Omar Chakil’s Ode to Egyptian Artistry

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

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

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 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

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

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

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

Marina Baisel, the founder of Rarares, a contemporary art space in DIFC, is approaching the art gallery model with a unique perspective, informed by her previous career in interior design. While Dubai's art scene typically features either large commercial galleries showcasing international artists or smaller ones dedicated to local talent, Rarares aims to bridge this gap by bringing both emerging and established global artists whose works are rarely exhibited in the UAE. The gallery's name, derived from the Latin word 'rarus' meaning rare, reflects this curatorial philosophy. Baisel's background in interior design provides a distinct advantage in the art world. Having spent nearly a decade incorporating artistic elements into interior projects, she understands the synergy between art and living spaces. She views interior design as a canvas where art plays a crucial role in enhancing the overall experience, capable of transforming spaces, evoking emotions, and narrating stories. This passion for the artistic component of interior design motivated her transition to becoming a gallery owner, seeing it as a natural progression to combine her love for aesthetics with a desire to support and promote artists. Her interior design expertise significantly influenced the gallery's physical design and exhibition curation. Baisel believes a gallery should be an immersive environment that enhances the viewer's experience, not just a display space. Consequently, the layout, lighting, and overall aesthetic of Rarares are meticulously planned to highlight each artwork, creating a cohesive narrative throughout the space. This careful curation extends to individual exhibitions, where Baisel leverages her design knowledge to consider how artworks interact with each other and their surroundings. Each exhibition is thoughtfully organized to guide visitors through the space, fostering meaningful engagement with the art. Aspects such as lighting, forms, and palettes are considered to establish a harmonious balance between the artworks and the gallery setting. Currently, Rarares is featuring 'Eidos,' a solo exhibition by multidisciplinary artist Mederic Turay, which marks his debut collection of ceramic works and his first show in the UAE. Following this, in April, the gallery will host 'Powerful Spring,' a group female exhibition that explores the philosophical concept of soft power and acceptance, serving as an ode to feminine strength. The gallery's approach reflects a thoughtful integration of art and design principles, offering a fresh perspective on art display and engagement within the Dubai art scene. #Art #FineArt #Gallery #InteriorDesign #DubaiArtScene #ContemporaryArt #ArtCuration #MarinaBaisel

This week, Paris is hosting a diverse array of art and design events, with the return of Art Basel Paris and Design Miami Paris for their third editions. The French capital's historical venues, including _hotels particuliers_ and landmark apartments, are showcasing collectible design that explores experimental and multidisciplinary approaches, from textile-like treatments of solid surfaces to the integration of music with design. This roundup highlights the most compelling design exhibitions available to explore during this period. India Mahdavi presents a triple bill of collaborative exhibitions. Her Project Room #20 features 'Parenchyma,' a solo exhibition by studio Kauani, displaying cactus-shaped sculptural lights, an intimate study of xerophytic plants, created by Inés Llasera and Inés Quezada. Her Tiny Room gallery hosts an exhibition of anthropomorphic chairs by Serban Ionescu, reflecting his Balkan origins and an improvised approach to wood. Additionally, Mahdavi collaborates with culinary collective We Are Ona for _Rose C'est La Vie_, a flower-clad restaurant pop-up with Mexican chef Jesús Durón, whose interiors evoke Mahdavi's iconic APT club in New York. Perrier Jouët returns to Maxim's for the second year with its 'Parenthèse Belle Époque,' transforming the legendary Art Nouveau venue with stained glass windows, Émile Gallé anemones, and vintage posters. This event includes exclusive gastronomic pairings by Maxim's chef Yann Meinsel and Maison Belle Époque executive chef Sébastien Morellon. Charles Zana unveils his new _In Situ_ furniture collection within a 500-square-metre Directoire apartment, formerly home to the Swedish Circle. The exhibition presents a 'fantasy' interior that mixes Zana's works to create an emotional experience rather than just an aesthetic. The display also features a coffee bar by pastry star Yann Couvreur and a soundtrack by Sébastien Tellier and Ray Mang. The Contributions design festival, curated by Anna Caradeuc and Élise Daunay, hosts its second edition, intertwining design and music through five installations. Highlights include Nifemi Marcus-Bello's M2 Shelf with an integrated speaker, in collaboration with La Boîte Concept, and Italian musician Andrea Laszlo De Simone's audiovisual piece _Una Lunghissima Ombra_, accompanied by a natural wine bar and micro-cinema by Harold Mollet and the design collective Metals. The inaugural Salon des Nouveaux Ensembliers, held at the Galerie des Gobelins under the patronage of France’s manufactures nationales (Sèvres and Mobilier national), brings together a new generation of interior architects. Under the theme ‘L’Ambassade de demain’ (the embassy of tomorrow), ten architect-decorators reinterpret diplomatic spaces, focusing on how design can embody representation, openness, and exchange while addressing ecological and social responsibility. Salon 94 Design showcases Massimiliano Locatelli and Fabio Zambernardi's 'Nullus Locus,' a collection of objects featuring embroidery on timber, transforming wooden vessels and furniture into unexpected canvases for floral designs, realized with the expertise of Graziano Ricami. Additionally, 'Un Souffle De Vent' by Yves Salomon Editions X Dimorestudio presents an immersive installation inspired by Georges Perec’s novel _Les Choses_, emphasizing contemplation of objects through tactile surfaces and a rich material palette. Nilufar and Métaphores present 'In The Mood for Touch,' an immersive installation exploring the tactile and emotional potential of interiors through their respective design and textile works. CØR Studio, Harold Mollet, and Monument present 'Im Zwischen,' a group exhibition exploring the 'in-between' as a bridge between historical and contemporary design, featuring a 10-metre light wall by François Chapuis and iconic designs by Ron Arad and Ingo Maurer. LVH Art showcases Donald Judd's minimalist work within a grand Parisian residence, providing a compelling contrast with ornate French interiors. Finally, Invisible Collection and Féau Boiseries exhibit 'Period Rooms of the Future,' where previously unseen Art Deco elements form the backdrop for contemporary pieces, bridging the cultural continuity between the 1920s and today's collectible design. Galerie Patrick Seguin hosts 'Saint Laurent – Charlotte Perriand,' where Anthony Vaccarello has selected and recreated four of Perriand’s lesser-seen works, produced in limited editions from archival drawings and original models. #ParisDesignExhibitions #ArtBaselParis #DesignMiamiParis #InteriorDesign #CollectibleDesign #IndiaMahdavi #CharlesZana #ContemporaryArt #FrenchDesign

This article explores the significance of an eighth-century Umayyad wool tapestry fragment from the Metropolitan Museum of Art's collection, reconsidering common impressions of Islamic art. While Islamic art is often perceived through its precise and repetitive ornamental motifs, this tapestry fragment offers a counter-example, revealing a more playful spirit in early Islamic textiles. Dated to the mid-eighth century and attributed to the Umayyad Caliphate, the fragment features stylized rosettes and floral motifs that resemble bright flower sprays on a grassy background. The fragmentary nature of the tapestry, lacking selvedges, suggests it was part of a larger furnishing fabric. Reconstructing Umayyad homes from the seventh or eighth century is challenging due to the scarcity of extant textiles. However, wall paintings and mosaics from Umayyad palaces provide insights into their interior decorations. For instance, a fresco at Qusayr 'Amra depicts a heavily draped space with veiled doorways and colonnades, and covered seating, contrasting with the current austere state of these palaces. Similarly, floor mosaics at Khirbat al-Mafjar, edged with tassels, suggest the presence of carpets of similar size, reinforcing the idea of textile use in these grand spaces. The author posits that the floral tapestry fragment might have served as a wool seat or wall furnishing. A key aspect distinguishing this fragment is the irregular design and varied color application of its motifs, a departure from the strict repetitive or symmetrical layouts prevalent in decorative art from later Islamic dynasties. The central part of the textile, a band with a green background, features two rows of medallion-style rosettes. Each of the seven rosettes is distinct in color or form, with individually rendered petals. The flower bouquets on the red band, forming the edge, also exhibit this intentional variation, ensuring no two neighboring motifs are identical. This deliberate variety in repetition is paralleled in the facade of Qasr al-Mshatta, where carved rosettes within hexagons and hexafoils display distinct content while maintaining a general form. The interspaces are densely covered with grape leaves, alongside depictions of lions, griffins, and peacocks. This suggests that such decorative programs were designed to evoke a garden, mimicking the fabled Paradise garden, through a diverse array of flora and fauna. Therefore, the rosette tapestry fragment, whether used as a hanging or a cover, would have functioned as a segment of a portable garden. Spreading the tapestry would have transformed the environment, releasing a miniature Paradise and adding a sense of glamour, as if the owner were seated on a floral lawn or surrounded by fantastic creatures. This interpretation highlights the innovative and artistic intent behind early Islamic textile design, showcasing a sophisticated approach to decoration that went beyond mere repetition to create dynamic and symbolic spaces. #IslamicArt #UmayyadTextiles #TextileHistory #DecorativeArts #MetropolitanMuseum #ArtInterpretation #GardenMotifs #HomeDecor

The Pergola Community Arts Space, a collaborative project by CLUSTER (Cairo Lab for Urban Studies, Training and Environmental Research), THISS Studio, and Orient Productions, has been established in Giza's Agouza Children's Park in Cairo, Egypt. This independent outdoor arts space aims to counteract the increasing gentrification and commercialization of public spaces in Cairo by providing a dedicated venue for cultural activities and community engagement. The structure is characterized by its bright red color and stands ten meters tall, offering a distinctive landmark within one of the city's few remaining public green areas, located near the Nile riverfront. The project draws inspiration from traditional public bandstands and similar sheltered gathering places, reinterpreting these forms to create a contemporary public amenity. The initiative emphasizes the role of design as a tool for resistance and preservation, particularly in the face of urban development that often prioritizes foreign investment over the maintenance of cultural heritage and communal areas. By providing a vibrant cultural hub, Pergola seeks to foster an emerging arts scene and reinforce the value of accessible public spaces for local communities. The Pergola Community Arts Space spans an area of 84 square meters. It was completed in 2025. The architectural design was developed by CLUSTER and THISS Studio. The artistic programming for the space is managed by Orient Productions, while the artistic consultants for the project are also from Orient Productions. The primary clients for this endeavor are Art Jameel and the British Council, reflecting an international and local partnership in cultural development. The main contractors responsible for the construction were Rabee el Hany and Mohammed Abdul Azm, with a total project cost of £45,000. Materials used in the construction of Pergola include steel and plastic, suggesting a focus on durability and possibly innovative or recycled materials, given the context of urban development and sustainability. The use of these materials contributes to the structure's distinct appearance and functionality. The project was conceived as a public space, falling under categories such as installations and structures, and cultural architecture, highlighting its dual role as both a functional architectural piece and a catalyst for cultural activities. The location in Cairo, Egypt, further underscores its importance in a region where public cultural spaces can play a vital role in community life. The overarching goal of the Pergola project is to offer an alternative model for urban development, one that prioritizes community needs and cultural expression over unchecked commercial expansion. By creating a visually striking and functionally versatile space, the project aims to serve as a new 'beating heart' for Cairo's cultural landscape, promoting artistic endeavors and providing a welcoming environment for public gathering and interaction. This initiative reflects a broader movement to reclaim and revitalize urban public spaces through thoughtful design and community-focused programming. #PublicSpace #CommunityArts #CulturalArchitecture #UrbanDevelopment #CairoArchitecture #Egypt #InstallationsAndStructures #DesignAsResistance

A new exhibition at the William Morris Gallery in east London, titled “William Morris & Art from the Islamic World,” explores for the first time the significant influence of Islamic art on the celebrated designer and key figure of the Arts and Crafts movement, William Morris. Running from November 9, 2024, to March 9, 2025, the exhibition brings together a remarkable collection of Islamic artefacts personally amassed by Morris, which have historically been dispersed across various institutions. This comprehensive display aims to highlight an aspect of Morris's artistic inspiration that has largely been overlooked by scholars. Morris himself acknowledged the profound impact of Persian design, stating in an 1879 lecture that "To us pattern designers, Persia has become holy land, for there in the process of time our art was perfected, and thence above all places it spread to cover for a while the world, east and west.” Despite this, co-curator Rowan Bain notes that previous studies of Morris have predominantly focused on 19th-century art history, lacking the specific expertise or interest in Islamic art required to fully understand this connection. The exhibition and its accompanying book, "Tulips and Peacocks," seek to rectify this by presenting a detailed examination of how Persian and Ottoman art, particularly in rug weaving and decorative tiling, shaped Morris's aesthetic and the wider Arts and Crafts movement. The exhibition features a range of exquisite items from Morris's private collection, including a 17th-century illuminated manuscript of the Iranian epic poem Shahnameh, 16th-century Ottoman tile panels from Iznik and Damascus, and two rare 13th-century star tiles from the Emamzadeh Yahya shrine in Iran. These pieces underscore Morris's deep appreciation for Islamic artistic traditions. Co-curator Qaisra M Khan explains that Morris acquired these items through European art and antique dealers in cities like Paris and London, taking advantage of a significant influx of artworks from Iran and the Ottoman Empire in the 19th century due to relaxed export controls and a growing academic interest in the region. This period also saw many historical and religious sites, such as Emamzadeh Yahya, significantly depleted of their treasures, with precious lustre tilework making its way into European private collections, including Morris’s. Morris integrated many of these artefacts into his own home, Kelmscott House in Hammersmith. For instance, his dining room featured a monumental 17th-century Iranian carpet, measuring over 15 square metres, which is now on permanent display at the V&A Museum. Another highlight of the exhibition is Morris’s hand-illuminated copy of Robert FitzGerald’s English translation of "The Rubáiyát" by the 11th-century Iranian poet Omar Khayyám, a project he completed with the Pre-Raphaelite artists Edward Burne-Jones and Charles Fairfax Murray. The influence of Turkish design is also evident in Morris's work, as highlighted by Bain. His famous Medway indigo design, featuring a wild tulip motif, is seen as directly inspired by Ottoman aesthetics. Furthermore, while it was previously believed that his woven silks, such as the Granada pattern produced at Morris & Co’s Merton Abbey factory, were primarily influenced by Italian velvets, the exhibition reveals that Morris also owned Ottoman velvets, suggesting another significant source of inspiration. A poignant exhibit is a 17th-century velvet hanging from Bursa, Turkey, which served as Morris’s funeral pall in 1896, now on public display for the first time. The exhibition challenges the conventional perception of Morris solely as a quintessentially British designer rooted in local flora and fauna. Instead, it aims to expand the understanding of his extensive knowledge of global textile and design practices, positioning him as an artist deeply informed by a diverse array of international influences, particularly from the Islamic world. #WilliamMorris #IslamicArt #ArtsAndCraftsMovement #Exhibition #WilliamMorrisGallery #TextileDesign #PersianArt #OttomanArt #VictorianDesign

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

The interior design landscape in Egypt has undergone significant evolution, embracing modern trends while meticulously preserving the nation’s rich cultural heritage. This transformation is characterized by the integration of global aesthetics with distinct Egyptian colors, textures, and traditional elements, marking a new era in contemporary interior design. Many interior design companies in Egypt are adept at merging functional contemporary design with cultural nuances, effectively blending traditional Egyptian elements with international styles. This approach is further reinforced by collaborations between construction companies and interior designers, resulting in spaces that are both culturally relevant and visually appealing, incorporating both modern and modern classic interior design principles. There is a growing demand in Egypt for spaces that seamlessly integrate modern and cultural elements, driven by increasing urban development. Clients are seeking not only functional structures but also environments that reflect their local heritage while offering the conveniences and aesthetic appeal of contemporary design. Leading construction companies in Egypt are responding to this demand by collaborating closely with interior designers to ensure architectural designs align with the envisioned interior aesthetics. Modern interior design in Egypt is distinguished by clean lines, open spaces, and minimalist details, often enhanced by unique local elements. This harmonious blend of local and global styles is a hallmark of these memorable spaces. Several key trends define modern interior design in Egypt. The fusion of natural materials and textures is prominent, with designers incorporating wood, stone, and metal, alongside materials that evoke the Egyptian landscape, such as stone textures inspired by the desert or the Nile. Egyptian patterns, including geometric designs from Islamic art and Pharaonic motifs, are strategically integrated into decor elements like tile designs and wall murals, adding a sense of cultural continuity. Modern classic interior design, which combines timeless elegance with modern functionality, is also popular. This style often features arches and grand staircases alongside minimalist layouts. The design approach prioritizes open spaces and natural light, utilizing large windows and skylights, particularly in coastal areas, to connect indoor environments with outdoor views. Sustainability is another crucial trend, with Egyptian designers adopting eco-friendly materials and energy-efficient practices, including the use of local resources, energy-efficient lighting, and sustainable furniture. Construction companies are increasingly prioritizing green building practices in alignment with interior designers to ensure project longevity and environmental responsibility. The successful integration of interior design is often achieved through close collaboration with construction companies from the initial stages of a project. This partnership ensures that all elements, from building layout to window placement, align with the intended design aesthetic, a critical factor in high-end residential and commercial developments. Egyptian interior designers adeptly adapt global trends, such as Scandinavian minimalism and industrial design, by infusing them with warmth and personalization to suit local climate and cultural preferences. For instance, industrial design elements like exposed steel and concrete are often softened with warmer tones and textures. Modern interior design in Egypt extends beyond aesthetics, enhancing the quality of life by creating spaces that foster comfort, productivity, and a connection to local culture. By blending global trends with indigenous culture, Egyptian interior design firms are establishing high standards for modern living, catering to the strong demand for contemporary design with an Egyptian flair in both commercial and residential projects. #ModernInteriorDesign #EgyptianCulture #GlobalAesthetics #CulturalHeritage #SustainableDesign #NaturalMaterials #GeometricPatterns #OpenSpaces #ModernClassicInteriorDesign

This article explores how three Westchester homeowners master the art of chic collecting, blending formidable treasures and flawless taste to create truly livable homes rather than museum-like spaces. Each homeowner or couple showcases a unique approach to integrating extensive and diverse art collections into their personal residences. Karen Schlansky's Chappaqua home, which also functions as a gallery for her business, Rose Court Asian Antiques, exemplifies how Asian art can be seamlessly integrated into various decors. Her 1987-built "country barn" style home, characterized by wide-planked pine floors and exposed-beam ceilings, eclectic furnishings, and diverse collections. Schlansky's collection includes Tang Dynasty pottery sculptures, a third-century pottery lokapala, and Ming Dynasty musicians, which she skillfully mixes with contemporary furniture and art from other cultures like African masks and Southwestern paper collages. Her journey into antique dealing began with a passion for Chinese history and culture during her travels, leading her to establish Rose Court Asian Antiques in 1997. Initially, her gallery was in the lower level of her home, but she later moved it to the first floor to better demonstrate how the pieces would look in a living space. While most of her pieces are for sale, a cherished Qing Dynasty lacquered leather box, representing her family's leather business, remains a permanent fixture, symbolizing her past, present, and future. Dr. Lewis Shapiro and Linda Swanson, after downsizing from a rustic Briarcliff Manor home to a two-bedroom condominium in Trump Tower at City Center, faced the challenge of displaying their extensive global art collection. Their collection, which began in 1985 after Swanson acquired African art from Sotheby's, includes 20th-century wooden masks from Western Africa, thousand-year-old Casas Grandes pottery from Mexico, and antique Chinese snuff bottles. They enlisted Scarsdale interior designer Linda Blair of Blair Interiors Group, Ltd., who, as a collector herself, understood their desire to integrate art into their living space rather than merely displaying it. Blair designed the apartment with a neutral color palette of cream, beige, and caramel to highlight the art and used traditional yet comfortable furniture. Custom cabinetry in the living room showcases a range of their prized pieces, such as a painted gold Ashanti staff finial, a Kuba cub, and a Dan chimpanzee mask. A concrete pillar was transformed into a display for intricately carved Yoruba twins, and an illuminated niche in the entry foyer highlights ancient Roman artifacts, flanked by 16th-century French church columns. The entrance also features framed illuminated miniatures from Les Très Riches Heures du Duc de Berry, holding both artistic and sentimental value for Swanson. Blair's goal was to unify and organize their diverse collection, creating a livable space that avoided feeling like a museum. Marc and Denyse Ginzberg, homeowners in Rye, have transitioned from collecting African art to focusing on Ethiopian crosses. Their sleek, modern home, designed by Charles Forberg in 1993, offers spectacular water views and features custom-made shelves, antique armoires, and chests to display their collections. Initially, their collection included world-class African art such as ceremonial combs, hairpins, hats, sword handles, spoons, clubs, and whistles. After collecting for over 35 years and amassing an impressive collection of authentic African masks and sculptures, the Ginzbergs decided to sell their figurative works due to rising prices. They then shifted their focus to non-figural, abstract objects of use, known as "forms," which were featured in Marc's book, African Forms. After auctioning off a significant portion of this collection at Sotheby's Paris, breaking records for non-figurative African art, the Ginzbergs have now turned their attention to intricately designed Ethiopian crosses from the 12th to 19th centuries, composed of bronze, iron, wood, and silver. This new passion reflects their continuous engagement with collecting and their ability to identify emerging areas of interest in the art world, often ahead of museums and other collectors. #ArtCollection #HomeDesign #InteriorDesign #AsianAntiques #AfricanArt #EthiopianCrosses #ArtCollecting #DecorativeArts #HomeDecor