lalique presents crystal architecture collection by zaha hadid

British architect Zaha Hadid has collaborated with the French crystal manufacturer Lalique to produce a new line of vases known as the Crystal Architecture collection. This collection features two distinct vase designs: Manifesto and Viso. Manifesto is characterized by its curved and ridged form, emphasizing texture, while Viso presents a slender, fluid, and aqueous tower-like structure. These contemporary designs are offered as signed and numbered limited edition pieces and are available in both clear and black crystal. Both vases showcase fluid lines and a polished finish, reflecting Hadid's signature architectural style. Zaha Hadid expressed her long-standing passion for glass and crystal, a fascination that began in her early life as she collected pieces of various shapes, sizes, and colors. She noted that the architectural language developed for this collection serves as a manifesto of her firm's continuous experimentation and research into the concepts of fluidity and transparency. Hadid is widely recognized for her deconstructivist approach to architecture, often incorporating organic and natural forms into her designs, which is evident in the dynamic and unconventional shapes of the Lalique vases. Silvio Denz, Chairman and CEO of Lalique, highlighted the significance of collaborating with new artists like Hadid. He explained that such partnerships allow Lalique's exceptional craftsmanship and know-how to be reinterpreted through fresh perspectives and innovative creative inspirations. This collaboration underscores Lalique's commitment to blending its traditional expertise in crystal manufacturing with modern design sensibilities, pushing the boundaries of what is possible in luxury crystalware. The Zaha Hadid Manifesto and Viso vases are scheduled to be released for purchase in April, exclusively available at Lalique stores. The collection positions itself in the high-end luxury market, with prices for these unique crystal pieces starting at €12,000, equivalent to approximately $16,400. This collaboration brings together a renowned architectural visionary and a prestigious crystal house, offering collectors and design enthusiasts a fusion of art, architecture, and luxury craftsmanship. #ZahaHadid #Lalique #CrystalVases #LuxuryDesign #ArchitecturalDesign #HomeDecor #LimitedEdition #ContemporaryDesign #FluidArchitecture

Zaha Hadid Design, in collaboration with pop culture collectible company Leblon Delienne, has launched a new coffee table named 'Le-a' that draws its distinctive corkscrew form from Princess Leia's iconic double-bun hairstyle in the Star Wars franchise. The table's design incorporates two straight ends that transition into a looping middle section, which also functions as a structural support. This piece is offered in a shiny black glass and carbon fiber finish, with additional customization options available in white, brass, or silver. This isn't the first instance of Zaha Hadid Design drawing inspiration from the Star Wars universe. Previously, the late architect Zaha Hadid designed a desk for a Disney event in London in 2016, which was inspired by Queen Amidala's headdress. The studio asserts that its aesthetic aligns well with the themes of Star Wars, embracing pop culture, science fiction, and a futurist style. Leblon Delienne, known for its products based on popular characters and series, including Mickey Mouse sculptures and Alice in Wonderland-themed homeware, positions the Le-a table as a suitable addition to contemporary interior spaces. Zaha Hadid Design, established by the architect in 2006, has a history of partnering with various brands to produce furniture and homeware. Notable collaborations include those with Alessi, Artemide, and Sawaya & Moroni. The article highlights other designers who have similarly found inspiration in the Star Wars saga. For example, Venetian designer Luca Nichetto created a table lamp called 'Vader', reminiscent of Darth Vader's helmet. Additionally, art director Scott Kelly conceived 103 distinct flag designs, each representing a planet from the Star Wars film series. These examples underscore the pervasive cultural impact of Star Wars and its capacity to inspire creative design across various fields. #ZahaHadidDesign #LeblonDelienne #StarWars #PrincessLeia #CoffeeTable #FurnitureDesign #PopCulture #FuturistStyle #InteriorDesign

The Hardie™ Architectural Collection by James Hardie is introduced as a significant advancement in facade design, specifically tailored for modern Australian homes. This collection aims to simplify the creation of contemporary designs by providing a curated range of fiber cement cladding solutions that offer both aesthetic appeal and practical benefits. It addresses a gap in the market for high-quality, pre-textured facade options, making it easier for architects, designers, and builders to achieve complex design outcomes without extensive bespoke work. The collection features three distinct cladding styles: Hardie™ Fine Texture Cladding, Hardie™ Brushed Concrete Cladding, and Hardie™ Oblique™ Cladding. Hardie™ Fine Texture Cladding is characterized by its smooth, matte finish, which provides a rendered look without the traditional masonry and wet trades required for rendering. This results in a cleaner, more efficient installation process and offers a durable, low-maintenance alternative that resists cracking and staining commonly associated with cement render. Hardie™ Brushed Concrete Cladding offers an aesthetic that emulates the industrial sophistication of softly-brushed concrete. This style is achieved through an embedded texture within the fiber cement, allowing for the visual and tactile qualities of concrete to be incorporated into a facade without the weight, cost, and installation complexities of actual concrete. It provides a contemporary, minimalist look that is both robust and visually appealing. Hardie™ Oblique™ Cladding reimagines traditional vertical timber battens by offering fiber cement boards with a thick profile and a distinctive angled edge. This design creates a dynamic play of light and shadow, adding depth and visual interest to a facade. Available in two widths, 200mm and 300mm, it allows for versatile design configurations, from uniform patterns to mixed-width arrangements, enhancing the architectural expression of a building. A key benefit across the entire collection is the use of James Hardie's innovative Hardie™ fibre cement material. This material is renowned for its durability, resistance to rot, fire, moisture, and pests, ensuring a long-lasting and low-maintenance facade. The pre-textured nature of the cladding significantly reduces installation time and complexity, as it arrives pre-primed and ready for paint, eliminating the need for additional rendering or specialized finishing trades. This efficiency contributes to faster project completion and reduced labor costs. The Hardie™ Architectural Collection is designed to be fully compatible with the existing James Hardie system, including its internal and external corner accessories. This ensures seamless integration and a consistent aesthetic across the entire build. The collection provides design flexibility, allowing for a monolithic look when a single texture is used or a more complex, layered facade when different textures and profiles are combined. This versatility enables designers to create unique and personalized architectural statements that reflect modern design principles. Ultimately, the collection empowers architects and designers to realize ambitious modern home designs with greater ease, efficiency, and confidence. It offers a practical and stylish solution for contemporary residential architecture, delivering sophisticated aesthetics and performance through innovative fiber cement technology. The collection is positioned as a comprehensive solution for achieving high-end architectural finishes in a streamlined manner. #HardieArchitecturalCollection #FacadeDesign #ModernHomes #FiberCementCladding #JamesHardie #ContemporaryArchitecture #BuildingMaterials #HomeExterior

Febal Casa has partnered with Zaha Hadid Architects to introduce 'Onda,' a contemporary collection that includes a kitchen island and a sideboard. This collaboration aims to bring sculptural forms and tactile materiality into modern homes, drawing inspiration from the natural erosion of coastlines and rock formations. The collection is designed to offer a balance between dark color palettes and bright details, echoing the visual nuances found in nature. The Onda kitchen island is a central feature, offering customizable length and a fixed depth. It is constructed with an aluminum frame and features smooth glass doors with a metallic finish, available in shades such as 'Bronze' and 'Champagne.' The design integrates modern kitchen functionalities, including options for an integrated hob, hood, and sink, alongside modules for drawers and pull-out trays. This thoughtful integration ensures both aesthetic appeal and practical utility. The Onda sideboard complements the kitchen island with a similar construction of an aluminum frame and matching finishes, maintaining a balanced structure and harmonious proportions. A notable feature of the collection is the 'Onda and Metal Iridio' internal structure, which incorporates extra-clear glass shelves. This design element not only brightens the storage space but also introduces a visual lightness, reminiscent of the reflective surfaces of the sea, aligning with the collection's natural inspiration. Patrik Schumacher, principal of Zaha Hadid Architects, highlighted the project's essence, stating that it fulfills a long-held dream of designers and artists to encapsulate the subtle beauty of nature within their creations. The collection embodies a contemporary dialogue between nature and design, a philosophy frequently explored in Febal Casa's designs, many of which are influenced by the Adriatic Riviera. This partnership between the Italian kitchen manufacturer and the renowned architecture firm represents a fusion of Italian design tradition with architectural avant-garde principles. The 'Onda' collection is presented as a testament to transforming natural inspirations into meticulously crafted, contemporary pieces that enhance modern living spaces. It showcases a blend of functionality, innovative design, and a deep appreciation for natural forms, making it a significant addition to the realm of interior design. The collaboration successfully marries aesthetic beauty with modern practicality, offering a distinctive look for homes. #ZahaHadidArchitects #FebalCasa #OndaCollection #KitchenDesign #SideboardDesign #InteriorDesign #SculpturalFurniture #ContemporaryDesign #ItalianDesign

Léa Zana, a former fashion designer, transitioned into ceramics during the lockdown, establishing her homeware brand, Vaisselle. The brand's products are now available in department stores globally. Zana's design philosophy is characterized by an eclectic and authentic style, influenced significantly by her lifelong fascination with color and artistic expression. This interest in color dates back to her childhood, where she recalls a distinct vision for color palettes compared to her peers, a trait that continues to define her work today. Her early exposure to design came from flipping through La Redoute catalogues and designing clothes for Barbie dolls at age nine, demonstrating a nascent passion for creation. She pursued fine art before moving into fashion design, eventually working for luxury brands in Paris and then in footwear design for companies like Mellow Yellow, Zara, Topshop, and ASOS. A pivotal inspiration in her fashion career was Tom Ford's AW99 collection for Gucci, particularly its jewel-tone color palette and use of velvet, which instilled in her the importance of a coherent color scheme in design. Zana's creative inspirations are primarily drawn from nature, such as flowers, and Roman architecture. Each Vaisselle collection incorporates a floral element, and her French upbringing near Roman ruins has deeply influenced her aesthetic. The unexpected move from fashion to ceramics was prompted by a pre-Covid redundancy, which she viewed as an opportunity to pursue her long-standing passion for tableware and ceramics. This led to the creation of Vaisselle, built on principles of sustainability and fair trade. All Vaisselle products are handmade and hand-painted in Spain by local artisans, emphasizing craftsmanship and ethical production. Her personal style and inspirations extend to her home and hobbies. She spends her summers in Mallorca, admiring its antique cement tiles with their raw, matte finishes contrasting with floral designs. Zana is also a keen collector of various items, including elephant figurines from her childhood in Sri Lanka, glassware, and antique French crockery and linens, which evoke nostalgic memories of her grandmother. Literature and cinema also play a significant role in shaping her artistic vision. Françoise Sagan’s 'Bonjour Tristesse' is a favorite book, admired for its unique heroines and their pursuit of freedom. She anticipates new works by Leïla Slimani. Filmmakers Sofia Coppola and Pedro Almodóvar are major influences, particularly for their use of color palettes, artistic direction, and cultural references, with 'Lost In Translation,' 'Marie-Antoinette,' and 'All About My Mother' being notable examples. 'All About My Mother' particularly inspired her to incorporate Iberian culture into her life and art, contributing to her move to Spain before settling in London. Music is an integral part of her daily life, starting with Ethiopian jazz and moving to artists like Leonard Cohen, Bob Dylan, and Serge Gainsbourg. Hosting is a cherished activity, where she enjoys serving sparkling cocktails like Hugo spritzes and decorating her table with pieces from her St-Germain x Vaisselle Apéritif Edit and fresh flowers. French cuisine, particularly Louie in London, is a favorite. She admires glass artist Helle Mardahl and dreams of owning Chanel, reflecting her continued appreciation for high fashion and design. #LéaZana #Vaisselle #Ceramics #Homeware #FashionDesign #ArtisticInspiration #Sustainability #Handmade #InteriorDesign #EclecticStyle #ColorTheory

Ghanaian-British architect David Adjaye has unveiled his inaugural furniture collection, named Yaawa, at the newly opened Ladbroke Hall in west London. This collection, a collaboration with Carpenters Workshop Gallery, consists of eight limited-edition cast-bronze designs, including tables, consoles, and a dining chair. The pieces are characterized by a unique interplay of impeccably polished and deeply textured bronze surfaces. The Yaawa collection is the first exhibition to launch at Ladbroke Hall, a significant new venue for collectable-design specialist Carpenters Workshop Gallery. This 120-year-old Beaux-Arts building, located in Ladbroke Grove, represents the gallery's largest space to date. Gallery founders Julien Lombrail and Loic le Gaillard selected Adjaye's collection to mark the grand opening, citing its innovative approach to material manipulation. Le Gaillard noted that the Yaawa collection demonstrates Adjaye's skill in using bronze surfaces to create a distinctive play with light and reflection. While Adjaye has frequently incorporated bronze elements into his architectural projects, this collection is notable as his first exclusive use of the metal in functional sculptures. The designs evolve from concepts Adjaye previously explored in his 2007 Monoforms furniture series, focusing on the potential of a singular form. Adjaye described his work as a continuous exploration of ideas and materials, emphasizing the ambition to advance craft. The eight pieces in the Yaawa collection feature two distinct surface treatments achieved through various techniques such as hand-casting, oxidizing, patinating, and polishing. One treatment results in a polished metallic finish, while the undersides of the pieces are deeply imprinted with fingerprints, giving them a handcrafted appearance reminiscent of sculpted clay. Adjaye's prior architectural endeavors showcase his extensive use of bronze, including the facade of the Smithsonian National Museum of African American History and the interior elements of The Webster fashion boutique in Los Angeles. His fascination with bronze stems from its historical significance in Africa, where it has been traditionally used in various crafts and weaponry. Through the Yaawa collection, Adjaye aims to extend this historical lineage by creating forms and techniques that also offer practical utility in a space. The name 'Yaawa' itself means 'bronze' in Twi, one of Ghana's indigenous languages, further highlighting the collection's connection to Adjaye's heritage and the material's cultural resonance. The exhibition at Ladbroke Hall is one of two inaugural shows, running concurrently with a display of retro works by the late Brazilian designer Jose Zanine Caldas. Ladbroke Hall is set to open in phases throughout the summer, offering four large exhibition rooms, two artist-designed salons, a terrace by Robert Stadler, and a dedicated jewelry showroom. Carpenters Workshop Gallery has dedicated four years to the renovation and expansion of Ladbroke Hall, which was formerly a photography studio. This new London venue significantly expands the gallery's operational capacity, complementing its existing locations in New York, Los Angeles, and Paris, as well as its Mayfair branch. The gallery founders expressed their deep satisfaction in sharing this extensive project, which aims to foster artistic expression beyond conventional models and enhance emotional engagement with the arts. #DavidAdjaye #FurnitureDesign #BronzeSculpture #CarpentersWorkshopGallery #LadbrokeHall #CollectibleDesign #ArchitecturalDesign #MaterialInnovation #LondonExhibitions

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

Bisazza, an Italian company established half a century ago in Northern Italy’s Alte Vicenza region, is recognized for its innovative production of glass mosaics. The company's recent offering, The Crystal Collection, merges classic design with contemporary decoration by incorporating Swarovski crystals into its mosaic tiles. This collection features six distinct patterns: Skulls & Crowns, Robots & Hearts, Corals & Seahorses, Flash, Stars, and Rain. The designs within The Crystal Collection are simplified into basic forms and presented on monochromatic backgrounds, available in white, blue, and black tones. Skulls & Crowns utilizes bold imagery, drawing inspiration from corsair themes with skeleton heads and royal crowns, elements that have gained popularity in fashion over recent years. In contrast, patterns such as Flash and Rain adopt a more understated aesthetic, characterized by small, shimmering circles that create a unique sense of depth. Each pattern offers a different visual experience, ranging from overtly decorative to subtly intricate. Bisazza's approach with this collection reflects a continuous effort to push the boundaries of traditional mosaic art, integrating precious materials like Swarovski crystals to enhance aesthetic appeal and perceived value. The use of crystals adds a luxurious dimension to the glass tiles, transforming them into decorative elements suitable for various interior design applications. The choice of monochromatic backgrounds for outlining the patterns ensures that the embedded crystals and the patterns themselves remain the focal point, allowing for versatile integration into different design schemes. The collection is strategically distributed through Bisazza's global network of flagship stores and select retailers, ensuring accessibility for a wide range of customers interested in high-end decorative solutions. This distribution model helps maintain the brand's premium image and allows clients to experience the quality and visual impact of the mosaics firsthand. The blend of advanced technical solutions in glass mosaic production with artistic collaborations and material innovation positions Bisazza as a key player in the luxury interior decoration market, continuously evolving its offerings to meet contemporary design demands while honoring its heritage. #Bisazza #CrystalCollection #GlassMosaics #SwarovskiCrystals #InteriorDesign #HomeDecoration #LuxuryTiles #ItalianDesign #WallDecor

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

Dana Harel, a San Francisco-based Israeli designer, has launched her inaugural lighting collection under her studio, White Dirt. Harel's career trajectory showcases a diverse artistic exploration, starting with architecture and extending into ceramics and line art before her current venture into luminaires. The new collection, dubbed "Ora," comprises three tented table lamps—Ora I, II, and III—and a suspended, trapeze-like floor lamp, Ora IV. These pieces draw inspiration from Harel’s existing body of work, particularly her vases and vessels, which inform their hand-carved sculptural aesthetic. The lamps are crafted using a combination of gypsum cement, muslin, and brass, materials that contribute to their unique visual and tactile qualities. The design intentionally evokes the imagery of draped wedding gowns, suggesting moments of concealed intimacy and exploring the delicate balance between revealing and hiding forms. This interplay of materials and forms allows the collection to convey a sense of fluidity and softness, a departure from more rigid sculptural traditions. Harel describes the process of working with fabric—folding, pleating, and draping—as a refreshing experience, contrasting with her previous work that often involved tools like chisels and hammers. This shift towards softer, more pliable materials allowed her to experiment with light in a new way, focusing on how textiles interact with illumination to create ambiance and shape. The collection's design ethos embraces a certain spontaneity, reflecting Harel’s approach to her creative process. Each piece in the Ora collection stands as a testament to her evolving artistic language and her ability to translate diverse inspirations into functional art. A notable and unconventional source of inspiration for Harel was a scene from the HBO series *Succession*, where characters Tom Wambsgans and Cousin Greg consume a rare delicacy with napkins tented over their heads. This seemingly obscure reference underscores Harel's willingness to draw from unexpected cultural moments, transforming them into artistic concepts. The designer interprets this act of "masking shame" or "heightening pleasure" as a metaphor for the lamps' ability to create intimate, almost cloistered, environments through their draped forms. The sculptural swagger of the lamps is deeply rooted in these varied influences, bridging architectural precision with textile softness and cultural anecdotes. The collection as a whole is an exploration of form, light, and material, reflecting Harel's multidisciplinary background and her continuous quest for new creative expressions. #DanaHarel #LightingCollection #SculpturalLighting #InteriorDesign #WhiteDirtStudio #ProductDesign #TextileArt #ContemporaryDesign

Habitat 67, an iconic residential complex designed by Israeli-Canadian architect Moshe Safdie, was initially conceived as the Canadian Pavilion for the 1967 World Exposition. The project's primary goal was to explore innovative solutions for high-quality housing within dense urban environments. Safdie's vision centered on leveraging prefabricated modular units to reduce construction costs and introduce a novel housing typology that could seamlessly integrate the advantages of suburban living with the efficiency of an urban high-rise. This experimental approach aimed to address the growing need for affordable yet desirable urban housing. The architectural design of Habitat 67 is characterized by its distinctive cellular structure, composed of 354 precast concrete modules stacked and interlocked in various configurations. This arrangement creates 146 residences, each with a unique layout and access to private outdoor spaces, such as gardens and terraces. The individual units are cantilevered, allowing for the creation of these outdoor areas on the roofs of adjacent units, thereby maximizing natural light and ventilation for each dwelling. This intricate stacking also forms pedestrian streets and communal spaces within the complex, fostering a sense of community and interaction among residents. The use of prefabrication was a crucial aspect of the design, with each concrete module cast on-site and then lifted into place by cranes, a process that underscored the project's innovative construction methods. Housing types within Habitat 67 vary from single-module studios to multi-module family homes, demonstrating the flexibility and adaptability of the modular system. Each apartment features large windows and sliding glass doors, blurring the lines between indoor and outdoor living and offering panoramic views of the city and the Saint Lawrence River. The complex was designed to provide residents with privacy, greenery, and a connection to nature, qualities often associated with suburban homes but rarely found in high-density urban developments. This integration of suburban amenities into an urban context challenged conventional notions of apartment living. The project's conceptualization began with Safdie's master's thesis at McGill University, where he developed the idea of a three-dimensional modular system for housing. His work caught the attention of Canadian authorities, leading to its realization for Expo 67. Although the original plan to mass-produce Habitat 67 and replicate it globally did not come to fruition due to cost and logistical challenges, the existing structure stands as a testament to Safdie's pioneering vision and remains a significant architectural landmark. It has been recognized as a historic monument by the Quebec government and continues to serve as a residential community, demonstrating the enduring appeal of its innovative design. Habitat 67's impact on architectural discourse has been profound, influencing subsequent discussions on modular construction, urban housing, and the integration of green spaces in high-density environments. It represents a bold attempt to reimagine urban living, offering a model that prioritizes human scale, individual identity, and a connection to nature within a compact urban footprint. The building's unique aesthetic and functional principles continue to inspire architects and urban planners seeking sustainable and humane solutions for future cities. Its enduring legacy lies in its demonstration of how industrial methods can be harnessed to create diverse, adaptable, and high-quality residential spaces. #Habitat67 #MosheSafdie #ArchitectureClassics #ResidentialArchitecture #ModularConstruction #Prefabrication #UrbanHousing #HighQualityLiving #MontrealArchitecture

Pop singer turned interior designer Omar Chakil, with roots in an ancient Egyptian family, yet raised in Beirut and Paris, has rediscovered and revitalized Egyptian or Pharaonic alabaster. This stone, once revered by pharaohs for its translucency and believed to guide souls into the afterlife, fell into obscurity and was replaced by cheaper alternatives after Egypt's nationalization in the 1970s. For decades, it was relegated to cheap trinkets sold in Cairo's Khan el-Khalili souk, losing its perceived value and special status within Egyptian craft culture. Chakil, however, recognized its inherent beauty and potential. His collection, Suite Anima, named after the spiritual essence attributed to objects in Animism, is a sculptural and soulful furniture series. It comprises 22 pieces, including seating, lighting, and tabletop accessories, all meticulously hand-carved, with the exceptions of 'Naughty Cleopatra,' a CNC-cut tub made from a single stone block, and 'Thebes,' a dining table. Chakil's motivation is to demonstrate that local materials can be successfully integrated into contemporary design, bridging historical legacy with modern aesthetics. He aims to connect craft with design, the earthly with the ethereal, and Eastern traditions with Western sensibilities by utilizing this emblematic Egyptian mineral. Chakil emphasizes the alabaster's soothing, healing properties and its ability to beautifully transmit light through its wax-like texture. Key pieces in the collection include two neotenic floor lamps that emit a warm glow from internal bulbs, and the 'Thebes' infinity-loop dining table. This table features twin holes, reminiscent of spiral coin wishing wells, symbolizing continuous and endless energy flow. Other items in the collection include honed, matte-finish stools, oil diffusers, globular sconces, and organically shaped seating. The Suite Anima collection made its debut at Cairo’s collectible design gallery Le Lab in Spring. Le Lab, founded by Rasheed Kamel in October 2021, serves as a platform for various Middle Eastern talents, having previously collaborated with designers like Georges Mohasseb and sculptor Khaled Zaki. Chakil's work with Suite Anima not only reintroduces a forgotten material but also redefines its perception, showcasing its versatility and timeless appeal in modern interior design. #OmarChakil #EgyptianAlabaster #SuiteAnima #InteriorDesign #FurnitureDesign #MaterialReclamation #ContemporaryCraft #LeLabCairo

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

This article discusses the career and influence of Zaha Hadid, a prominent British-Iraqi architect who passed away seven years prior to the publication of the article. Hadid's impact on international architecture is highlighted, noting her role in redefining contemporary design forms. As an Arab woman achieving global recognition, she challenged traditional perceptions of an architect's identity. Born in Baghdad, Iraq, in 1950, Hadid grew up in a household with strong ties to politics and the arts. Her interest in architecture developed early, influenced by childhood visits to Sumerian cities. After studying mathematics at the American University in Beirut, Lebanon, Hadid pursued architecture at the Architectural Association School of Architecture in London during the 1970s. Her architectural approach was significantly shaped by her engagement with Russian avant-garde movements. Following her graduation, she worked at the Office of Metropolitan Architecture (OMA), co-founded by her former professors Rem Koolhaas and Elia Zenghelis. In 1980, Hadid established Zaha Hadid Architects, embarking on an independent career path. Hadid's work introduced innovative architectural forms that deviated from conventional designs. Her creations incorporated angular structures and fluid, swooping lines, drawing inspiration from Modernist paintings, a stark contrast to the prevalent rectangular forms in architectural design. She articulated her philosophy on these new forms and her rejection of past architectural conventions in a 1982 discussion titled "Randomness and Arbitrariness." She conceptualized her work as possessing a deliberate randomness, implying a combination of logic and foresight, distinct from mere arbitrariness. She critiqued the arbitrary copying of ideas prevalent among some architects of her time, emphasizing the need for architects to establish a new architectural dynamic that creatively engages with the landscape and embodies principles of liberation. The Vitra Fire Station in Weil am Rhein, Germany, completed in the early 1990s, serves as a prime example of her early unconventional designs. This two-story structure features sharp, angular forms that extend across the site, conveying a sense of suspended action. As her career progressed, Hadid's designs evolved, with sharp edges softening into curves and rolls. For instance, the Heydar Aliyev Cultural Center in Baku, Azerbaijan, utilizes curving forms that integrate the building with its topography, blurring the lines between architecture and landscape. Despite her statement that she never saw herself as a role model, Hadid became an inspirational figure due to her successful pursuit of her architectural vision. She achieved global recognition as a woman in a male-dominated field and, as an Iraqi, was celebrated for her architectural talent rather than her national origin, which was often negatively portrayed in Western media. However, observations by Mohammad ‘Aref highlight that Western interpretations of her heritage often oversimplified it to merely "born in Baghdad." Hadid recognized the profound historical influence of Arab architecture on Western design and consciously situated her work within this broader context. In 2004, she became the first woman to receive the Pritzker Architecture Prize, joining a select group of female laureates. Her later projects, such as Wangjing SOHO, Innovation Tower, Dongdaemun Design Plaza, and the Nanjing International Youth Cultural Center, gained widespread acclaim and moved into the architectural mainstream. She transitioned from an outsider to a leading figure in 21st-century architecture. #ZahaHadid #Architecture #ModernArchitecture #ContemporaryDesign #ArchitecturalInnovation #IraqiArchitect #PritzkerPrize #DesignPhilosophy #ArchitecturalHistory

This article introduces Lalique’s new collection, "Iconics - Rose Nebula," launched in June. The collection reimagines the brand's core pieces with a new lustrous pink hue, blending fantasy with sophistication while maintaining Lalique’s signature refinement and craftsmanship. The distinctive pink shade is achieved through a precise artisanal process: skilled glassmakers apply a colorless, vaporous mist containing yellow gold to each piece. These items are then placed in a high-temperature oven, which activates the gold particles and creates the unique color and aura specific to each object. This method ensures an even application and contributes to the collection’s unique aesthetic. "Iconics - Rose Nebula" spans various categories, including decorative objects, jewelry, fragrances, and lighting. The collection showcases Lalique’s iconic motifs, such as Mossi, Bacchantes, and Champs-Elysées, materialized by the brand's dedicated artisans. The new collection continues Lalique’s rich legacy of creating pieces that are both delicate and powerful. It aims to enhance any space or individual it adorns, upholding the brand's long-standing commitment to quality and artistic expression. The article highlights how Lalique consistently delivers innovative designs while preserving its historical craftsmanship and reputation for producing exquisite crystal items. #Lalique #CrystalCollection #IconicsRoseNebula #LuxuryDecor #Jewelry #Fragrance #HomeDecor #ArtisanalCraftsmanship