Dispatch from Cairo: Omar Chakil Transforms Ancient Materials into Modern Marvels

This article features an interview with designer Omar Chakil, who has dedicated nearly a decade to reintroducing Egyptian alabaster onyx into contemporary design. Chakil, a French Egyptian Lebanese artist, describes himself as a self-taught natural aesthete driven to bridge cultural divides through his work. He is recognized for introducing the concept of collectible design to Egypt, with his pieces exhibited globally in Dubai, Brussels, New York, St Moritz, Venice, Athens, Cairo, and Paris. The interview delves into Chakil's unconventional entry into design, his affinity for indigenous materials and craftsmanship, his approach to overcoming design limitations, and his philosophy on uniting people through embracing individual uniqueness. Chakil’s journey into design began unexpectedly, influenced by his architect mother. Initially a singer, he found himself redesigning his studio in Paris, which led to decorating gigs despite lacking formal design education. A pivotal moment occurred when he was forced to return to Egypt, halting his singing career and prompting him to focus on product design. This redirection led him to explore traditional Egyptian crafts, eventually discovering the potential of alabaster, a material he initially disliked due to its common, unappealing market appearance. A friend, knowledgeable in history, convinced him of alabaster's significance, highlighting its endemic nature to Egypt and its historical use by pharaohs who valued its translucence as a symbolic gateway to the afterlife. His creative process is characterized by meticulous research and a focus on creating enduring, high-quality pieces rather than mass-produced items. Chakil emphasizes the importance of each object, intending for them to be cherished across generations, thereby fostering a deeper appreciation for the object’s story and the craftsmanship involved. Working with alabaster presents unique challenges; it is a hard stone but scratches easily, exhibits varying veining, and its quarries are largely inaccessible in Upper Egypt. These limitations necessitate building personal networks for sourcing and transportation, directly influencing his designs and pushing him to adapt to circumstantial constraints. He values collaboration with skilled craftspeople, believing that their expertise is essential for realizing his visions. Chakil discusses his unintentional but significant role in bringing collectible design to Egypt. His first collection, exhibited at the Beirut Art Fair in 2017, surprised many who couldn't believe the pieces were made from Egyptian alabaster, showcasing his ability to transform traditional materials into contemporary art. He aims to elevate Egyptian craft globally, drawing parallels with French and Italian design traditions that gained recognition through international exposure. Currently, Chakil is reinterpreting ancient Egyptian iconography, such as canopic jars, transforming their historical purpose of preserving organs for the afterlife into containers for hopes, wishes, and dreams. His recent exhibition at PAD Paris 2025 with Galerie Gastou further explores ancient Egyptian themes. Collaborating with Victor Gastou, Chakil was encouraged to use his unique design language to reference Egyptian history, particularly its impact on French culture. This exhibition marks his first venture into incorporating different types of marble alongside alabaster, as seen in pieces like the “Resurrection Table.” This scarab-shaped table combines Egyptian alabaster, Italian bianco, and Iranian onyx, symbolizing rebirth and humanity's shared connection to foundational civilizations, with an inscription that reads: “Like the scarab, guide me towards the light.” Chakil continues to seek new directions in his work, exploring other materials while maintaining his commitment to telling meaningful stories through endemic, local resources, with an upcoming show in We Design Beirut featuring no alabaster at all. #OmarChakil #EgyptianAlabaster #CollectibleDesign #ProductDesign #InteriorDesign #Craftsmanship #CulturalBridge #AncientEgypt #ModernDesign

Designer Omar Chakil has unveiled his new 17-piece furniture and objects collection, "Transcendence," currently on display at Galerie Gastou during PAD Paris. The collection is characterized by its use of luxurious stones, including marble and Egyptian alabaster, and draws inspiration from ancient Egyptian animal deities, reinterpreting them with a modern aesthetic. Chakil’s design philosophy aims to transcend mere functionality, elevating each piece into a collectible work of art that tells a story and evokes a narrative. Key pieces in the collection include the Uraeus Birth Chair and the Scarab coffee table. The Uraeus Birth Chair, a reinterpretation of an earlier work, features the silhouette of an upright hooded cobra, a symbol of divine power and protection in ancient Egypt. The Scarab coffee table is designed to resemble the plated exoskeleton of the scarab beetle, an ancient Egyptian symbol of rebirth, resurrection, and transformation. Both pieces exemplify Chakil’s approach to blending historical symbolism with contemporary design, utilizing materials that highlight their inherent beauty and versatility. Another notable item is Nubia, a capsule-shaped monolithic totem with carved, niche-like shelves. This piece, originally designed for an exhibition at Cairo's Le Lab gallery, showcases the striated composition of alabaster onyx and is named after the ancient region along the Nile River. The Sobek bench, with its gently curved form and marble base adorned with subtle hieroglyphs, mimics the fossilized tail of a Nile crocodile. These pieces demonstrate Chakil's commitment to using indigenous Egyptian materials and historical references to create distinctive and meaningful designs. In addition to larger furniture, the collection also features a series of containers inspired by the canopic jars used by ancient Egyptians for mummification. Chakil describes these colorful vessels as intended to store "unfulfilled hopes and dreams for the afterlife," each with an aerodynamic lid symbolizing potential velocity through time and space. This imaginative concept further underscores the collection's theme of transcendence and narrative depth, moving beyond practical storage to a more philosophical engagement with objects. Chakil’s work reflects his multicultural background, having been raised and trained in France, Egypt, and Lebanon. His return to Egypt in 2019 spurred his focus on alabaster onyx, a material he aims to popularize in contemporary art and interior design. The exhibition at PAD Paris marks his first collaboration with Galerie Gastou, which, under the direction of Victor Gastou, sought to create a setting that evokes the afterlife rituals of pharaohs, surrounding the pieces with a scenography designed by architect Matthieu Poirier-Lauvin to echo the monumental architecture of ancient Egypt. This curated presentation enhances the thematic depth of Chakil’s collection, creating an immersive experience for visitors. #OmarChakil #StoneFurniture #EgyptianGods #PADParis #CollectibleDesign #Marble #Alabaster #GalerieGastou #ContemporaryDesign

Popham Design, a company specializing in encaustic cement tiles, originated from a sabbatical trip to Morocco taken by founders Caitlin and Samuel Dowe-Sandes. They were captivated by Morocco's vibrant craft culture, leading them to establish a workshop near Marrakech. The company employs skilled tile makers who produce tiles that merge contemporary design aesthetics with traditional Moroccan artistry. The design elements are inspired by ancient Moroccan art, architecture, and the natural environment. These tiles feature motifs and patterns that reflect a deep appreciation for the country's historical and cultural heritage, while also incorporating modern sensibilities in their form and color palettes. The manufacturing process of Popham Design tiles emphasizes sustainability and durability. They are handcrafted in an eco-conscious factory, utilizing locally sourced materials and reclaimed water. The key to their longevity lies in the pigmented face layer of each tile, which is several millimeters thick. This substantial layer ensures that the rich, vibrant colors and intricate patterns remain intact over time, mirroring the enduring quality of centuries-old traditional tiles. This robust construction makes them comparable to porous stone tiles in their need for proper care. To maintain their beauty and integrity, encaustic cement tiles from Popham Design require sealing both before and after installation. This process protects the porous surface from stains and wear, contributing to their long-term preservation. The majority of Popham Design's tile collections are available through special order, primarily via AnnSacks.com, catering to a discerning clientele seeking unique and high-quality finishes. Pricing for these artisanal tiles begins at approximately $25 per square foot, reflecting their handcrafted nature, design complexity, and commitment to sustainable production methods. The company’s website, pophamdesign.com, serves as a central resource for information regarding their products and design philosophy. Popham Design's approach not only offers distinctive interior design options but also plays a role in preserving Morocco's rich tradition of artisanal craftsmanship. By integrating ancient techniques and artistic motifs with modern design, the company ensures that these cultural elements continue to thrive in contemporary contexts. The tiles represent a bridge between the past and present, offering a piece of Moroccan heritage adapted for modern homes and commercial spaces. This fusion of tradition and innovation allows for the perpetuation of skilled handiwork and cultural expression through functional art. #MoroccanTiles #EncausticCementTiles #PophamDesign #ArtisanalCraftsmanship #SustainableDesign #TileInstallation #HomeDecoration #InteriorDesign #CulturalHeritage

The article explores the collaboration between designers Stephen Burks and Malika Leiper of Stephen Burks Man Made, and the Italian wood veneer company Alpi, to translate the intricate patterns of Kuba cloth into a contemporary design product. Kuba cloth, a raffia textile handcrafted by the Kuba people of the Democratic Republic of Congo, originated in the 17th century and served as a significant status symbol among the ruling class. While it was once thought that the tradition of Kuba cloth declined after the kingdom's fall due to internal rebellions and colonization, Burks and Leiper discovered during a visit to Kinshasa that this ancient art form is, in fact, thriving among a new generation of artists and makers in villages. Burks clarifies that the perception of Kuba cloth as a 'dying artform' is a Western misconception, often influenced by the commodification of 'prestige cloths.' His and Leiper's practice, Stephen Burks Man Made, is dedicated to demonstrating the current vitality of Kuba art, emphasizing that for Kuba to have a future, it must have a present. Their efforts include producing a documentary, curating an exhibition in Japan, and designing the scenography for an upcoming show at the Mint Museum in Charlotte, North Carolina, all centered on their research into Kuba cloth. A pivotal project in their endeavor is the collaboration with Alpi, a company established in 1919 and renowned for its designer collaborations with figures such as Ettore Sottsass, Alessandro Mendini, Konstantin Grcic, Patricia Urquiola, and Ron Arad. Alpi's president, Vittorio Alpi, expresses a passion for experimentation and invites designers to create unique pieces that push the boundaries of industrial production, granting three-dimensionality to Alpi surfaces. At Design Miami 2025, Burks and Leiper unveiled their collection of sculptural furnishings, titled 'Lost Cloth Object,' which translates the geometric patterns of traditional Kuba textiles. This collection, presented as part of the fair’s 2.0 section curated by Glenn Adamson, serves as a conceptual starting point for a commercial veneer that will be developed with Alpi. Burks highlights that their practice consistently investigates the intersection of craft, community, and industry. The design process involved creating a Kuba-inspired motif using thousands of laser-thin sheets of FSC-certified poplar veneer, a technique that embodies both repetition and variation, mirroring the inherent qualities of Kuba cloth. Leiper explains that each motif in Kuba cloth carries social meaning, indicating the maker or wearer, and often mimics natural shapes, acting as a language in itself. The use of variegated veneers from Alpi’s Legacy Collection adds another layer of significance, as these veneers replicate the appearance of endangered wood species like ebony, teak, rosewood, and zebrawood, without contributing to deforestation. Vittorio Alpi notes that this collection allows for the reproduction of rare woods sustainably. The 'Lost Cloth Object' collection features a curved platform, round stools, and a circular partition with integrated shelving, designed to evoke both Alpi’s postmodern collaborative tradition and the sacred, ceremonial contexts in which Kuba cloth is traditionally used. While the specific sculptural objects will not be mass-produced, the 'Lost Cloth Object' pattern is intended for further development as a commercial veneer. Burks concludes that the project honors the traditions of the Kuba Kingdom by combining African patterns with natural wood in a sculptural, modern application, connecting to Alpi's legacy of surface design. #AfricanTextile #KubaCloth #StephenBurksManMade #Alpi #DesignCollaboration #VeneerDesign #Craftsmanship #DesignMiami #CulturalPreservation

The article details a site-specific installation by Berlin-based Barkow Leibinger Architects, titled ‘Loom-Hyperbolic’, showcased at the fourth Marrakech Biennale. This architectural piece is situated within the grounds of Mosque Koutoubia, Marrakech, and draws inspiration from Moroccan weaving traditions and the geometric patterns prevalent in local architecture. The installation is constructed primarily from local hand-peeled pinewood, designed to emulate the form of a traditional wooden loom. When yarn is stretched across its frames, it creates a canopy with a ‘hyperbolic’ effect. The structural arrangement features a grid pattern that thoughtfully references the positioning of ancient, broken-off columns nearby. ‘Loom-Hyperbolic’ is a prominent feature of the Biennale's main visual arts exhibition, 'Higher Atlas', which also includes contributions from notable figures such as former Turner Prize nominee Roger Hiorns and architect Juergen Mayer H. The installation offers a unique blend of familiarity and foreignness within its historical setting, providing distinct viewing experiences from above the ruins or from within its tent-like seclusion, whether observed during the day or at night. Photographs accompanying the article illustrate various aspects of the installation. One image captures the web-like structure crafted from wooden elements and cotton webbing, highlighting its intricate design and integration with the surrounding environment. Another photograph shows rocks used to secure the wooden posts to the ground, emphasizing the practical construction methods employed. An overhead shot provides a comprehensive view of the structure's scale and form. A night-time photograph showcases the illuminated installation, underscoring its ethereal quality. Additionally, sketches from Barkow Leibinger Architects reveal the detailed grid formation, reflecting its connection to the historical context of the site, and a close-up sketch illustrates how the angled wooden poles contribute to the hyperbolic canopy created by the stretched yarn. The article highlights the thoughtful design process that bridges contemporary architecture with local heritage and craftsmanship. #MarrakechBiennale #BarkowLeibingerArchitects #LoomHyperbolic #MoroccanCraftsmanship #ArchitecturalInstallation #SiteSpecificArt #MosqueKoutoubia #ContemporaryArchitecture

The Portuguese artist Alexandre Farto, known as Vhils, has unveiled a new site-specific installation titled "Doors of Cairo" set against the backdrop of the Pyramids of Giza. This work features a collection of his signature etched portraits on 65 repurposed doors, exploring themes of intimacy, memory, and the transient nature of human imprints on the world. The installation draws a poignant contrast between the eternal monuments of the ancient Egyptian kings and gods and the temporary nature of his artwork, made from salvaged wood and intended to disappear after its exhibition period. Vhils emphasizes that both endeavors stem from the same fundamental human impulse to build, remember, and leave a trace. "Doors of Cairo" is part of the fifth *Forever Is Now* project, an ongoing exhibition curated by Art D’Égypte with the support of UNESCO. Vhils is the first Portuguese artist to be invited to participate in this prestigious initiative. The 65 doors used in the installation were sourced from demolition sites and renovation projects in both Portugal and Egypt, physically connecting the artist's homeland to the historic site. Each door carries visible traces of its former life, such as chipped paint, scuffed surfaces, and faint fingerprints, which contribute to the layered narrative of the artwork. The etched portraits depicted on the doors are not of specific individuals but serve as symbolic representations of people across time and communities. Vhils explains that a single face can embody an individual, a community, a generation, or a shared emotional landscape, highlighting the inseparable connection between people and places. He further elaborates that memory becomes embedded in matter, and identity is constructed from numerous invisible layers, echoing the historical weight carried by the ancient pyramids. The creation process involved six months of carving in Vhils' studio, including the development of a smaller, sculptural version that will outlast the outdoor installation. On-site, Vhils spent three days shaping and reshaping the composition of the doors, allowing the installation to evolve intuitively, guided by the scale, texture, and rhythm of the individual pieces. This organic approach underscores the dialogue between the everyday objects and the eternal monuments. Vhils describes the project as a conversation between the ordinary wooden doors of everyday lives and the enduring stone pyramids that have witnessed countless civilizations. This juxtaposition serves as a reminder that even temporary creations can hold significant historical and emotional weight. "Doors of Cairo" is on display through December 7, offering visitors a unique perspective on human endeavor and legacy amidst one of the world's most ancient wonders. The installation encourages contemplation on how humanity marks its existence and the varying scales and durations of these imprints. #Vhils #PublicArt #InstallationArt #EtchedPortraits #GizaPyramids #EgyptArt #SiteSpecificArt #ArtDÉgypte #CulturalHeritage

The article explores the profound and long-standing influence of Islamic art and design on Western artistic creation, particularly highlighting its role in shaping modernity. It begins by discussing the exhibition "Cartier and Islamic Art: In Search of Modernity," currently at the Dallas Museum of Art, which showcases how Islamic geometric designs inspired Cartier's groundbreaking modern aesthetic in fine jewellery at the turn of the 20th century. This exhibition underscores a relationship between European and Islamic art that has been historically complex, marked by both fascination and political dynamics. In the 19th century, with the advent of the colonial era, increased Western influence in the Middle East opened up travel opportunities for European and North American artists. These artists traveled to cities like Constantinople, Jerusalem, Cairo, and Marrakech, creating paintings that, despite their often clichéd and Orientalist depictions of people and cultures, accurately rendered the beauty of Islamic craftsmanship. These works offered Western audiences their initial exposure to Islamic art, including stylized floral tiles, geometric architectural features, ornate metalwork, jewellery, and textiles. Experts note that these artistic portrayals preceded serious academic scholarship, driving a market for Islamic artefacts among collectors. While collectors sought originals, designers found inspiration in Islamic motifs. Ottoman ceramics influenced European manufacturers, and Alhambra vases inspired imitations. Books from the period, such as Christopher Dresser's "Studies in Design," even provided guidance on incorporating Islamic elements into home decor. However, this growing Western appreciation coincided with a decline in the practice of these crafts in their native countries due to Western colonization and cultural infiltration, leading to a period of artistic stagnation and Western aesthetics overpowering indigenous traditions. Early Western exhibitions of Islamic art, such as the 1893 display by the Union Centrale des Arts Décoratifs, faced criticism for their Orientalist scenography and genre mixing. It was not until Gaston Migeon's 1903 "Exposition des arts Musulmans" that a more scientifically organized and critically acclaimed display emerged, generating significant enthusiasm and opening Western eyes to the true depth of Islamic art. Louis Cartier, though not confirmed to have visited the exhibition, certainly had access to its catalogue, and it is believed to have been a pivotal source of inspiration for him. At a time when European jewellers were recycling historical styles, Cartier sought a new aesthetic, rejecting the prevalent Art Nouveau. The 1903 exhibition provided him with a new visual vocabulary rooted in the geometry and distilled motifs of Islamic art. He began integrating these elements into his designs as early as 1903, sometimes in minimalist pieces and other times blending them with existing garland styles. A subsequent groundbreaking exhibition in Munich in 1910 further spurred Cartier's interest, leading him to build his own collection of 16th and 17th-century Iranian and Indian manuscripts, paintings, and inlaid objects. From then on, Islamic architecture, manuscripts, and textiles became a consistent source of inspiration for Cartier, influencing motifs like crenelated parapets, brick patterns, almond-shaped mandorlas, finials, and scrolls. The colours and materials of the Iranian world, such as lapis lazuli, sapphire, jade, and emerald, became prominent in his designs, often mimicking the glazed ceramic brickwork of Central Asia. The article highlights a 1922 bandeau by Cartier featuring coral, onyx, and diamonds, which exemplifies the integration of miniature architecture and curvilinear forms. Beyond Cartier, the influence of Islamic design permeated various artistic fields. Henri Matisse's visit to the Alhambra after the 1910 Munich exhibition led to more intense colours and flatter patterns in his work, with his paper cut-outs showing unmistakable similarities to tessellated tile work. MC Escher was also deeply inspired by the Alhambra's symmetry and mathematical ingenuity. In performing arts, Leon Bakst's Oriental costumes for the Ballets Russes influenced couturiers like Paul Poiret, who created lifestyle experiences incorporating Islamic-inspired fashion, furniture, and textiles. Carlo Bugatti, an innovative furniture designer, similarly integrated Islamic effects like muqarnas and horseshoe arches into his creations. Although Islamic design fell out of favour in the West by the mid-20th century, recent exhibitions, such as "Islamophiles: L'Europe moderne et les arts d'Islam" (2011) and "Inspired by the East: How the Islamic World Influenced Western Art" (2019), have revived interest. The ongoing Cartier exhibition aims to serve as a catalyst, reintroducing these historical objects to new audiences and potentially inspiring a new generation of artists and designers, reflecting a continuous trajectory of influence and reinterpretation. #IslamicArt #CartierJewellery #ModernAesthetics #ArtHistory #CulturalExchange #DesignInfluence #Orientalism #Exhibition

French architect Clarisse Merlet, through her studio FabBRICK, is demonstrating the significant potential of recycling textile waste into viable construction materials. Originating from a school project, Merlet's initiative addresses the substantial pollution generated by the construction and fashion industries. The fashion industry alone contributes millions of tons of textile waste annually in Europe, with a considerable portion remaining uncollected. FabBRICK aims to transform this discarded textile into insulating, structural, and aesthetic building bricks, which can then be used to create furniture or partition walls. The development process involved extensive experimentation to refine the technique. Initially, discarded textiles are sorted by color, responding to customer preferences as FabBRICK avoids dyeing its bricks, instead deriving color from the source materials. The textile is then shredded into fibers of varying lengths (7mm, 20mm, or 40mm) depending on the project's requirements. A crucial element of the process is the proprietary, 100% ecological binding agent, developed with an engineer, which transforms the textile fibers into a clay-like consistency. This binding agent was specifically formulated to be rot-proof and mold-resistant, overcoming a significant challenge in using organic waste for construction. The mixture of fibers and glue is carefully weighed to ensure consistent density before being manually loaded into a patented machine. This machine compresses the mixture into brick form over approximately 30 minutes. The bricks then undergo a natural drying process in ambient air for 10 to 15 days. Once cured, these bricks exhibit impressive characteristics, including mechanical resistance comparable to concrete blocks, good acoustic and thermal insulation properties, and satisfactory fire resistance. While they possess good water resistance, indoor use is currently recommended. FabBRICK's business model emphasizes local production, with all ingredients and machinery sourced locally in France. This commitment to proximity is a core value, aiming to foster local manufacturing and reduce environmental impact. Despite its local focus, the studio has a global vision, recognizing the ubiquitous nature of fast fashion waste. The long-term plan involves automating the production process to increase recycling capacity and replicating the FabBRICK Factory model first within France and then internationally. This expansion strategy seeks to establish local production units globally, situated close to sources of textile waste, thereby promoting sustainable construction practices worldwide. #SustainableDesign #InnovativeMaterials #TextileRecycling #EcoFriendlyConstruction #CircularEconomy #ArchitecturalInnovation #LocalProduction #FabBRICK

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

Extra&ordinary; Design is a London-based studio founded by Hyunhee Hwang, specializing in creating design-led products that elevate everyday spaces. Hwang's extensive experience in the design industry in South Korea and England, spanning over a decade, has shaped her distinctive aesthetic. This aesthetic is characterized by a blend of playful colors, sculptural forms, and the innovative use of jesmonite, a versatile composite material known for its tactile qualities and ability to mimic natural stone. The studio's latest collection, named Scala, draws inspiration from the grandeur of Roman marble architecture, specifically focusing on the visual elements of marble block stairs and columns. The Scala collection encompasses a range of home objects, including vases, candle holders, incense holders, and decorative trays. Each item within this collection is individually cast and meticulously handmade, resulting in unique marble-like characteristics and finishes. This artisanal approach ensures that no two pieces are exactly alike, adding to their individual charm and exclusivity. The use of jesmonite allows for the replication of marble's luxurious appearance while offering a more sustainable and lightweight alternative. Beyond the Scala collection, Extra&ordinary; Design also features pieces from its Jumony collection. This collection includes accessory trays and wall-mounted planters, which are distinguished by their ruffled edges. These delicate, fabric-inspired details are a direct nod to traditional Korean garments and accessories, reflecting Hwang's cultural heritage and her ability to integrate diverse influences into contemporary design. The Jumony collection's design elements evoke a sense of softness and movement, contrasting with the more structured forms of the Scala collection, yet maintaining the studio's overarching commitment to unique and visually engaging objects. Extra&ordinary; Design's philosophy centers on transforming mundane household items into pieces of art that contribute to the overall aesthetic and atmosphere of a home. By focusing on unexpected forms, vibrant colors, and innovative materials like jesmonite, the studio aims to create objects that are not only functional but also serve as focal points in a space. This approach challenges the conventional understanding of home furnishings, encouraging consumers to view everyday objects as opportunities for artistic expression and personal style. The studio’s dedication to craftsmanship and thoughtful design is evident in every piece, making each a conversation starter and a testament to the beauty that can be found in the reimagining of the ordinary. #ExtraordinaryDesign #HomeDecor #Jesmonite #SculpturalDesign #InteriorDesign #HandmadeObjects #ScalaCollection #JumonyCollection #HyunheeHwang

Village Handcrafted Cabinetry, a company based in Lansdale, Pennsylvania, has been creating custom cabinetry and wood products for over three decades. Founded by Joseph Trave, the business specializes in designing, building, finishing, and installing a wide range of custom items, including bathroom vanities, cabinet doors, kitchen cabinets, pantries, and walk-in closets. The company caters primarily to mid- to high-end residential clients, working with designers, builders, remodelers, and a small percentage of retail customers. Joseph Trave's passion for woodworking began at a young age, leading him to establish the company in 2000. Starting from a 400-square-foot garage, the business has expanded significantly to occupy over 60,000 square feet of manufacturing space. In 2003, Trave acquired another local cabinetmaker's business, Village Woodshop, integrating its machinery and employees. The company later moved to Lansdale in 2006, establishing a showroom and a larger production facility. Over the years, the company has navigated economic challenges, including recessions and a pandemic, through the dedicated efforts of its four-person management team, which includes Joseph Trave as CEO, his wife Gina as director of marketing, Gary Marks as director of finance and purchasing, and Jennifer Marks as director of Human Resources/payroll. Village Handcrafted Cabinetry prides itself on its ability to produce custom products entirely in-house. All cabinet construction utilizes mortise and tenon joinery. The company also produces its own moldings, offering an extensive library of 1,200 profiles and the capability to create custom profiles to match existing designs. The manufacturing process incorporates advanced technology, including CNC equipment for both panel processing and solid-wood machining. Automated loaders and unloaders are used with their Stratos 3-axis machining center and Weeke Vantage 2000 CNC processing center, facilitating efficient production of nested panels and raised panel doors. Further technological investments include TigerStop stations for producing stiles and rails, and a miter fold machine for creating precisely joined corners and face frames. For sanding, the company uses a Timesavers multi-head flat sander and an MB Roba Tech sander, which is capable of sanding both flat and profiled parts. A sophisticated dust collection system gathers sawdust, which is then burned to provide heat for the facility during winter, showcasing an environmentally conscious approach to waste management. The company also features an in-house finishing lab, referred to as the “finishing kitchen,” where skilled artisans perform custom color matching. Clients often present complex finishing challenges, and the team meticulously creates samples under bright lights to ensure exact color replication, with both the company and the client retaining a sample for consistency. A newer addition is a small in-house metalworking shop, which handles minor fabrication for items like hoods and floating shelves, ensuring proper separation from woodworking operations for safety. Despite its current 60,000 square feet of production space, the company produces approximately seven to ten kitchens per week and is exploring further growth opportunities, including potential acquisitions or additional facilities. #cabinetry #customCabinets #woodworking #CNCManufacturing #residentialDesign #kitchenDesign #handcraftedLook #productionEfficiency #woodDustCollection

Lebanese designer Charles Kalpakian has introduced 'Rocky,' a credenza distinguished by its sharp, angular, and sculptural aesthetics. This design represents a three-dimensional interpretation of a traditional pattern frequently employed by cabinet makers, integrating optical illusions to manipulate perceptions of space and volume. The credenza's appearance dynamically shifts depending on the viewer's perspective, offering a constantly evolving visual experience. Crafted from steel, the 'Rocky' credenza features a subtly textured coating available in three distinct color options: black, blue, and aluminum grey. Each color choice enhances the credenza's angular forms, allowing the play of light and shadow to further define its sculptural quality. The steel construction ensures durability and a contemporary industrial aesthetic, while the textured finish adds a tactile dimension to the visual depth created by the optical illusions. Kalpakian’s design process for 'Rocky' involved extensive experimentation, including the use of 3D printed prototypes. These prototypes were instrumental in refining the precise angles and lines necessary to achieve the desired optical effects, ensuring that the credenza’s structure effectively tricks the eye into perceiving varying depths and forms. This meticulous approach highlights the designer's commitment to both innovative aesthetics and precise execution. The functionality of 'Rocky' is also carefully considered. The shelving units are designed to accommodate oversized books, reflecting a practical application for its unique structure. This feature ensures that the credenza is not merely a sculptural art piece but also a functional furniture item, capable of serving its primary purpose effectively while simultaneously acting as a striking design element within any interior space. 'Rocky' forms part of Charles Kalpakian's broader Middle Eastern furniture collection, which often explores the intersection of traditional craftsmanship with modern design principles and technological advancements. This collection frequently showcases his ability to infuse contemporary pieces with cultural resonance while pushing the boundaries of material and form. The credenza exemplifies his signature style, characterized by a blend of artistic vision and practical design. The piece challenges conventional perceptions of furniture by transforming static objects into dynamic visual experiences through the strategic application of geometric principles and optical play. Its versatile color options and robust construction ensure its suitability for a variety of interior design schemes, from minimalist to more eclectic environments. #CharlesKalpakian #RockyShelves #OpticalIllusions #FurnitureDesign #Credenza #SteelFurniture #SculpturalDesign #ContemporaryDesign #InteriorDesign

The article presents an interview between Joy Moyler and Esha Ahmed, focusing on Ahmed’s journey into textile design and the philosophy behind her brand, Makrosha. Esha Ahmed, born in Bangladesh and raised in New York, recounts her early introduction to textiles through her mother’s extensive sari collection in Jackson Heights. These early experiences, including playfully repurposing saris into costumes, sparked her interest in fabrics and fashion. Ahmed's formal education at the Fashion Institute of Technology, where she studied fashion design and later costume preservation and textiles for her master’s, further solidified her passion. Her initial career involved managing designer Peter Marino's extensive textile collection, an experience that broadened her understanding of textiles within interior design, covering commercial, residential, and hospitality projects. This role provided insight into both the creation and application of textiles, exposing her to numerous vendors and artisans. Following her tenure with Marino, Ahmed launched Makrosha, a business specializing in fabric, rugs, and throw pillows. A core mission for Makrosha is to preserve and support vanishing traditional weaving arts globally, ensuring the survival of high-quality, handcrafted textiles. Ahmed collaborates with weavers worldwide, each contributing unique methods and aesthetics to her designs. She also partners with designers for custom textiles and represents Aïssa Dione Tissus, a Senegalese master weaver known for handwoven fabrics. Ahmed draws inspiration from historical fashion design, particularly medieval styles, and shares an affinity for late 18th-century Europe and medieval Spain, periods known for their ornate, colorful, and detailed designs that resulted from cultural fusions. She acknowledges the historical influence of the fashion industry on luxury home textiles, observing how trends from designers like Dries Van Noten often translate into the home market. However, Ahmed expresses concerns about the modern culture of disposability and emphasizes the importance of sustainability and longevity in design. She advocates for investing in high-quality items, such as hand-knotted rugs that can take months to create, intending for them to last generations rather than being treated as disposable goods. Her design process involves starting with inspirations from her antique collection, developing renderings with mills, and collaborating closely with individual makers across different cultures, such as those in Laos, Nepal, and England, to ensure the essence of craftsmanship is maintained. Ahmed stresses that true quality and craftsmanship come from this collaborative, hands-on approach. The conversation highlights the critical need to protect traditional weaving practices from extinction due to increasing mechanization, underscoring Makrosha's role in keeping these artisanal skills alive. #TextileDesign #GlobalWeaving #EshaAhmed #Makrosha #InteriorDesign #SustainableDesign #ArtisanalCraftsmanship #FashionHistory #HomeDecor

The article delves into the creative journey of Abdallah Alayan, a Tāmaki Makaurau-based architect, and his collaboration with GH Commercial to explore the capabilities of their new Designer Jet technology. Alayan, known for his innovative approach to craft and creativity, was initially recognized for his profound master's thesis project at the University of Auckland School of Architecture and Planning. His thesis, titled 'Faith in Fiordland,' proposed architectural interventions along a pilgrimage route from Te Anau to Milford Sound, aiming to foster spiritual engagement in an increasingly secular society. The project focused on architecture's potential to evoke poetry and heighten spirituality within the natural landscape by spatially abstracting common practices from various faiths, creating inclusive interventions that unified religious and non-religious individuals through a shared connection to nature's spiritual weight. This work earned him the 2019 Te Kāhui Whaihanga New Zealand Institute of Architects Resene Student Design Award for its clarity, sensitivity, inclusivity, and optimism. Five years later, Alayan embarked on a personal pilgrimage through the Middle East and Mediterranean, visiting remote Greek monasteries. During this journey, the Monastery of Varlaam, perched above Kastraki village in Thessaly, particularly captivated him. He was struck by the visual tapestry formed by the lush greenery, terracotta roofs, and muted rock formations. This experience later influenced his design work. Currently, as an associate at Monk Mackenzie, a multidisciplinary architecture practice, Alayan engages in both commercial and residential projects, exercising a high degree of creativity and craftsmanship. His involvement extends to bespoke furniture and product design, broadening his expertise beyond traditional architecture. Additionally, he runs his eponymous practice, founded in 2019, specializing in boutique architectural and spatial concepts. When GH Commercial introduced its Designer Jet technology to the Australasian market, they presented Alayan with an open-ended brief. This custom carpet technology allows for endless color and bespoke design possibilities, enabling the transfer of patterns, drawings, or images onto carpets with precision engineering. Alayan's objective was to showcase the technology's vast potential while honoring the traditions of tapestry and printing. He identified directionality as a common thread between tapestry, which generates complex images through sequential linear knotting, and digital printing, which applies color directionally. This insight led him to develop a design featuring fine horizontal lines, abstracting traditional processes. To inform the color scheme, Alayan chose to manipulate a photograph from his trip, specifically the image captured at the Monastery of Varlaam, which depicted both architectural and natural elements. This choice resonated with the tradition of incorporating natural and architectural motifs in carpet designs across various cultures, adding another layer to his design's inspiration. Through digital manipulation—selectively expanding and contracting image portions and adjusting color saturation—he achieved his desired outcome. The design features a composition of lines that subtly fade inwards, in both color and visibility, towards a central point where the original image is almost discernible, yet remains open to interpretation. This effect then blurs and fades outwards again, referencing how individual threads or lines in tapestry and printing converge to form larger images. The final custom carpet, a six-meter-long piece, was produced using the cut pile option, which Alayan found best demonstrated the Designer Jet technology's capability to print thousands of colors with impressive precision, creating unexpected color bleeds that added depth. The end result was a striking, vibrant, and evocative piece of art, showcasing the technology's advanced capabilities with minimal pixelation, proving how far this technology can push creative boundaries. The Designer Jet Carpets boast several key features: an ACCS Rating 4 Star for Contract Extra Heavy Duty performance; texture options including cut pile (17oz for standard feel, 26oz for superior comfort) and loop pile (22oz and 24oz for distinctive texture); and size options like rolls (1.96m wide), carpet tiles (500mm x 500mm), or planks (250mm x 1000mm) for flexible installation. From a sustainability perspective, the carpets are Declare Red List Free, Green Building Council compliant, hold Environmental Certification Level 4 (maximum level), and are ISO 9001, ISO 14001, and ISO 45001 certified, as well as PVC, BPA, and Phthalate Free. They also offer fast and cost-effective production in an Australian factory, with no design fees, smaller minimum orders, and flexible pricing. #AbdallahAlayan #DesignerJetTechnology #CustomCarpet #ArchitecturalDesign #TextileInnovation #MonasteryOfVarlaam #AbstractArt #SustainableDesign #InteriorProducts

The Immobilia apartments in Cairo offer a unique and immersive experience for travelers seeking an alternative to conventional luxury hotels. Located in the bustling center of Cairo, near Tahrir Square and the Egyptian Museum, the Immobilia building is a historic Art Deco skyscraper, once the tallest in the Middle East and Africa. Constructed between 1938 and 1940 by industrialist Ahmed Abboud Pasha and designed by Max Edrei and Gaston Rossi, the building was a pioneer in modern Egyptian architecture, attracting Cairo's elite with its elegant design and views of the Nile. Today, the building houses four recently renovated apartments, part of the Egypt Beyond portfolio, offering a stay that blends historical charm with contemporary comfort. The apartments, overseen by Ali, a former butler to the American ambassador, provide a distinct Cairene experience. Upon arrival, the building's exterior and dimly lit lobby, flanked by various small businesses, offer little hint of the luxurious and serene spaces within. However, stepping into apartments like "Leila’s Apartment" reveals a hidden sanctuary, a peaceful retreat above the city's din. These spaces are meticulously restored and decorated by lawyer and hotelier Florian Amereller, with contributions from designer Zeina Aboukheir. The interiors honor the building's original Art Deco style while incorporating a mix of antiques, objets d’art, and custom-sourced furniture, reflecting a romanticized vision of the past. The process of furnishing these apartments involved an extensive treasure hunt for unique pieces, utilizing Cairo's network of antique dealers. Leila’s Apartment, named after Egypt's famed singer and actor Leila Mourad, features three bedrooms and multiple living areas with high ceilings, parquet floors, and marble tiles. A light-filled winter garden, complete with a chequered terrazzo floor and a vintage steamer trunk repurposed as a cocktail cabinet, serves as an ideal spot for relaxation and work. A sunny terrace adorned with cacti and desert roses offers an inviting space for evening drinks. The dining areas are furnished with mid-century chairs upholstered in periwinkle moiré silk around a white marble table. The walls display original etchings of Ancient Egyptian heritage sites and works by contemporary Egyptian artists. The guest bedroom includes a 19th-century silver bed from the Royal Abdeen Palace, complemented by ceramic lamps and antique crystal chandeliers. Rich colors are introduced through carpets sourced from Istanbul bazaars and suzanis from Madu, a homeware store in Cairo’s Zamalek neighborhood. The bathrooms are retrofitted to reflect the original mood while incorporating modern amenities, including robust water pressure. Ultra-soft bathrobes from Cairo-based brand Malaika, made from brushed cotton, and hand-embroidered bedding by artisans from Threads of Hope, Malaika's social enterprise, enhance the luxurious experience. Each of the four apartments possesses its own unique personality, unified by a common thread of thoughtful design and comfort. Guests benefit from personalized services, including daily housekeeping, laundry, and the option to arrange for private chefs. Each apartment also comes with a car and chauffeur, facilitating stress-free exploration of Cairo's galleries, bazaars, and cultural sites. Immobilia also provides curated guides with recommendations from local tastemakers, covering everything from neighborhood pizzerias to lesser-known museums and antique dealers. Egypt Beyond plans to expand its offerings within the Immobilia building, with intentions to add more apartments and an Immobilia House, a clubhouse for guests. The Immobilia apartments are tailored for the design-driven traveler seeking an authentic and intimate experience of Cairo, allowing guests to immerse themselves in the city's pulse and live like an inhabitant. This unique hospitality concept offers a hidden sanctuary within the intoxicating city, providing a memorable stay that goes beyond typical tourist accommodations and fosters a deep connection to Cairo’s vibrant culture and history. #CairoTravel #ArtDecoArchitecture #HistoricHotel #LuxuryApartments #EgyptBeyond #InteriorDesign #ArchitecturalRenovation #BoutiqueHotel #CulturalImmersion

The Grand Egyptian Museum (GEM) is preparing for its official opening on November 1, following a carefully orchestrated soft-opening phase that began in October 2024. Located on the Giza Plateau, the GEM is the world's largest archaeological museum and is designed by Dublin-based Heneghan Peng Architects. Its chamfered triangular plan aligns precisely with the Great Pyramid of Khufu and the Pyramid of Menkaure. The museum features an alabaster-clad façade and a soaring six-story staircase and a vast atrium dominated by an 82-ton colossus of Ramses II. The highly anticipated Tutankhamun galleries, which have remained hidden during the soft opening, will be the crown jewel of the museum. These two expansive halls will showcase 5,000 objects from the boy king’s tomb, including his iconic gold mask and royal regalia, across 7,500 square meters of exhibition space. The design of these galleries, along with the Grand Staircase and atrium, was undertaken by Stuttgart-based design studio Atelier Brückner, led by CEO Shirin Frangoul-Brückner. Frangoul-Brückner explained that the narrative for the Tutankhamun exhibition was clear: to illuminate the king's world through the objects buried with him. The exhibition is structured around three elemental themes—life, death, and the afterlife—and is designed to accommodate 15,000 daily visitors with two opposing pathways. One path offers a chronological journey from the young king's life through mummification, the golden mask, shrines, and sarcophagi, to the afterlife and the tomb's discovery. The other path begins with Howard Carter’s excavation and works backward to explore Tutankhamun's identity. Atelier Brückner aimed to go beyond merely displaying aesthetic artifacts by revealing the cultural context behind them. This was achieved through a full-scale reconstruction of Tutankhamun’s tomb, allowing visitors to understand that all the treasures originated from a space no larger than a studio apartment. A layered vitrine illustrates the nested sequence of shrines and sarcophagi, making hieroglyphic inscriptions accessible and meaningful. Additionally, a walk-in family tree, positioned to overlook the pyramids, connects Tutankhamun to a broader dynastic history. The project faced significant challenges, primarily a tight six-month deadline for concept development, technical planning, and the tendering process—a timeframe considerably shorter than the typical eight years for projects of this scale in Europe. The contractual situation added complexity, as Atelier Brückner was commissioned by the general contractor rather than directly by the museum. The studio was responsible for designing not only the Tutankhamun galleries but also the entrance piazza, the atrium housing Ramses II, and the Grand Staircase. Technical hurdles included lighting the colossal Ramses II statue, which affected the intricate roof structure, and installing 80 large sculptures on the Grand Staircase, requiring new lighting fixtures and careful consideration of weight distribution. The core team involved approximately 25 people from Atelier Brückner, supported by external collaborators, including a local copy shop in Cairo that proved instrumental in delivering the initial bid documents under a strict deadline. Frangoul-Brückner also recounted an anecdote about a replica of the golden mask causing a lockdown at Cairo customs during its return trip from Germany, highlighting the cultural significance and challenges inherent in handling such historical items. #GrandEgyptianMuseum #GEM #Tutankhamun #AtelierBrückner #ShirinFrangoulBrückner #EgyptianArchaeology #MuseumDesign #ExhibitionDesign #Cairo