Against the Pyramids of Giza, Vhils’ Etched Portraits Are Monuments of the Everyday

In 2019, Egyptian photographer Nour El Massry captured an image of a historical building's terrace in Cairo's Garden City neighborhood. The photograph, featuring a spotless tiled balcony adorned with wicker chairs and worn kilim rugs amidst old and dusty facades, unexpectedly went viral on Instagram. Despite its popularity, El Massry felt he could better express his artistic vision. This experience motivated him to regularly share his photographs and photo collages of Egyptian interiors, cityscapes, and architecture on his Instagram account, @nour_elmassry. His work frequently evokes a sense of timelessness, reflecting Cairo's rich and diverse history, which includes Islamic, Coptic, Italian, British, and French influences. El Massry views Cairo, a megacity of approximately 22 million people, as a living museum. Rather than focusing on its 'chaos and overpopulation,' he aims to portray scenes that feel 'just like a dream,' capturing the serene beauty of the city. El Massry's aesthetic is deeply influenced by master painters such as Rembrandt, Michelangelo, and the Egyptian Cubist artist Hussein Bicar. He strives to make each photograph resemble a painting. To achieve this, he sometimes digitally enhances elements like moonlight, adds birds in flight, or frames images within other architectural elements, such as a window from an Islamic-style building. His collection includes diverse scenes like a tranquil felucca sailing on the Nile, potted plants sunning on a balcony, and the grand Art Deco entrance of an apartment building. One notable photograph, a view of the Great Pyramids of Giza taken from a hotel in 2022, was digitally enhanced with birds to convey a desired dream-like atmosphere. Another image showcases French-style architecture in downtown Cairo, a reflection of his studies in scenography and production design at Helwan University, where he specialized in Egyptian architecture. Among his works is a photo taken during a sunset visit to a friend's studio in Cairo in 2021, which he cherishes for its warmth and its depiction of Cairo's blend of old and modern structures. He also presents a nighttime view of ancient Islamic landmarks, including the Al-Azhar Mosque (established in 972) and the Qalawun complex (built in 1285). For this image, he enhanced the moonlight and the glow of the minarets, and added birds, intending to create a scene reminiscent of 'Arabian Nights.' Another photograph captures a felucca on the Nile, digitally framed by a window from an antique shop and featuring his characteristic addition of birds. An interior shot reveals the dining room of an old Egyptian house in Cairo's Haram district, a space he found perfectly preserved and requiring no alterations after gaining access from an elderly resident. El Massry’s work also features a flower shop in Zamalek, near his alma mater, photographed during a rain shower, which he describes as a 'romantic shot' filled with beautiful memories. Having moved to Cairo from Damietta 12 years prior for college, he developed a profound love for the city. He also captured a classic Mercedes-Benz in front of an old Zamalek building, a scene evoking old Egyptian cinema, drawing inspiration from filmmaker Shadi Abdel Salam's realistic yet positive portrayals of Egypt. Finally, an interior photograph of Bayt al-Kritliyya, an Islamic house built in 1632, is presented as a portal to another world. El Massry sees photography as a form of healing, especially during challenging times in Egypt, with its struggling economy, poverty, and regional conflicts. Through his art, he aims to provide inspiration and a sense of wonder. #NourElMassry #EgyptianPhotography #Cairo #HistoricalArchitecture #ArtisticVision #InstagramPhotography #CulturalHeritage #DreamyAesthetics #PhotoCollage

Contemporary interior design is witnessing a profound transformation, moving beyond mere aesthetics to create deeply personal, experiential, and expressive living spaces. This shift is marked by a resurgence of sculptures as primary design elements, transcending their traditional roles in museums and gardens to become integral components of architectural design within homes. Sculptures are now seen as instrumental in shaping the atmosphere and guiding movement within a residence, reflecting a growing appreciation for contemplative beauty in everyday life. Internationally recognized Indian sculptor Murtikar Naresh Kumar Kumawat, renowned for his Samudra Manthan mural in the new Parliament, emphasizes that sculptures are establishing themselves as a permanent fixture in interior design. Historically, Indian sculptures primarily depicted divine figures, animals, and intricate stone carvings. While these traditional forms continue to inspire contemporary aesthetics, modern Indian artists are broadening the scope to include abstract and kinetic art, utilizing diverse materials such as industrial steel, polished resin, and ceramic alloys. This evolution encourages residents and designers to approach the entire space as a canvas, where a singular, impactful sculpture can redefine the room's character. For instance, a large, abstract metal sculpture placed in a minimalist foyer can become a dynamic focal point, its raw energy invigorating an otherwise quiet space and complementing the overall architectural design. Sculptures possess a unique ability to engage viewers and redefine three-dimensional space in ways that two-dimensional paintings cannot. They invite interaction from multiple perspectives, influencing the flow and perception of a room. Designers are leveraging this characteristic, using sculptures to subtly direct movement and attention. A series of wall-mounted pieces, a rhythmically arranged collection, or a delicately suspended installation can guide the eye through a space. Furthermore, a strategically positioned large vertical sculpture in an open-plan living area can function as an elegant, non-physical divider, separating conversational zones from dining areas without the need for solid walls. This architectural utility is highly valued by individuals seeking distinctive living environments. There is a discernible trend among homeowners to view their residences as extensions of their identity, artistic preferences, and personal philosophies. This perspective has led to an increased demand for sculptures that function as small-scale architectural installations, indicative of a sophisticated artistic sensibility. In modern design, the selection of a sculpture often precedes furniture choices, with the artwork dictating the room's color palette, material textures, and lighting scheme. Subsequent furnishings are then carefully chosen to complement and support the sculpture, ensuring it remains the artistic nucleus of the space. In contemporary homes, sculptures are often placed to foster a seamless connection between indoor and outdoor environments. A robust stone or bronze figure, for example, can effectively anchor an interior, bridging the gap between sleek modern designs and the dynamic elements of a garden, thereby imparting a sense of timelessness and intentional connection with nature. Kumawat notes that this burgeoning artistic trend has significantly benefited the Indian contemporary art market. Homeowners are actively commissioning both emerging and established Indian sculptors for site-specific works, thereby fostering a stable and robust ecosystem for creative talent. This practice not only ensures an aesthetic fit tailored to individual homes but also cultivates a deep personal connection to local craftsmanship and artistic vision. The use of innovative and unconventional materials further enriches this trend. Sculptures crafted from reclaimed wood, repurposed textiles, or recycled industrial waste not only offer visual interest but also reflect a growing environmental consciousness and a commitment to responsible consumption among Indian consumers. Therefore, sculptures are no longer mere accents but central characters that structure and elevate modern Indian homes, transforming ordinary living areas into sophisticated, complex, and highly personalized works of art that capture a cultural moment characterized by optimism and discerning taste. #SculptureDesignTrend #HomeInteriors #ArchitecturalSculpture #IndianArt #MurtikarNareshKumarKumawat #ContemporaryArtMarket #SustainableArt #PersonalizedHomeDecor #ExperientialDesign

The article reflects on the artistic legacy of Mark Podwal, who passed away at 79, with a particular focus on his last major work: a Jewish Zodiac mosaic floor installed at the Museum at Eldridge Street. Podwal, known for his prolific career as an artist, author, and dermatologist, is described as a polymath whose work blended tradition with modern interpretation. The author recalls a personal encounter with Podwal in May 2023 at an exhibit at Eldridge Street, a 19th-century synagogue on the Lower East Side. Podwal was showcasing his modern adaptations of 16th-century woodcuts from the "Sefer Minhagim" (Book of Customs). Examples of his artistic modernization include adding a microwave to a scene of matzo-baking Israelites and a "Monty Python-esque hand" with a scalpel to a bris scene. During this meeting, Podwal wore a rosette from the French Ministry of Culture, highlighting his international recognition as an officer of the Order of Arts and Letters. He patiently explained the rabbinic sources that informed his contemporary artistic choices. The article mentions a previous review by the author of Podwal's "Jewish Bestiary," where the author had expressed disappointment with Podwal's depiction of the Leviathan. Podwal later clarified that the seemingly ordinary fish in his artwork was meant to encircle the entire Earth, a detail the author admits to having overlooked, acknowledging Podwal's valid critique. Podwal's extensive body of work spanned various mediums and venues, including designing posters for Metropolitan Opera productions (particularly those of Mozart, his favorite composer), creating textiles for synagogues in the Czech Republic, and illustrating books, notably those of Elie Wiesel. His final major project, the Jewish Zodiac mosaic, was particularly meaningful to him, especially given his roots in New York City. The mosaic, installed in the vestibule of the Eldridge Street synagogue's sanctuary, features a vibrant color palette, a departure from his earlier black-and-white editorial cartoons for The New York Times. Podwal's son, Ariel, noted that despite being a mosaic, it retained the distinct qualities of his father's painted lines. Two artisans from Progetto Arte Poli in Verona, Italy, were brought in for the installation, which Podwal was able to oversee before its unveiling in June. The mosaic is rich in historical and religious research, combining traditional zodiac motifs with corresponding Hebrew months and letters, infused with Podwal's characteristic whimsy. Notable examples from the mosaic include Gemini depicted as the twin tablets of the law, received in the month of Sivan, instead of human twins. Libra (Tishrei) features scales of justice balanced with a shofar, symbolizing the judgment of Yom Kippur. Pisces (Adar) shows two fish with hamantaschen heads, a nod to Purim, swimming in an aleph. The article details how these images are designed to provoke questions and encourage learning about Jewish tradition and symbolism, a purpose Podwal highly valued. The mosaic's visual impact, with its shimmering blue tiles and gold flecks, complements the synagogue's other architectural features, including Kiki Smith’s rose window. The article concludes by emphasizing that photographs do not fully capture the vibrancy and depth of Podwal's mosaic, underscoring its significance as a lasting reminder of his artistic genius. #MarkPodwal #JewishArt #EldridgeStreetMuseum #MosaicArt #JewishZodiac #CulturalHeritage #NewYorkCity #SynagogueArt #ContemporaryJewishArt

This article details the journey of Amy and Bruce Paul in designing and decorating their 11,000-square-foot home in Rye, New York, focusing on integrating their extensive art collection into a cohesive interior design. Having previously lived in a post-modern home with traditional furnishings and a growing contemporary art collection, the Pauls sought to create a new residence where the exterior architecture and interior aesthetics were harmoniously aligned with their personal taste in design and art. Their objective was to construct a home that could comfortably accommodate their family of six while optimally showcasing their practiced and perfected collection of paintings and sculptures. The couple acquired a 13-acre estate in Rye before the 2001 World Trade Center attacks, subdividing it into seven lots and reserving a two-plus-acre parcel for their own home. They collaborated with builder Michael DiChiaro to construct a six-bedroom, seven-full-bath residence that offers views of a wooded yard, later enhanced with a pool and waterfall by Coral Sea Pools, and adorned with bronze sculptures by Mexican artist Bruno Luna. For the interior design, Amy Paul enlisted Joseph R. Stabile of J.R. Cattington, who had previously worked with them. Stabile and his team were involved from the ground up, providing input on architectural design, interior finishes, electrical layouts, and lighting selection. Stabile chose a palette of cream and gold to complement the Pauls' artwork and suggested structural modifications, such as adding a doorway to improve flow in the formal living room. Amy's primary design directive was for a "light and bright" home, which was achieved in the living room through buttery gold satin-striped fabric from Robert Allen for window treatments and crystal wall sconces by Crystorama. This room serves as a gallery for various notable paintings, including works by Janet Treby, Liane Abrieu, and Russian artists. The soft color scheme is accented by silk brocade wing chairs with colorful throw pillows and fuchsia and silk rugs from China. The family room continues the luminous theme with yellow walls, a toile pattern by Antonia Vella, Seabrook wallcoverings, and similarly colored fabrics in lemon, green, and persimmon for window treatments, pillows, and side chairs. Crystal chandeliers from Murano, imported by Castilian Imports, were chosen to coordinate with paintings by Isaac Maimon and Charles Levier. The coffered ceiling in a green apple shade with cream-colored woodwork further enhances the vibrant, garden-like atmosphere. Bruce Paul's personal space, a clubby card room, contrasts with Amy's preferences, featuring dark wood paneling, built-in bookcases, a bar, and masculine fabrics. This room, separated from the family room by a stone-front fireplace, includes Biedermeier chairs with leopard-print fabric and various personal artifacts. Stabile designed the fireplace with intricately carved mahogany lions and used a Serengeti Leopard carpet to connect Bruce’s adjoining office. The Pauls' children, Joanna, Ryan, Matt, and Jason, also contributed to the design of their respective bedrooms and bathrooms, incorporating elements such as Masland Carpets, Bernhardt furnishings, and Thibaut wallpapers. The master bedroom, with its vaulted ceiling, presented a challenge in scale, addressed by Stabile using Highland Court silk brocade for a cornice "headboard" that coordinates with custom curtains. The article highlights the Pauls' passion for art collection, which began with a French artist Charles Levier painting and expanded to include works from their travels to Europe, South America, Asia, and the Southwest. Despite concerns about diminishing wall space, their quest for art, driven by personal connection and memories from their travels, continues. #HomeDesign #InteriorDecor #ArtCollection #LuxuryHome #RyeResidence #JosephStabile #CustomDesign #ArchitecturalFeatures #PersonalStyle

Aslan Tiles, situated in downtown Nablus, stands as the solitary remaining producer of traditional Palestinian tiles in the West Bank. The Aslan family has meticulously refined this craft across four generations since the 1930s. Despite receiving attractive proposals to relocate their operations to Israel, the family has steadfastly maintained their heritage in Nablus. Palestinian flagstone tiles enjoyed peak popularity in the 1930s, adorning the floors and walls of numerous urban residences throughout Palestine with intricate floral and geometric patterns. However, the advent of inexpensive, mass-produced tiles in the 1980s and 1990s led to a decline in demand for local tiles, resulting in the closure of many local tile producers across the West Bank. Nevertheless, over the past decade, Anan Aslan has observed a resurgence of interest in their bespoke, handcrafted products. The company, employing a staff of seven, operates from a modest three-building premises where they produce these unique tiles. Anan Aslan notes that there is a growing appreciation for their product, which people now view as a significant tradition and heritage, a tangible link to their past and roots. What was once considered a necessity valued for its durability is now seen as a luxury, with customers seeking to engage with this art form. Inside the Aslan workshop, nearly every surface is adorned with the company’s handiwork, creating a vibrant kaleidoscope of colors on walls and floors. The tile-making process is meticulous and labor-intensive. Luay and Omar, the youngest tile-makers, share a stencil and a tile press, each producing between 120 and 150 tiles daily. The process begins with cleaning the copper base of a mold with oil. Pigment is then carefully poured into segments of a stencil. Once the stencil is filled, it is delicately lifted, leaving a precise, watery impression of the design. Thaer then sifts a fine-ground cement over the design, followed by a denser, chunkier cement that forms the tile’s base. The workshop itself is covered in a fine layer of cement dust, and the tools are caked with years of pigment, a stark contrast to the delicate finished products arranged face-to-face behind the workstations. The workshop's office features a vast wall adorned with stencils, some dating back to the 1930s, offering approximately 750 designs that can be mixed and matched. Anan Aslan, representing the fourth generation, recently took over the management of the company from his father, Jalal, though over 100 family members retain shares in the business. Abu Walid, the oldest staff member, has been crafting tiles for the family since 1947, demonstrating exceptional precision in inspecting each finished tile. German-imported colored pigments line the workshop tables. Interestingly, the premises also house a functional chicken coop within one of the workshop buildings, its inhabitants navigating among the piles of tiles. Aslan Tiles exports 70 percent of its products to Israel, serving both Jewish and Arab Israeli clients. Anan collaborates with an Israeli contact who imports the tiles, often in plain, unmarked boxes, which are then forwarded to sellers who apply their own labels. A box destined for Israel is shown stamped with a Hebrew logo. Additionally, orange and black tiles are bundled in the yard, awaiting shipment. While the company receives inquiries from Jordan and the Gulf region, prohibitive export costs often deter potential customers in these areas. #PalestinianTiles #HandmadeCrafts #TraditionalArt #Nablus #FamilyBusiness #CulturalHeritage #WestBank #TileMakingProcess

Pitsou Kedem Architects, an Israeli firm, has integrated a unique, multi-purpose 'origami' wall into a private Tel Aviv penthouse, showcasing their expertise in geometric design. This innovative wall, crafted from folded iron, extends across the entire apartment, serving to define and isolate the sitting area and kitchen. Pitsou Kedem, the director who led the project alongside architect Nurit Ben Yosef, articulated the intention behind the wall as creating a cohesive design element that unifies the apartment's various spaces into a singular aesthetic language. The visually striking angular wall not only dominates the interior space but also functions as a 'smart' wall, as described by Kedem. It presents itself as an extended relief sculpture while ingeniously concealing the apartment's functional services. Electronic compartments within the wall open to reveal a television, and various integrated shapes house storage cupboards, a wine cabinet, and discreet doors leading to the toilets and bedroom. The design's rhythmic quality is further emphasized by the chevron parquet flooring, which Kedem notes provides a softening contrast to the prominent use of iron and natural stone materials throughout the living area and kitchen. Overhead, a network of hanging, exposed bulbs is strategically placed to enhance the matte finish of the wall and to illuminate the kitchen's clean and minimalist Boffi fixtures, with the lighting design credited to Orly Avron Alkabes. Even in the more private sections of the apartment, such as the bathrooms and bedroom, the design philosophy maintains a strong emphasis on form. Material continuity is evident, with the natural stone used for the kitchen counters reappearing on the bathroom walls. Furniture pieces, including the tub and bedside tables, are meticulously designed with sharp, elegant angles that echo the overall geometric theme. The origami ironwork extends to the balcony adjacent to the kitchen, where the seating and bar area incorporate the same distinctive angular folds. This design approach allows residents to conceal the modern conveniences of daily life, transforming the penthouse into an exceptionally distinctive setting. From this refined vantage point, occupants and guests can enjoy extensive views of Tel Aviv's evolving skyline, framed by a space where functionality and artistry are seamlessly interwoven. #PitsouKedemArchitects #TelAvivPenthouse #OrigamiWall #InteriorDesign #ArchitecturalInnovation #SmartHomeFeatures #GeometricDesign #LuxuryApartment #IsraeliArchitecture