Designer Basma Medhat.. Pioneer of Egyptian Fluid Art

The Design Show, an architecture, interior design, and fit-out exhibition, is scheduled to take place at the Cairo International Convention Center from May 23rd to May 25th. This event aims to showcase a comprehensive array of design innovations and connect professionals and enthusiasts within the industry. The exhibition is positioned as a significant gathering for the design sector in Egypt and the wider Middle East, offering a platform for exploring current trends and future directions in design. The event will host numerous exhibitors, including architects, interior designers, lighting specialists, furniture manufacturers, landscape designers, and workspace solution providers. Notable participants include Shira Group, Smart Wood, Novi Design & Furnishing, Herman Miller, Smart Furniture, and Duravit. The inclusive nature of the exhibition allows any relevant company to register and participate, fostering a broad representation of the industry. Support for The Design Show comes from prominent industry sponsors such as Asfour Crystal, Mohamed Talaat Architects, Nadim Industries, and Villeroy and Boch. Their involvement underscores the event's importance and its potential to contribute significantly to the enrichment and advancement of the Egyptian design sector. The presence of these key players helps solidify the exhibition's reputation as a vital industry occasion. In addition to the traditional trade fair components, The Design Show will feature "live design talks" accessible to all visitors throughout the exhibition dates. These sessions are designed to provide insights and foster discussions on various design topics. Furthermore, "panel discussions" will be held specifically for professionals from June 1st to June 3rd. These specialized sessions offer valuable networking opportunities and a forum for in-depth exchanges among industry experts. Attendees, whether seasoned professionals or design enthusiasts, can anticipate discovering groundbreaking products, gaining new perspectives, and staying informed about the latest design trends and developments. #TheDesignShow #DesignExhibition #EgyptianDesigners #InteriorDesign #Architecture #FurnitureDesign #CairoEvents #DesignTrends #Networking

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

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

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

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

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

Rana Salam, a Lebanese-British graphic designer, has established a notable presence in the design world by uniquely blending Lebanese and Middle Eastern pop culture with retro and pop art influences. Born in Lebanon, Salam's early inspiration stemmed from her architect father, Assem Salam, and a Vespa gifted to her at age 15, which encouraged her to explore Beirut's art-filled streets. Her distinctive style is characterized by transforming visual snippets from billboards, vintage film posters, and signs into large-scale, retro-inspired art pieces, utilizing modern design technology to present her interpretation of pop culture to a global audience. Salam pursued her higher education in England, earning a BA in Graphic Design from Central St. Martins and a Master’s Degree in Visual Communication and Art Direction from the Royal College of Art in 1992. During this period, she recognized the rich creative potential within her home country and developed a passion for pop arts, focusing on reinventing them with contemporary flair. Her career gained momentum in 1995 when she established Rana Salam STUDIO in London. A pivotal early project involved designing a window display for Harvey Nichols, a prominent London department store, using collages of street billboards and featuring iconic figures like Bettie Page and Brigitte Bardot. Further solidifying her reputation, Salam drew inspiration from renowned designers such as Paul Smith, Sonja Rykiel, and Kate Spade. Following her success with Harvey Nichols, she was commissioned to design the new swimwear department for Liberty of London. A significant milestone in her career was the 2008 publication of her book, “The Secret Life of Syrian Lingerie,” co-authored with Malu Halasa, which sold 5,000 copies in its first year, marking it as a considerable success. After living in England for 27 years, where she absorbed the local art culture and integrated it into her Middle Eastern-inspired designs, Salam relocated her Rana Salam STUDIO to Beirut in 2010. A year later, she expanded her enterprise by opening the Rana Salam SHOP, which offers home products, accessories, art, and prints. Her focus is on curating unique objects to enrich her artistic creations, striving to portray Lebanon and the Middle East in a positive light through her work. As an entrepreneur, Salam's influence extends internationally, with projects and designs in cities including Miami, London, Dubai, Istanbul, and Milano. Her collaborations include working with Sauce Dubai to recreate Ferruccio Laviani’s classic Bourgie Lamp for Kartell and developing a new design for the iconic Converse brand as part of the “Made By You” project in 2015. She also contributed a pop-up installation to the Istanbul Design Biennale in 2017. More recently, she has been involved in designing for notable Lebanese restaurants in the diaspora, such as Comptoir Libanais in London and Noura in Paris. Rana Salam remains committed to her artistic mission of transforming perceptions of the Middle East through the transformative power of design. #RanaSalam #LebaneseDesigner #BritishDesigner #PopArt #GraphicDesign #MiddleEasternCulture #ArtDirection #DesignEntrepreneur #CulturalFusion

Netjets, a private jet airline, has maintained a 16-year partnership with Art Basel, consistently unveiling collaborative projects at the fair. This year's iteration featured a bespoke installation by Swedish artist Frida Fjellman within the Netjets collectors' lounge. Fjellman's contribution, titled 'Crystal Atmosphere,' brought a new spatial interpretation to her signature blown glass lanterns. These lanterns, first showcased in a solo exhibition in 2015, have since evolved into various colors and sizes, all retaining their distinctive mouth-blown glass and metal components. They are presented both as individual pieces and as elaborate chandelier-like clusters. Fjellman's artistic journey with these lanterns involved a two-year development period in collaboration with The Glass Factory, an art glass producer situated in Boda, a small village nestled within Sweden's forests. The artist initially conceived these lamps not for traditional beauty or utility, but to evoke the impression of exaggerated, somewhat unconventional jewelry—beautiful yet intriguing. The unexpected popularity of these pieces has been a point of interest for Fjellman. The lanterns gained significant attention when they were displayed at Design Miami/ in 2016 as part of a large-scale installation by Hostler Burrows. This exposure captured Netjets' interest, leading to the current collaboration. For the Art Basel lounge, Fjellman was granted complete creative freedom. Over a period of four months, she developed her largest installation of these works to date, comprising 100 lanterns in a spectrum of shades and sizes. This project also involved the creation of a new large-scale piece that pushed existing production boundaries. The installation within the lounge featured the lanterns suspended from the ceiling in color-coordinated clusters. The lighting of these pieces was designed to be discreet, with lights slowly fading in and out, mimicking a breathing pulse. Fjellman's stated intention for the 'Crystal Atmosphere' installation was to cultivate a serene environment, providing a calming respite from the often-hectic atmosphere of the art fair. 'Crystal Atmosphere' underscores Netjets' ongoing commitment to the arts. Previous artistic collaborations by the private aviation company include projects with the art/design duo Snarkitecture and British artist Rebecca Louise Law. Fjellman reflected on the inspiration behind her installation, noting her interest in the almost magical sense of tranquility experienced during flight above the clouds, likening it to a rare oasis of calm in an increasingly hyper-connected digital world. #ArtBasel #Netjets #FridaFjellman #InstallationArt #BlownGlass #DesignMiami #CrystalAtmosphere #ContemporaryArt #ArtCollaboration

Palestinian designer Lameice Abu Aker, based between Jerusalem and Milan, is revitalizing the centuries-old art of glassblowing from her homeland. Her work aims to infuse hope through vibrant colors, unique forms, and a touch of femininity, while also preserving Palestinian cultural heritage. Abu Aker emphasizes the significance of reclaiming artisanal practices for her people, particularly given the historical roots of glassblowing in the Middle East, with Sidon and Aleppo being early centers, and Hebron in Palestine historically renowned for its glass production. Hebron's glass factories once produced distinctive blue and green jugs, cups, bottles, and beads, a craft passed down through generations. Abu Aker collaborates with skilled Palestinian artisans to create modern glass pieces, including flower vases and drinking cups, breathing new life into this traditional art. Her designs have garnered international recognition, being showcased at prestigious events like Milan Design Week and the Design Doha Biennial. Abu Aker's personal journey into design began in Jerusalem, fueled by a childhood interest in sketching and visual expression. Her move to Milan allowed her to specialize in furniture design and explore various materials, with a strong desire to integrate her Palestinian heritage into contemporary design. She chose glass as her primary medium due to its historical connection to her heritage and its unique artistic qualities. She describes the glassblowing process as challenging yet poetic, dreamy, and romantic, highlighting the material's dynamic and somewhat unpredictable nature, often described by artisans as 'dancing.' Her approach involves a deep respect for the material, avoiding molds and allowing the glass to dictate its own form through extensive experimentation and dedication. She recognizes the global challenge of declining craftsmanship, noting that in Palestine, this issue is exacerbated by various external pressures. Abu Aker views her work as a crucial effort to remind people of the value of artisanal traditions and to support craft communities that are often overlooked in a fast-paced, consumer-driven world. The establishment of her atelier, Ornamental by Lameice, was a deliberate step during the COVID-19 pandemic, providing an opportunity to align her artistic passion with a meaningful objective of cultural preservation. The aesthetic of her colorful pieces is characterized by lightness, fluidity, and an organic feel. Abu Aker aims for designs that provoke conversation, evoke emotions, and express a balance of strength and femininity, contrasting with harsh or edgy forms. Her inspirations are diverse, ranging from music and poetry to natural forms, acknowledging that the creative process often leads to unexpected outcomes. She collaborates with the Twam family, a multi-generational glassblowing family from Jaba’, whose inclusive and collaborative approach to their craft deeply moved her. She highlights the inherent challenges of glassblowing, such as working with extreme heat and the delicate nature of the material, which demand intense focus, intricacy, and patience. Through her work, especially amidst the current climate in Palestine, Lameice Abu Aker aims to assert Palestinian identity and demonstrate the community's unique capabilities and high-skilled craftsmanship, viewing activism through the lens of artistic creation. #LameiceAbuAker #PalestinianDesign #Glassblowing #CulturalPreservation #Craftsmanship #MiddleEasternArt #DesignDoha #MilanDesignWeek #HeritageCrafts

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

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

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

House of Two, an interior design studio founded by Mai Elagizy and Sara Soliman, aims to challenge stereotypes and deliver high-quality design services. Both founders are interior designers and entrepreneurs who were friends since their university days where they studied interior design. They accumulated a decade of experience working together in two different companies in Dubai, handling projects across various international locations including the Gulf, the United Kingdom, and Azerbaijan. Identifying a market gap and significant growth potential within Egypt's real estate sector, Mai and Sara decided to bring their expertise back to their home country. They observed an issue with consistency in the Egyptian interior design market, noting that many companies initially perform well but eventually lose their quality. To address this, they established House of Two with a strong focus on maintaining quality and meticulous attention to detail. A common misconception the founders seek to dispel is that high-quality interior design is an unaffordable luxury. Through House of Two, they strive to offer excellent quality services at reasonable prices. While their work encompasses retail, hospitality, and food & beverage sectors across the region, their primary focus in Egypt is residential projects. They believe in the limitless potential of creativity to realize a client's vision, viewing creativity as a fundamental aspect of their approach. The designers also firmly believe that the aesthetic quality of one's surroundings significantly impacts mood and overall quality of life, particularly within the home. This perspective leads them to view their role as akin to therapists, guiding clients towards spaces that enhance their well-being. Despite their success, they have faced challenges, particularly being undermined due to their age and gender. They observe that, contrary to popular belief, the interior design industry is not exclusively female-dominated. They have learned to be assertive, demonstrating that youth does not equate to a lack of experience, and being a woman does not diminish their professional credibility; their extensive portfolio serves as proof. Mai and Sara's ambition is to expand House of Two into a comprehensive one-stop shop for all aspects of space development. This vision includes offering not just design services but also encompassing lighting, artwork, branding, and other client needs, eliminating the necessity for clients to consult multiple specialists. Their commitment is to cater to clients' specific requirements across various project types, whether residential, commercial, or hospitality, prioritizing client needs above all else, which they consider a hallmark of effective entrepreneurship. #InteriorDesign #EgyptianDesigners #Entrepreneurs #CreativeDesign #QualityDesign #ResidentialProjects #FemaleEntrepreneurs #DesignStudio #CairoDesign

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