of the issues of another place because they are so different from their own. Issues of poverty and of resilience. Together we considered many questions surrounding sustainability, innovation and entrepreneurship. Subjects that aroused the use of critical thinking as a formulation of opinion. So it was important that students and professors engage in the conversations at de-briefing sessions at the end of each day. Making sure that we share the expectations and travel plans with the students’ families and making sure that we have a well-vetted plan with our safety officers are of critical importance. It is always important to communicate the goals of a field study with parents who could make the experience possible. We always make sure that where we are going and what we do is approved by our safety officers. We have strict rules of conduct and support the students as they go through experiences in other environments. Remaining in communication with their families and sharing their experiences with their fellow students who did not get a chance to go on the field study is critical. Field studies present challenges for all of us. Some of the challenging experiences include food choices. Ensuring that
students remain positive and healthy and engage themselves in self-care is really an interesting endeavour. Some of us find it difficult to try new experiences and some are drawn to them. When we are on a trip we are a team. The group usually is made up of 16 to 20 students and four to five faculty. Sometimes family members come along. It is my experience that family members who come along have an equally wonderful time. One of the challenges that we all have is to find the extraordinary in the ordinary and to realize how we change ourselves as we experience these new places. Living in the moment and feeling the humanity of all things that unite us as well as what makes us different is equally important. What I love about the field studies is that palpable change that comes over the students. They become aware of the world and of themselves. They realize that that they can understand and participate, experience and question, choose to change their mind about their own thinking! They return to Doha with knowledge of the variations in ways of living and being that they can share with others in the classroom. They have had an extraordinary experience outside the classroom where theory is put into practice. Where critical thinking and problem solving are a daily practice.
GID VIEWPOINT
FOR _THE LOVE OF WOOD REFLECTIONS OF AN EXPERT IN INTERIOR FIT OUTS, DESIGNS AND THE MATERIALS THAT CREATES IT ALL. BY BIANCA ANGELO DESIGN MANAGER AT QUANTO BELLO QATAR
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WOOD IN VARIOUS AVATARS: From opposite page, clockwise: Solid teak customised table with liquid chrome inlay; natural oak veneer slatted with matching solid oak and oak veneer dining table; a stained Meranti veneer wall panels with solid stained Meranti profile details to wall cladding with a matching stained praquet flooring; CEO boardroom in Westbay in a combination of solid walnut and walnut veneer table with matching slatted timber walls.
From a young child, the appreciation of timber was embedded in me. My father, a pattern maker and carpenter by trade, taught me the art of this material. My childhood at his carpentry factory was my playground but later on in life became my school. For the last 13 years of my working career, this material has been my canvas in every space I create. Being the first item I select when commissioned on a project, and later developing the theme and mood around it. Timber is an ever-evolving natural product with endless possibilities. Each piece comes with its unique characteristics. Their grains, flowers, textures and colours are different, no two are alike, but when manufactured correctly, the true beauty of timber evolves.
As an interior designer the utilisation of this material is exactly the same as fabric is to a fashion designer. With fashion a major trend developer in setting the tones and forming a season’s colour palettes, interiors follow suit and takes guidelines from the materials they use. With the natural world being one of the strongest influences this season, a combination of pastel colours, natural textures and patterns with contemporary design are seen throughout this year’s design creativity. As I look back on my designs this year, together with the fairs which I have attended, raw timber and driftwood barks are proudly leaving their mark with their natural quality and organic form, creating pieces of art within an interior environment. Today, pieces of timber can proudly stand alone. The development of this material with today’s machinery capability is allowing us to create designs and our own “fabrics” or paneling or cladding. As I reflect back on my work designed this year, I have included a simplistic colour palette but timber is stealing the show in most of my designs
in its natural form. Geometric shapes combined at different levels with a mix of rawness are my take on 2015 design trends. In today’s market we are spoilt for choice as designers, but it’s how we work with this material that is important. “The know-how” specifying the correct grain direction (short or long) and each grain cut (open or closed) allows a material like timber to have endless finishing properties and options. Each timber proudly embraces its country of origin and with the multicultural mix of individuals in Qatar, I know we can each relate to a form of timber from our countries. In my articles to follow, the journey of this Earth-given beauty will be discussed and acknowledged. I will be showing cultural uses of wood, current trends, creative finishes and finishing techniques to timber. Historical backgrounds and development of timber, countries of origin and unique pieces and spaces filled with timber. With the opportunity to work with this material daily, I will be sharing my experiences and knowledge with you. GLAM INTERIORS + DESIGN
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REGIONAL FOCUS
MAKING A DIFFERENCE Ayah Al Bitar is wielding her designs as a catalyst to bring in change.
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CHANGING
PERCEPTIONS OF DESIGN BASED ON THE IDEA THAT DESIGN IS THE WAY OF LOOKING AT THE WORLD WITH AN EYE FOR CHANGING IT,
AYAH AL BITAR, A SAUDI-BASED DESIGNER, IS WIELDING HER DESIGNS AS A CATALYST FOR SOCIAL CHANGE. BY AARTHI MOHAN
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DESIGN ETHOS Relevant, functional and beautiful, from choosing the right colours to the materials used this designer’s goal is to create timless pieces that are thought-provoking and which can trigger social change.
More than just a trend-setting functionalist, Ayah provokes thought, breaks cultural boundaries and has created a niche by pushing herself to creative limits through her work. A graduate of Parsons the New School of Design in New York, she has always been fascinated to make a difference. “I was very interested in making an impact on people’s everyday lives and I thought furniture is one thing that everyone interacts with on a daily basis; so why not tackle that?” she says. Furniture design for this artist is all about form and function. She creates pieces with interesting forms but in direct correlation to their functionality. 50
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“It is important to understand to what extent furniture can become art by observing and understanding how it is used in certain parts of the world, and in certain cultures”, says Ayah. What sets her designs apart is the story that lies behind making each piece an art as well as functional furniture. The designs focus on problem solving in an indirectional manner and by provoking thought. Having been brought up in Saudi Arabia, she is inspired by topics like women’s rights and believes design can trigger a social change through dialogue and connection. “Everything we touch and everything we see is designed by someone; this makes design a crucial part
of us. The more we look into designing influential things, the more people will start connecting with them. This happens because, as humans we get attached to things very quickly and we relate to them a lot”, says the designer. The starting point for Ayah’s design approach is to study people’s behaviour and ways of life. They are each different in “From sketching to manufacturing, their own way but at it is very satisfying to see a product some phase have a common ground. Then that was once pencil on paper being a problem is identified actually used and enjoyed by the for which a solution society,” she says. has to be found which is then followed by the sketching and modeling phase which is usually the longest. After the ideas are filtered, then comes the prototyping and refining until one working model is approved. For her, it is the thrill of facing challenges in each stage of the design journey that pushes her limits in creativity and opens new doors to excellence. “From sketching to
manufacturing, it is very satisfying to see a product that was once pencil on paper being actually used and enjoyed by the society”, she says. The designer’s Islamic roots have influenced her to experience life overseas and she wants to build a bridge between the East and the West through her designs. She is not much of a believer in following design trends. On the contrary, she always strives to create something different. Most people get bored of trends very quickly and move on to the next one. “With Ayah Al Bitar Design, the goal is to create timeless pieces that are relevant, functional and beautiful. The colours chosen are also mostly seasonal and sometimes the material changes according to the season as well but it is not always the case,” says the artist. She finds inspiration from her all-time favourite designers, The Campana Brothers. Even when it comes to working with different materials, she gets fascinated and intrigued by how certain materials react in ways according to the environment they are in and looks to experiment with different kinds like
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“My dream would be to see my designs implemented where they are needed and to see how they have changed and affected people to make their lives more convenient and efficient”, she says.
DIFFERENT CONCEPT Designed exclusively for the Saudi Design Week, the Wisada collection from Ayah Al Bitar design addresses social and gender equality issues in a comfortable and relaxed manner with a sense of humour, optimism, faith and satisfaction.
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leather, fabric, wood, steel, glass and more. “Wisada” was the first product line which Ayah designed and debuted at the Saudi Fashion Week. It is a sculptural floor cushion set with a twist inspired by the difference between Eastern and Western transportation cultures, and encourages social dialogue in a traditional, yet contemporary environment. Formed in the shape of an enlarged bicycle seat and illustrated with Saudi women’s stories, Wisada is unique in its concept and aesthetic. The piece works best in multiples, prompting a dialogue about social and gender equality issues in a comfortable and relaxed manner; making room for humour, frustration, optimism, faith and satisfaction. The saddle seats and swings were the next in line designed for the Saudi Pavilion during Dubai Design Week.
She has also created a commissioned fashion piece for 1971 Design Space in Sharjah for an exhibition called De.Fash. Struction. Ayah is now currently working on an installation for another exhibit for 1971 Design Space called Reinventing Heritage. Sowing the seeds of bringing cultural change through art and design, Ayah Al Bitar is always ready to question tradition and encourage discussion with her creative and thought-provoking designs. The motto she firmly follows is, “If your dreams don’t scare you, they are not big enough” by Ellen Johnson Sirleaf. With a number of projects planned, the future looks very interesting for Ayah and she wants to constantly design new products that trigger social interaction and communication. “My dream would be to see my designs implemented where they are needed and to see how they have changed and affected people to make their lives more convenient and efficient”, she says.
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ARCHITECTURE
SHAPES, SPECIFICS, AND SPATIAL RELATIONS
ARCHITECT J. MAYER’S BUILDINGS RESPOND TO THE HISTORIC ARCHITECTURE THAT SURROUNDS THEM. BY SINDHU NAIR
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here is no denying the brilliant bordering on thought-provoking architecture of J. MAYER H. und Partner. The driving force of the firm, the founder and leader of the architecture firm Jurgen Mayer H. seeks to expand the boundaries of architectural discipline and increase the sphere of its influence. Based in Spain but featured worldwide, Mayer’s work straddles art, buildings, public realms, and objects. Jürgen Mayer H. sees art and architecture as similar: both being about the interrelation of humans and space. Mayer’s work seamlessly moves within all spheres of design: “We don’t distinguish different disciplines. We have interest in nature, technology, communication, design and how the human body relates to space and architecture,” he says. While there is an overarching style of shapes that predominate his work, Mayer feels his work is shaped by the needs of the people who use the space. “Also working with different clients leads to different discourses and feedback which also produces various contexts that make our work different from project to project,” he says. Mayer was 16 years old when he saw a photo of Erich Mendelsohn’s now demolished department store “Schocken” in Stuttgart. 56
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“I was already interested in sculptures and art work that you can walk through and walk around and this photo, however, triggered an excitement in me to know more about architecture,” he reminisces. In 1996 he founded the studio J. MAYER H. The most defining work in his career of close to two decades is the stunningMetropol Parasol, a waffle-like crown structure in Seville, Spain which was completed in April 2011 after a competition held by the city in 2004. Located at Plaza de la EncarnaciŌn, the stunning sequence of undulating parasols comprises the world’s largest wooden structure. The Metropol Parasol project was part of the redevelopment of the Plaza de la Encarnacíon and the project became the new icon for Seville, a place of identification to articulate Seville’s role as one of the world´s most fascinating cultural destinations. Mayer considers the Metropol Parasol as a built space that is highly poetic. “The project was a real breakthrough in the way timber construction became part of a cultural civic project in the heart of an urban context,” he says and now, “we are exploring new projects that take this knowledge to the next level”. “Located on an archaeological window into the history of Seville, Spain, the Parasol covers the very heart of the city for a new urban place for the 21st century. The project covers history, hosts everyday life in the food market or in commercial
“At the Metropol Parasol social media dynamics and public space collapse into a packed place where people meet, discuss and relax, with cafes, shops and concerts a real urban democratic open cathedral.�
CREATING A PUBLIC REALM Metropol Parasol in Seville, Spain, creates a meeting space in the heart of the city creating a new urban space for its citizens.
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DYNAMICS IN STRUCTURE This social space is also a structural masterpiece in wood.
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Spatially the entire building is considered as a large, open public space with inlays of certain core elements. Floating within a space for mutual or strategic communication, these enclosed boxes structure the interior layout of the building.
NOT JUST STRAIGHT LINES Stadthaus Scharnhauser Park in Ostfildern, Germany, is one of Mayers’ work that received the Mies Award
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spaces, offers open public space for events and contemplation, and it refers to a ‘visionary’ culture with rising structures to elevate visitors onto a panoramic Seville city view of the roof-scape. All these different programmes are open and active at various times of the day and night. It is now one of the hot spots for people from Seville and abroad. At the Metropol Parasol social media dynamics and public space collapse into a packed place where people meet, discuss and relax, with cafes, shops and concerts a real urban democratic open cathedral,” says Mayer about his pet project. The design process for Mayer takes a very scientific approach: “Our design process starts with the spatial and organisational qualities of the projects and then we move on to develop the construction and material options. The strong influence of new materials and technologies changes the way we think, design and build.” And influencing the way we build is what we see, the new technology and the social media that make everyone aware of the change in the industry. Communicating and mediating architecture through blogs, social media and online forums is strongly influencing the architecture production of today; built
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and unbuilt, moved to another level. It enhances exchanging ideas and teaches how to stay critical towards your own design process,” says Mayer. Defining the relation between the shapes and the functions they perform, Mayer speaks of how it’s not a definite shape but a conceptual approach that the firm takes to look at sites and extract site-specific solutions. “Each project is a unique research into context and culture, and we always develop individual designs for specific programmes, sites and clients. Our architecture is developed during the design process based on a repertoire of strategic explorations that we developed over the years, on pushing limits and being driven by the curiosity for the new. Some conceptual approaches are based on our research by architectural projects and art installation,” he says. “We look closely at the site, critically rethink the programme and try to extract something that is special to the specific site. We establish parameters as a skeleton or framework for each project. These are conceptual conditions rather than design-driven compositions, based on a client’s brief, contextual references and programmatic logistics.” One important inspiration for Mayer’s
MATERIAL DISPLAY Light and water animations are an integral part of the Stadthaus and include a subtle relationship between nature and technology.
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We are interested in questions of forms, formulas and formalities that shape the rituals of our everyday life. One major source of exploration is data protection patterns.
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work is Frederick Kiesler whose work ranged from objects to exhibition design and architectural speculation. “One of his works ‘Endless House’, was a key project for rethinking the boundaries of architecture.” The play of patterns and the fluidity of designs are Mayer’s and his team’s forte. He says, “Over the last few years we developed a catalogue of design strategies. We are interested in questions of forms, formulas and formalities that shape the rituals of our everyday life. One major source of exploration is data protection patterns. I have a huge collection of data protection patterns, found within secure mail envelopes from banks or government agencies. We use these patterns in all possible scales and explore them in a variety of projects from art installations to urban complexes. These patterns envelop and contain spaces and highlight ambivalent border situations between the inside and outside.” He continues, “In 1995 these patterns became a metaphor for a lot of issues that we’re dealing with: boundaries between public and private, inside and outside, meaning and non-meaning, information and erasure, writing and content. Data protection patterns also represent a precise technological development that conceals the personal through a superimposition of text, a blurring of an aesthetic-these patterns: designed, lyrical-that’s very strategic at the same time. Sometimes we may use a fragment of a particular pattern and it may be very directly used as an element in our project.” Another interesting project of Mayer’s, the Stadthaus Scharnhauser Park in Ostfildern, Germany, received the Mies Award. Located at the centre of Scharnhauser Park, a former American military site next to Stuttgart airport, it is a multipurpose public building unifying municipal administration, civil services, a public library, an art gallery, classrooms for music lessons, an evening school, a wedding room, office space, sports facilities, and a multipurpose hall. This combination of different
public services generates synergetic effects provoking programmatic and visual transparency. Spatially the entire building is considered as a large, open public space with inlays of certain core elements. Floating within a space for mutual or strategic communication, these enclosed boxes structure the interior layout of the building. From the main square to the panorama deck on the roof, the Stadthaus interlocks with its context through cutouts and terraces. These openair spaces remain accessible beyond the main opening hours and therefore serve as spatial and programmatic extensions. Light and water animations are an integral part of the Stadthaus and include a subtle relationship between nature and technology. Framing the main entrance, visitors will have to walk through computer – animated artificial rain dripping from underneath the flat cantilevered roof. “The Stadthaus and square construct is a new public building prototype offering simultaneity of city life in real, mediated, and virtual space,” says Mayer. Mayer wants not just to elevate the architecture of the building through his creations but evoke curiosity for the potential of a building and its context. His work was recently in an exhibition at New Delhi, India where Indian design firm Collaborative Architecture teamed up with J. Mayer H. to expand and explore design research and cutting-edge innovation for projects in India and selected regions of Asia and the Middle East. “Architecture should work as an activator to engage people from a passive mode of expectation to an involved level of participation and attention. Architecture is a catalyst which is not a background to an everyday life, but something that provokes you to rethink spatial conditions and concerns about our built environment,” explains Mayers. Going forward, Mayer believes that social architecture is going to be the future of building. “The discussions surrounding climate change, limited resources and questions of global equitable distribution are finally part of the general consciousness. Extreme weather events, some with catastrophic consequences, sharpen our view towards our future and lead to a discourse of sustainability that is shaping nearly every aspect of everyday life,” says the architect.
GID GLAMOUR
A CONNECTION _BEYOND LIGHT
ONE OF THE BRIGHTEST DESIGNERS ON THE LIGHTING DESIGN SCENE, SARVDEEP BASUR’S WORK IS PROOF OF WHAT HAPPENS WHEN IMAGINATION MEETS AMBITION. BY AARTHI MOHAN
Creative Collaboration Sarvdeep Basur (Left) has partnered with Afshin Jaberi (right), General Manager, Beauty Light Furniture to provide unique solutions to beautify with light.
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Beautifying by light is something Sarvdeep Basur is really passionate about. A brief stint for Phillips only stirred his creative pursuit for fine design and helped him discover and experiment more with the art side of light than the arithmetics of light. One of the first projects he did was the Sydney Opera House. “We kept re-inventing it every two years and that actually set the tone for decorative lighting in the Asia Pacific region”, he says. Then he transitioned into designing various hotels, monuments and interiors but his interest was always in designing homes. He has been closely associated with the Armani’s and together has developed the Armani homes.
Basur believes in looking at the finer side of light for visual comfort when designing a home. When you have less light it gives you opportunities to highlight unique pieces to make them look extravagant. To him, less light makes the ambience more pretty. The space has to exude comfort. The process of lighting design for Basur starts with understanding the intent of the designer who is leading the project. Lighting defines the hierarchy of vision and helps understand what one wants to see first. Then the aesthetic points are highlighted and are delivered in the best possible way. “Lighting defines the mood. Whether it is colour, texture, optics or spacing of lighting, everything has to be
done in accordance with what people want and what would give them maximum comfort”, he says. “In the words of a famous architect, lighting is the eldest daughter of architecture. Lighting makes spaces visible. It is the light that decides what the space is going to look like. Colour of light is also an important factor to be considered when designing. It should be soothing and not harsh. A common mistake made in lighting is that mornings are lighted less than evenings which should actually be the opposite. Cultural parameters of people, background and age of client are also important in choosing the proper lighting”, says Basur. The designer’s personal design preference includes simulating nature’s elements of light like moonlight, fire and water into all his projects. “We use a lot of elements of fire in our lighting design. We also like to simulate water on the walls and on the floor to recreate nature. Night is something everyone should celebrate and it is a relaxing part of an entire day. By simulating moonlight, it is my way of allowing people to relax. For a project
A Deep Connect Sarvdeep Basur’s work delves into the finer details of lighting design and helps one experience it like never before. He loves to simulate nature in all his projects.
“We like to simulate nature in our lighting designs. We use a lot of elements of fire, water to recreate nature. Night is something everyone should celebrate and by simulating moonlight, it is my way of allowing people to relax. ”
in China, we are working on preserving sunlight. People have forgotten that there is a sky above and nature is something they are running away from. As a designer I want to make people experience the beauty of it”, says the lighting expert. When it comes to design inspiration, Basur is influenced by the works of architect Louis Kahn. “He was a master lighting designer and used natural light to create effects. In the early 1900s when lighting technology was not developed, he understood light in a very practical and scientific way. I follow his work very closely”, he says. His portfolio of work includes the Golden Temple in Amritsar, Longshan temple in Taipei and he is currently working on the Kunming project in China which will be a celebration of night. Many projects in Qatar are also in the pipeline. Giving happiness to people through light and bringing wellness is a key parameter to Basur. He believes in taking lighting beyond the realms of illumination. Bringing a new level of thinking and
improving quality of life though educating people on appreciating light is something Basur believes in achieving through his companies Lucea Oscar and Lucent Lighting. Lucea Oscar is a subsidiary of a German company called Lucea Oscar Gmbh, which makes lighting fixtures for homes, hospitality and retail outlets and helps and assists people in appreciating light whereas Lucent lighting provides emphasis on educating people on various aspects of lighting and how they can incorporate it in homes and other projects. More than quantity, it is the quality of light which he plans on making people aware of. “We have partnered with Beauty Light & Furniture in Qatar to provide clients with not just the usual but with unique solutions to design with light”, he says. According to the designer, the future of lighting design looks very exciting because now people have started realising the value of good lighting and how it affects the mood, the way you look at life and how it can influence the human mind. GLAM INTERIORS + DESIGN
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Qatari artist Wafika Sultan is in awe of the interplay of lines at the Museum of Islamic Art building.
THE BEAUTY _OF SIMPLICITY Artist Wafika Sultan is the first Qatari woman to have travelled around the world and experience diverse cultures. She is said to be the pioneer of modern art in Qatar. Sultan has travelled to Egypt with a governmental grant to study Arts with specialisation in interior design at Cairo University and this broadened her visual senses. Her work was featured among the 23 Qatari artists in the Arab Museum of Modern Art in an exhibition titled “Swalif: Qatari Art Between Memory and Modernity”. Sultan’s favourite building is the Museum of Islamic Arts. “The Museum of Islamic Art is a masterpiece of art and architecture, the brilliance achieved through the interplay of simple lines. While the MIA is a building that evokes all sense of modernity through the play of light and shade keeping the requirements of a museum in mind, it is also a building that touches on Qatari Islamic art not just through its collection but also through the Islamic architecture principles it follows.” 66
GLAM INTERIORS + DESIGN