Identity - May 2025

Innovation in Design

Downtown Design Riyadh Guide / Salone del Mobile / Lights and Kitchens

14 What to exp ect at Downtown Design Riyadh

Here’s what to look out for at the Kingdom’s first fair for original and high-quality contemporary design, running from 20 to 23 May 2025

44 A Collector’s Dream Home

Designed by Liu Hong of Y&J Design, this six-story residence in Shanghai balances function, emotion and immersive experience

48 Small Spaces, Big Impact

How intentional design, emotional storytelling, and clever craftsmanship can quickly transform challenging spaces into points of interest

58 A Surreal Tribute

“ Water, salt and olive oil. That's what it takes to survive,” says designer Philippe Starck, who created the new La Almazara olive oil museum outside Ronda, Spain

Surface Solutions, Designed By Nature

SINTERED STONE

PORCELAIN

Editor-in-Chief

Obaid Humaid Al Tayer

Managing Partner and Group Editor

Ian Fairservice

Chief Commercial Officer

Anthony Milne

Editor

Aneesha Rai

Senior Art Director

Olga Petroff

Designer

Vibha Monteiro

Sub-editor

Max Tuttle

Senior Partnerships Manager

Sharmine Khan

General Manager - Production

Sunil Kumar

Production Manager

Binu Purandaran

Assistant Production Manager

Venita Pinto

Head Office: Media One Tower, PO Box 2331, Dubai, UAE; Tel: +971 4 427 3000, Fax: +971 4 428 2260; E-mail: motivate@motivate.ae

Dubai Media City: SD 2-94, 2nd Floor, Building 2, Dubai, UAE; Tel: +971 4 390 3550, Fax: +971 4 390 4845

Abu Dhabi: PO Box 43072, UAE, Tel: +971 2 677 2005, Fax: +971 2 677 0124; E-mail: motivate-adh@motivate.ae

Saudi Arabia: Regus Offices No. 455 - 456, 4th Floor, Hamad Tower, King Fahad Road, Al Olaya, Riyadh, Kingdom of Saudi Arabia; Tel: +966 11 834 3595 / +966 11 834 3596; E-mail: motivate@motivate.ae

London: Acre House, 11/15 William Road, London NW1 3ER, UK; E-mail: motivateuk@motivate.ae

Editor’s Note

This month, we shed light on innovation and what propels the industry in terms of creativity. In our collaboration with Aedas for the cover we speak to Global Design Principal Ignacio Gomez, track the firm’s rapid evolution in the past 20 years and, more importantly, explore the firm’s belief in its people and the power of mentorship.

Our successful stint at Salone del Mobile included proudly holding a panel with the president of the fair and several eminent architects and designers from the GCC region –and in this issue we share the highlights of the exhibits that had an impact on us. We now turn to Saudi Arabia; as media partners for the inaugural Downtown Design Riyadh, taking place between 20 and 23 May, we share with you a special guide on to what to look out for this year. This includes exclusive insights from the director of Downtown Design, Mette DegnChristensen on how the collaboration with Saudi Arabia’s Architecture and Design Commission of the Ministry of Culture is shaping this exciting new fair.

We also we step into the residence of Ahmed Sultan, Partner at Finasi, who opens the doors to his sky-high Dubai apartment – a home blends both soul and spirit. We also explore the increasingly relevant concept of the hobby room, spotlighting one such space designed for music and creativity by Saya Studio, and take a tour through an art-filled Shanghai residence that took over five years to come together.

Small Spaces, Big Impact delves into the craft of designing within constraints, speaking to interior designers and architects who are creating immersive, emotionally resonant environments in even the most compact of footprints.

From the beautifully preserved Bait Elowal, designed by Sheikha Bodour Al Qasimi, to the surreal Dali-inspired olive oil museum envisioned by Philippe Starck, we traverse a landscape of creativity that is boundless, unexpected and deeply inspiring.

Here’s to innovation in all its forms.

Aneesha Rai Editor identity

On the cover

Ignacio Gomez, Global Design Principal at Aedas, photography by Mark Mathew, chair courtesy of The Bowery Company

Available at Sheikh Zayed Showroom-Soho Building

New Roots

Efie Gallery relocates to Alserkal Avenue and hosts the Middle Eastern debut of María Magdalena

Campos-Pon’s solo exhibition

WORDS – ANEESHA RAI

Efie Gallery inaugurated a new twostorey, 409-square metre space in Alserkal Avenue in April with a monumental regional debut solo exhibition by internationally acclaimed Cuban artist María Magdalena Campos-Pons. “This expansion is more than just a new space – it’s a statement of our commitment to creating deeper artistic exchanges,” says Kwame Mintah, co-founder and director of Efie Gallery. “Alserkal Avenue provides the perfect environment for us to push boundaries, presenting ambitious exhibitions that challenge and inspire.” The relocation underscores Efie Gallery’s commitment to representing and advancing artists of African origin both from the continent and its global diaspora, while fostering cross-cultural artistic dialogue in the Middle East and beyond.

Following an extensive renovation led by the Mintah family in collaboration with architect Suhaira Yousif, the new two-storey space is designed to host immersive, large-scale installations while reflecting the gallery’s iden-

tity. A textured blend of concrete, steel and wood defines the architecture, with a Barrisol Light ceiling in the main exhibition hall. The ground floor spans almost 140 square metres, with 2.8-metre-high ceilings, letting the pieces become protagonists of the space.

Efie Gallery’s signature fusion of visual art and music continues with the expanded Rekord Gallery – a distinctive listening space accessed through a trap door. Designed for deep listening and visual immersion, the room features 360° audio, mirrored ceilings and bespoke furniture. It also houses over 2,000 original vinyl and shellac records dating from the 1940s to today as its permanent collection; they are displayed across its 32 metres of wall shelving. The space will also host rotating exhibitions from guest record collectors. The opening exhibition – ‘I Am Soil. My Tears Are Water’ – will present new works by Campos-Pons, curated by Faridah Folawiyo, and will run until 24 May 2025. Focusing on flora and fauna native to Latin America, the Middle East and Africa,

Campos-Pons examines diaspora and relativity – the idea that all life is intertwined. Hibiscus, sugarcane and guava leaves, among other botanicals rich in cultural significance, feature prominently. Through painting, sculpture and site-specific installation created in collaboration with multifaceted musician Kamaal Malak, the exhibition is an exploration of nature, spirituality and the interconnectedness across cultures and geographies. This inaugural exhibition sets the foundation for a dynamic programme designed to foster engagement and advance contemporary artistic narratives. Upcoming programming at Efie Gallery’s new space will include a film and photography group exhibition curated by Ose Ekore, running from May to July 2025, featuring works by Kelani Abass, Sumayah Fallatah and Samuel Fosso, among others. In autumn, the gallery will present ‘The Birth of a People’, a show of modern African art spanning the years 1957 to 1999, and ‘The Shape of Things to Come’, curated by Dexter Wimberly.

María Magdalena Campos-Pons in her exhibition, I Am Soil. My Tears Are Water at Efie Gallery, Dubai

Studio

Villar

Wander and Wonder

Inside the Foster + Partners designed Kingdom of Saudi Arabia pavilion at Expo2025 Osaka

WORDS – ANEESHA RAI

Photography: Nigel Young

Left page – Visitors enter the Pavilion through the forecourt, planted with native Saudi Arabian flora, and travel through narrow streets that lead to the Saudi Courtyard, which is the beating heart of the scheme; This page – The Pavilion creates a spatial experience that echoes the exploration of Saudi Arabian towns and cities, while providing a setting for immersive engagement that connects visitors with the undiscovered wonders of the Kingdom

Located on the Yumeshima waterfront, the Kingdom of Saudi Arabia Pavilion creates a spatial experience that echoes the exploration of Saudi Arabian towns and cities, while providing a setting for immersive engagement that connects visitors with the undiscovered wonders of the Kingdom.

The highly sustainable and inclusive Pavilion has been designed with its legacy in mind as the project achieves the Japanese green building rating system’s highest level (CASBEE S) and will be net-zero operational carbon.

Visitors enter the Pavilion through the forecourt, planted with native Saudi Arabian flora, and travel through narrow streets that lead to the Saudi Courtyard, which is the beating heart of the scheme. The Courtyard allows for moments of quiet reflection during the day and transforms into a venue for performances and events at night. From here, visitors are invited to explore a ‘village’ of meandering streets, with windows and doorways, leading into a series of immersive spaces, designed in close collaboration with Journey (59 Productions and Squint/Opera). The project honours Saudi Arabia’s architectural heritage and evokes a sense of place while providing visitors with a glimpse into the daily life and urban fabric of the Kingdom’s streets.

Luke Fox, Senior Executive Partner and Head of Studio, Foster + Partners, said: “We are delighted to see the Saudi Pavilion open to the public and ready to welcome its first visitors on an epic journey of new discovery. The project is a celebration of Saudi Arabian culture, evoking the wonderful streetscapes and captivating natural landscapes that define the Kingdom. Every element has been carefully considered to create a one-of-a-kind experience that is highly sustainable and accessible to everyone.”

The Saudi Pavilion’s massing recalls the organic shapes of traditional Saudi villages. The practice developed the design of these concepts and carefully crafted them using compu-

tational fluid dynamics simulations, to allow cool winds from the west into the streets during the height of summer. In the cooler months of April and October, the landscaped forecourt acts as a barrier to protect the pavilion from harsher northerly winds.

Inclusivity is central to the Pavilion’s ethos. A ramped entrance welcomes all visitors through a single, unified access point. Inside, wheelchair-accessible seating is seamlessly woven into performance areas, and the central stage is fully retractable to ensure equal visibility and participation. The Pavilion’s restaurant explores multi-level seating, providing varied experiences for guests of all abilities. Its washrooms include Japan’s first Expo-based ceiling track hoist system, enabling dignified, independent access. A calm room, guided by neuro-inclusion principles, offers respite for visitors needing sensory downtime. All signage throughout the Pavilion is presented in Japanese Braille, as well as written Japanese and English, reflecting an awareness both of global accessibility standards and local cultural sensitivities.

Tony Miki, Partner, Foster + Partners, added: “The Saudi Pavilion is also designed to create meaningful connections between the visiting public and Saudi Arabia’s incredible artists and musicians. By engaging all of the senses, the space allows visitors to experience the national transformation of Saudi Arabia. It is its own urban microcosm that carefully balances tradition and heritage with modern technologies – which is shaping the Kingdom’s future. We have worked closely with Journey to ensure that the immersive digital content is holistically integrated within the architectural design.”

Crafted using low-carbon materials, the Pavilion also integrates photovoltaic rooftop panels, energy-efficient lighting and a lightweight, DfMA-based structural system to minimise foundation concrete. Its façade –formed of lightweight Saudi stone composite panels – can be fully deconstructed and reassembled, reinforcing the commitment to sustainability and reuse. The Saudi Pavilion is a glimpse into the future of Expo architecture: immersive, sustainable, inclusive and deeply rooted in a sense of place.

What to Expect at Downtown Design Riyadh

Here’s

what to

look

out for at

the

Kingdom’s first fair for original and high-quality contemporary design, running from 20 to 23 May 2025

WORDS

–

ANEESHA RAI

Taking place at JAX District, a vibrant cultural hub in the heart of Diriyah, and framed by the storied beauty of the UNESCO World Heritage Site of At-Turaif, Downtown Design Riyadh is being held in partnership with the Architecture and Design Commission of the Kingdom’s Ministry of Culture. Downtown Design Riyadh marks a defining moment in Saudi Arabia’s rapidly evolving creative landscape and is positioned as an essential new anchor event on the regional and international design calendar.

The fair will gather a curated selection of global design brands, pioneering regional stu-

dios and an inspired showcase of local Saudi talent, celebrating the convergence of heritage, craftsmanship and cutting-edge innovation. Alongside design showcases, visitors can explore immersive F&B experiences, creative pop-ups and a robust line-up of talks and keynotes at The Forum.

Among the key highlights is ‘Strata’, a modular outdoor intervention by multidisciplinary studio Karim+Elias. Inspired by Diriyah’s iconic Najdi geometry, the installation is handcrafted from locally sourced materials such as Saudi sand, using rammed earth techniques. It pays homage to Riyadh’s cultural roots while offering sculptural urban seating. Jotun is presenting an experiential colour exhibition featuring collaborations with Saudi designers, while Jaipur Rugs is showcasing pieces by designers such as Tatiana de Nicolay, Vinita Chaitanya and Wunderkammer.

Design experimentation and cultural narratives will shine through exhibits like Aida Studio’s creative presentation by Jeddah’s Bricklab and Mumbai’s Æquo gallery, which is debuting in the Middle East with works by Dutch designer Linde Freya Tangelder, made in collaboration with Indian artisan Jeevaram Suthar. Cosentino has partnered with Kuwait’s Babnimnim Studio

This page (from left) –Collectional Mirage Mirror by Sabine Marcelis; Scarlet Splendour by TOTEM

Right page (from top) – Æquo Gallery Slabs Chair by Linde Freya Tangelder; Richard Hutten x Scarlet Splendour Wolk Chair

on a conceptual installation inspired by Saudi colour palettes, including the unveiling of the ‘Dekton Riyadh’ prototype – an ultra-compact surface with carbon-neutral credentials.

Other standout participants include Serafini with its Italian marble creations, Huda Lighting’s multi-brand showcase featuring design heavyweights like Brokis and Tom Dixon, and Iwan Maktabi’s Libas collection in collaboration with BLU, which celebrates regional textile heritage. The collaborative spirit continues with Klekktic x Assembly, who merge customisable contemporary furniture with curated vintage finds.

Lasvit will introduce Splash by Martin Gallo, a poetic lighting sculpture inspired by water’s fluid motion. Natuzzi is highlighting lifestyle concepts crafted in Italy, while Gallery COLLECTIONAL is presenting limited-edition design pieces by globally celebrated names such as Draga & Aurel, Christophe Delcourt and Apparatus Studio. Armourcoat will unveil its ecoconscious ‘Raw Earth’ finishes, and Italian studio Dinodo will showcase limited-edition textile art produced with contemporary artists.

New design dialogues are also being fostered by platforms like UN:RAW Collective, featuring conceptual works from Wanderart and Elena Pelosi Studio, as well as Scarlet Splendour, debuting in the region with bold brass pieces by Richard Hutten. Saint-Louis is showcasing the Torsade collection, a collaboration with artist Stefania Di Petrillo, and The Bowery Company is bringing leading Scandinavian design brands including Audo Copenhagen and GUBI.

Local voices are central to the fair. Saudi design studio NWII.III, co-founded by Noura Suleiman, will present projects rooted in the Kingdom’s evolving interior design narrative. Venini is unveiling Lampade Stele by Arnaldo Pomodoro – a limited-edition series of luminous steles inspired by ancient votive columns. The ‘Enlace’ project by Aranda/Lasch in partnership with Maison Drucker and Trame reimagines the French bistro chair through digital innovation, while visitors can interactively explore Drucker’s craftsmanship legacy.

UAE-based Tulio Design is introducing a rug inspired by Saudi heritage, and Riyadhbased Teeb Made is presenting designs that seamlessly merge traditional craftsmanship with contemporary aesthetics. Italian design house Visionnaire debuts with immersive living concepts, while Viúva Lamego is bringing the Arcadia collection, made from high-relief glazed tiles by Oficina Marques.

With its impressive roster and thoughtful curations, Downtown Design Riyadh not only spotlights the Kingdom’s design ambitions but sets the stage for a new era of cultural exchange, creativity and innovation in the region.

Elevating Saudi Arabia’s Design Scene

We interview Mette Degn-Christensen, Director of Downtown Design on the fair’s inaugural Riyadh edition

WORDS – ANEESHA RAI

What’s the central theme of the fair this year?

For our first edition of Downtown Design Riyadh, we wanted to make it an unmissable event for design enthusiasts, professionals and the culturally curious alike – both for those based in Saudi Arabia and international audiences as well. With more than a decade executing a successful event in Dubai, we are excited and ready to bring a curated design experience to Riyadh, specifically to the heritage site of Diriyah.

The Riyadh fair will reflect the true essence of what Downtown Design is, including our strong mandate for contemporary design, emphasis on high-quality and original design, local and regional contextuality in both programming and creative offers, and providing a platform for creative talent as well as global brands, while offering a bridge for the industry – all the while supporting Saudi Arabia’s growing design scene. As such, we try and avoid one common theme by way of ensuing inclusivity across relevant sectors, topics of the industry and participants, in a filtered and curated showcase, and the fair will bring together regional and global brands alongside local studios and emerging designers, as well as galleries showcasing limited-edition and collectible design pieces for visitors to discover, buy or commission. Mirroring the dynamism of Riyadh and KSA’s burgeoning creative scene, visitors can expect an array of engaging experiences, pop-up concepts, creative installations, modern craftsmanship and a thought-provoking talks programme across pertinent themes that are rooted in a local context, across wellbeing, innovation and culture.

How will the Riyadh edition of Downtown Design differ from the Dubai edition?

We are welcoming several new global and local designers, manufacturers, studios, galleries and collectives to this edition, many of whom will be making their Middle East debut at Downtown Design Riyadh. In its first edition, the Riyadh fair is a tighter curation of exhibitors; there is a high-calibre level of premium galleries, manufacturers and collectives showcasing limited-edition pieces to the sophisticated audiences of Riyadh, who are participating for the first time. We also have incorporated trends – and, of course, the venue is just stunning, with exhibition halls perched on top of the Diriyah Valley, with windows and terraces both providing panoramic views.

The showcase of exhibitors and product categories presented is generally more filtered than at the Dubai fair, more tailored to the local fast-growing market and with a clear emphasis on high-end interiors and calibre products, mirroring the sophisticated end-consumer. In

future editions we will further expand the offer across sectors and product offerings – such as kitchens, bathrooms and outdoor, for instance.

Can you give us some background on why the JAX district is an ideal venue?

JAX District in Riyadh is the creative hub of the city and we believed it would work perfectly as the venue for Downtown Design Riyadh. Set against the backdrop of the UNESCO World Heritage Site of At-Turaif in Diriyah, Riyadh, JAX District attracts an eclectic mix of the local cultural community, and is now home to many creative organisations, artists and galleries. JAX District’s creative energy and shared spaces that invite collaboration make it a natural home for Downtown Design Riyadh. Additionally, the district will offer the perfect backdrop for the vernacular, outdoor intervention by Karim+Elias – the Lebanese design duo Karim Tamerji and Elias Hage. This is a modular, outdoor public intervention, hand-crafted using sand sourced directly from

Saudi Arabia, and taking form of a modular seating installation consisting of more than 50 triangular components, hand-made using the rammed earth technique and designed to accommodate visitors to Downtown Design Riyadh. Adopting the iconic geometry of Diriyah’s ‘furjat’ triangle, a motif recognised in the local Najdi architectural style, the concept for the installation was ‘relics’, resulting in it being made of and from the heritage site.

The outdoor intervention will incorporate immersive trees and plants by Green Trend – a gorgeous landscape company – in a configuration that uses the greenery as the focal points, defining the landscape infrastructure.

What are you most excited for during this edition?

It is an exciting time for the industry and creative landscape in Saudi Arabia generally, and I look forward to seeing the showcase of leading design brands from around the world and the region. I am especially interested to see the presentations from the Saudi and local creative talent.

There are several elements I am very excited about from a content perspective; for example, Mumbai’s Æquo Gallery – the new ‘It’ gallery on the global, contemporary design stage – will be showing new works by Dutch designer Linde Freya Tangelder, created in collaboration with Indian artisan Jeevaram Suthar.

We are thrilled to see other regional and global brands at the fair this year, with Huda Lighting bringing a large-scale multi-brand exhibit featuring brands from Articolo to Tom Dixon, and The Bowery Company highlighting modern Scandinavian design through furniture brands Audo Copenhagen, GUBI and &Tradition. Jotun will stage an experiential colour exhibition in collaboration with local designers – while ‘Enlace’, designed by Aranda\Lasch for a digital-meets craftsmanshipcollaboration between the iconic Maison Louis Drucker and TRAME, is a must-see, offering visitors the opportunity to engage with the time-honoured design process through an algorithm. And design house Scarlet Splendour, whose founders I have known for many years now, are joining us for the first time to present a bold collection, including statement brass pieces designed by Richard Hutten. I am also thrilled that we have Cosentino, Iwan Maktabi, Natuzzi and the beautiful Saint-Louis with us in this milestone fair… I could go on forever!

Azerbaijan’s Aida Studio has teamed up with Jeddah-based architecture practice Bricklab for an architectural presentation of their exhibition space, bringing a local element to the booth. Together, Klekktik and Assembly are bringing together their respective expertise, presenting modern design alongside contemporary vintage collectibles. Gray Gardens Plant Studio is showcasing for the first time, introducing its raw, handmade planters and vases.

How has the partnership with Saudi Arabia’s Architecture and Design Commission of the Ministry of Culture helped promote the fair, and how has it shaped its outlook?

We are delighted to stage Downtown Design Riyadh in partnership with Saudi Arabia’s Architecture and Design Commission of the Ministry of Culture, as we support the growing position of Saudi Arabia in the global design sector and the region’s cultural community. Together, Downtown Design Riyadh is spotlighting local creative talent, enabling the regional and global design industry to access Saudi Arabia’s dynamic interior design market and ensuring the right reach for the event and access for the sector. The partnership is also key for the fair’s non-commercial programming and activations, considering its context across design and local themes rooted in Saudi Arabia’s heritage of craftsmanship as well as the dynamic, fastgrowing design landscape across the Kingdom.

Will there be limited-edition works at the fair?

In a dedicated space at Downtown Design Riyadh, visitors will be able to discover collectible design and ultra-high-end pieces. These are all presented by leading international galleries, independent designers and makers known for their exceptional craftsmanship and contemporary vision.Alongside Æquo Gallery, one of the highlights in this section is Gallery COLLECTIONAL, who will be showcasing a curated selection of limited-edition pieces by some iconic names, including beautifully crafted furniture by Christophe Delcourt. Visitors will also get to see the sculptural lighting of New York-based Apparatus Studio, along with the vintage-inspired creations of experimental design duo Draga & Aurel, as well as names such as Laurids Gallee, Mario Tsai, Sabine Marcelis, Steven John Clark and Refractory.

Other standout presentations include Venini, famous for its hand-blown glassworks and featured through collaborations with Michele De Lucchi and Peter Marino, among others, while Visionnaire and Serafini will also display in this section.

Who are some of the participating homegrown brands? And will there be a ’Saudi designer exhibition’ as part of the fair?

We have a fantastic selection of contemporary Saudi creatives throughout the sections of the fair, who embody the energetic and creative energy that is emerging from the wider design community across the Kingdom – there is so much happening in the emerging design scene in KSA, so we are excited to be able to offer a platform for this rising talent.

Tajalla Creative Agency will stage a standout creative exhibit presenting its design objects, while the Designed in Saudi initiative will highlight the development of the King-

dom’s industrial design sector. Riyadh-based Teeb Made is a product design company elevating traditional craftsmanship through modern design. The beautiful pieces the studio is bringing to the fair are based around designs deeply rooted in Saudi heritage, showcasing how the Kingdom’s traditions continue to inspire contemporary design.

We will also be welcoming locally renowned NWII.III, the interior design studio co-founded by Saudi designer Noura Suleiman. Known for blending aesthetic trends with tailored design solutions, Suleiman has worked on numerous projects across Saudi Arabia.

Above (from top) – Serafini Animo Dining Table; Teeb Made

Highlights from Salone del Mobile.Milano

Here’s a recap of the new and notable novelties and exhibits at Salone del Mobile. Milano and Fuorisalone

WORDS – ANEESHA RAI AND SHARMINE KHAN

This year, Salone del Mobile.Milano and Fuorisalone had a record turnout, with over 68% of foreign professionals making their way to the city.

Library of Light

At the Pinacoteca di Brera, the Library of Light saw long queues, drawn by an installation that reflects a phrase by Umberto Eco which came to the British artist Es Devlin’s mind as she climbed the tall shelves of the Braidense National Library. Devlin’s luminous rotating sculpture was located in the centre of the 17th-century Cortile d’Onore, which connects the Pinacoteca di Brera, the Braidense National Library and the Academy of Fine Arts, and attracted a huge turnout. It is an 18-metre-diameter revolving cylindrical sculpture formed of illuminated bookshelves that contain 3,200 volumes. During the day, while the structure turned, the angled mirrored plane at the top of the cylindrical sculpture reflected the sun’s light into the columns, the statues of the portico and parts of the building never previously penetrated by the rays of the sun. At night, its illuminated structure created shadow played on the walls of the courtyard.

Hermès

Unveiled at La Pelota, Hermès’ new collections for the home drew large crowds. From side tables to dinnerware, the collections recall the maison’s expeditions in coloured glass and feature distinctive plays on form and textures. The large Points et Plans throw, designed by artist Amer Musa, recalls a child’s game, like draughts, on which multicoloured cashmere appliqué dots are stitched to a large, criss-crossed frame woven into cashmere fabric; meanwhile, a side table by designer Tomás Alonso seeks balance, plays with ideas and materials, and combines paradoxes.

Euroluce

Crowds were enchanted by the beautiful lighting solutions displayed at Euroluce. A-N-D presented three new luminaires alongside its iconic collections in an exhibition that interweaves tradition and innovation, while Lasvit unveiled the striking Niveo through hand-blown, sculptural glass forms that seemingly suspended light in motion. Flos’ striking booth by Formafantasma took visitors on a lightscaping journey.

Loro Piana

Loro Piana and Dimoremilano debuted together for the first time at Milan Design Week 2025 with an engaging and immersive project where the real and the plausible intertwined, creating a captivating experience inside Loro Piana’s Cortile della Seta courtyard, in the Maison’s Milan headquarters. As visitors crossed the threshold, they were transported to the foyer of a vintage cinema, complete with deep red velvet curtains, leopard-spotted carpet-

Hermès, photography by Maxime Verret

ing, beautiful furniture and brass appliqués. Here, guided by masks, guests prepared for the viewing of ‘La Prima Notte di Quiete’, an installation that recreates a fully-furnished house inspired by an apartment and the 1970s and 1980s, decorated with: exceptional furniture designed by Dimorestudio for Loro Piana Interiors; new and classic pieces from Dimoremilano upholstered with Loro Piana Interiors fabrics; items from the Loro Piana Art of Good Living collection; and antique pieces and art.

Studio TOOJ

Studio TOOJ exhibited at LABÒ during Milan Design Week, presenting the latest evolution of the DUK series. The collection plays with sculptural illusion and material ambiguity, and is crafted in Reishi, a luxurious, sustainable mycelium-based material developed by MycoWorks. Visually, these pieces had a

strong impact on visitors: what appears to be draped clothes are, in fact, sculptural forms – blurring the line between softness and solidity. Expanding upon the original DUK corner floating table, this new collection introduces a side table and a pedestal, each continuing the series’ surrealist inspiration.

Alcova

Beauty amongst rawness seemed to be the theme at this year’s Alcova. Besides its exhibitions at the historic Villa Borsani and Villa Bagatti Valsecchi this year, there were two dramatic new venues: the former SNIA factory, once a hub of synthetic fibre production; and the Pasino Glasshouses, formerly one of Europe’s largest white orchid cultivations that housed Polish artist Marcin Rusak’s ‘Ghost Orchid’ installation featuring flowers and botanical elements and drawing on his personal history with the same (Ruska’s grandfather also bred orchids). In collaboration with Łukasiewicz Research Network – Institute for Engineering of Polymer Materials and Dyes, the installation can be shredded and decomposed within about six weeks, transforming into nutrient-rich soil, ready to support new growth.

Edra

Edra opted to release a collection of nine materials inspired by the pure beauty of precious stones and minerals. The textures of these are three dimensional and really came to life both

at its exhibit in the city at the historic Palazzo Durini and at the fair. From the immaculate purity of Moonstone to the saturated green of Malachite, the comparisons between the stones and the iteration in fabrics were formidable. The palette elevates the lines, geometries, softness and movements of Edra sofas and armchairs.

Porro

A highlight for team identity was hosting an exclusive panel at Porro, along with Maria Porro, President of Salone del Mobile.Milano and Marketing & Communications Director at Porro, and several industry stalwarts from the GCC including: Iman Abuljadayel, Founder of In Detail Design Center; Jonathan Ashmore, Founding Principal at ANARCHITECT; Noora Al Awar, Creative Director at Studio D.04; and Sawsan Haber, Founder of Dipiugi. The releases included new products by Piero Lissoni, Christophe Pillet, Francesco Rota and the Dordoni Architetti studio.

Flexform

Loungescape, the new sofa designed by Antonio Citterio, retraces the geography of the living area, becoming the hub around which everything takes shape. Showcased at Flexform’s flagship store, the new piece is poised at the crossroads between innovation and artisanal craftsmanship. Premium materials are worked according to tradition, reinterpreted with contemporary flair.

Loro Piana and Dimoremilano, photography by Andrea Ferrari

Euroluce, photography by Gianluca Bellomo

Studio TOOJ’s DUK xReishi

A Strong and Dramatic Appeal

Three new pearl-effect colours add a sophisticated touch to Musa

WORDS – ANEESHA RAI

Sophistication, versatility and a deep commitment to innovation come together in Musa, the latest kitchen collection from Scavolini, designed by Vuesse. Created to enhance contemporary interiors with a sense of formal elegance, Musa brings together refined aesthetics and functional excellence through a new modular approach and an expansive palette of finishes that invite endless customisation.

At the heart of Musa is Scavolini’s mastery of material craftsmanship. Continuous research and innovation have led to the introduction of three new pearl-effect colours, enriching the ex-

isting range of glossy and matt lacquers. These luminous finishes are also available for glass fronts and for panels in both lacquer and veneer – featuring a refined slat texture, adding depth and character to a wide array of compositions.

The collection is distinguished by its 22-millimetre plain, sleek and minimalistic squared doors paired with a selection of handles that echo the design’s clean geometry. Two exclusive handle designs, offered in Satin Finish Steel and Matt Anthracite, can be integrated seamlessly with both horizontally and vertically slatted doors, further enhancing Musa’s cohesive visual identity.

To accommodate today’s design needs and technological advancements, Musa includes a new 75-centimetre modular width for base units, ideal for housing the latest largeformat built-in appliances. This addition also enhances the visual harmony of the kitchen's architectural layout.

A signature feature of the collection is its innovative use of perforated sheet metal surfaces, which can be integrated into wall units, sliding elements, countertops or suspended features. With options for either Round or Linear textures, and enhanced by interior lighting, these elements create a dynamic interplay of transparency and shadow – an elegant, almost cinematic visual effect.

Whether configured as a linear setup, island, corner or peninsula, Musa offers maximum design freedom. It adapts beautifully to both residential and contract environments, bringing personality and refinement to any space.

It also considers the evolving nature of modern living. Built-in solutions seamlessly connect the kitchen with living areas, creating fluid, multifunctional environments where working, socialising and relaxing coexist with ease.

Silent Move

A work surface by Häcker Kitchen can help transcend boundaries in your space

WORDS – ANEESHA RAI

In the heart of the modern home, the kitchen has become more than just a place for cooking – it is the living space itself; a hub for socialising, entertaining and creating cherished memories. Enter the Häcker kitchen, where timeless elegance, function and quality are fused with cutting-edge technology. Within this culinary sanctuary lies the Silent Move worksurface – an innovative feature that effortlessly redefines the way we approach the kitchen space.

Picture this: You’re hosting friends for a casual dinner, the gentle hum of conversation filling the air as you move seamlessly between preparing your signature dish and engaging in lively conversation. The Silent Move worksurface offers the perfect solution, transforming into a generous workspace when needed and effortlessly converting into a comfortable seating area for relaxed dining or intimate gatherings. Its versatility breathes life into your

kitchen, turning every moment into an experience of elegance, comfort and connection.

One of the most striking aspects of the Silent Move is its ingenious design. With a simple, smooth motion, the cooktop and sink are seamlessly concealed, leaving behind a pristine, uncluttered surface. This ability to conceal not only enhances the visual appeal of the kitchen but also fosters a sense of order and tranquillity. It’s a subtle yet powerful feature for those who appreciate the harmony of a clutter-free space, where every detail is carefully curated to create a sense of calm.

But Silent Move is more than just functional; it epitomises the perfect balance between aesthetics and practicality. It’s not just a worksurface; it’s a statement piece within the exclusive Häcker kitchen. Whether you're preparing a gourmet meal for family and friends or enjoying a quiet moment with a cup of coffee, this worksurface adapts to your needs, effort-

lessly blending into any setting. It invites conversation, sparks creativity and enhances the atmosphere of your home. Moreover, the Silent Move worksurface represents a blend of artistry and technology. Häcker’s commitment to superior quality and craftsmanship is evident in every detail, from the precision construction to the seamless integration with other kitchen elements. This exclusive feature elevates a kitchen to the highest standards, where beauty and function coexist in perfect harmony.

For those who seek a kitchen that reflects both sophistication and practicality, the Silent Move worksurface offers a perfect solution. It combines warmth and contemporary design, making it the ideal setting for both culinary creativity and meaningful connections. With every meal prepared and every conversation shared, Silent Move ensures the kitchen remains the heart of the home – effortlessly stylish, inviting and filled with life.

A Greater Evolution

VVD kitchen by Vincent Van Duysen evolves with elevated detail

WORDS – ANEESHA

RAI

VVD – the acclaimed kitchen concept by Belgian architect Vincent Van Duysen for Molteni&C – received a series of thoughtful enhancements in 2024, further sharpening its design vocabulary while remaining unmistakably true to its core identity.

At the heart of the update is an enriched material palette and the introduction of new components that elevate the VVD kitchen from a utilitarian space to a dynamic design statement. Among the standout introductions is the 150mm-high marble top, an elegant addition to the existing 20mm and 60mm options. This sculptural surface now harmonises with a redesigned snack top, featuring a unique support system that allows it to adapt seamlessly to other kitchens in the Molteni&C family.

The new 2700K LED dimmable lighting enhances both functionality and ambiance. Discreetly integrated into the range module covers,

the lighting washes the surfaces with a warm, inviting glow – softly accentuating the materials and creating a serene culinary setting.

Blurring the lines between architectural envelope and kitchen design, the newly introduced PT40 door offers a fluid transition between spaces. Designed for full-height integration (up to 3,000mm), it comes in push, pull and pivot versions, with widths extending from 600mm to 2,400mm. Whether used as a discreet passage or a bold design element, PT40 features a double-sided finish that ensures visual continuity and a seamless dialogue with the kitchen aesthetic.

VVD ’s material range now includes Lepanto Red marble – a deep, dramatic stone perfect for kitchen surfaces – as well as Tuscan Brown steel, Midnight Oak, Cloud Gray, Warm Gray, Cream and Caramel melamine. For vertical applications and panelling, new lacquered finishes in Iris and Cappuccino extend the chromatic

expression, offering a richer spectrum to help personalise the kitchen environment.

The VVD kitchen is defined by compositional clarity. The aluminium upper outline of the cabinet doors lends a distinct architectural edge, functioning as both a design signature and ergonomic solution. Slim side and end units contrast elegantly with the robust worktops, while sculptural stone sinks emerge from the surfaces like carved monoliths. In a nod to proportion play, 16mm end panels partially veil the worktop’s edge, drawing attention to its material thickness and refined geometry.

Open bases, visible sinks and under-counter trays emphasise VVD ’s blend of functionality and form. The dynamic use of solids and voids, from large pull-out trays and open drawers to suspended compositions supported by an aluminium load-bearing structure, creates a rhythm of visual lightness and structure.

What’s New: The Linealight Collection

The

This year’s Euroluce was a turning point for Linea Light Group as it offered a blend of high-performance technical solutions and high-end decorative proposals, with a service specifically tailored to designers, architects and retailers. At the heart of the collection is a thoughtful balance between technical solutions and aesthetic finesse. From architectural luminaires like projectors, LED strips, downlights and modular outdoor systems to sculptural pendants, sleek floor lamps and minimalist wall fixtures,

every element is designed to adapt both to the visual identity and functional needs of a space.

At Euroluce, the brand released several new novelties. Delfi, in both floor and pendant versions, and Perla featured as the latest releases for the hospitality industry; for the residential sector, the brand released Hype – a wall lamp with asymmetric light emission, delivering powerful, uniform, indirect lighting across the ceiling, wide enough to reach the centre of the room – and Blank, available both as wall and ceiling lights for indoor and outdoor use, with a Pulegoso or matt white glass diffuser. The brand also added three new releases for the hospitality industry: Stilo – a recessed ceiling or pendant lamp with a slim, contemporary design, featuring an indirect light source and a PMMA disc that reflects light onto the surface below Cristalbolla, a visually striking ceiling and pendant light with a transparent glass globe and direct downward light emission; and MIC – new and compact track-mounted projectors developed for retail and commercial spaces. For the outdoor spaces, the brand has two new releases including Rolling SKY, now available in a lantern-style version featuring an amphora-shaped diffuser, handle and Schuko plug power supply; and Horus, a modular outdoor lamp available in four glass designs and three finishes – playful lights that can be used either individually or combined in creative lighting compositions.

At the heart of the collection is a thoughtful balance between technical solutions and aesthetic finesse. From architectural luminaires like projectors, LED strips, downlights and modular outdoor systems to sculptural pendants, sleek floor lamps and minimalist wall fixtures, every element is designed to adapt to both the visual identity and functional needs of a space.

WORDS – ANEESHA RAI

Celebrating Design Through Light

We take a closer look at the Tom Dixon and Articolo brands stocked at Huda Lighting

Within its project portfolio, Huda Lighting proudly represents global brands that reflect both craftsmanship and creativity that bring design narratives to life through light.

Tom Dixon: Pioneering British Design

Since its founding in 2002, Tom Dixon has evolved into a globally recognised design brand with a presence in more than 90 countries. Known for its bold forms and experimental materials, Tom Dixon has carved a unique space in the world of contemporary decorative lighting and furniture. The brand’s ability to fuse industrial innovation with sculptural beauty makes it a favourite among interior designers seeking both function and artistry.

With hubs in London, Milan, Hong Kong, New York and beyond, Tom Dixon creates products that speak an international design language while remaining grounded in their British roots. Whether suspended above a luxe hotel bar or installed in a minimalist residence, these pieces command attention while blending seamlessly into the architectural narrative of the space.

Articolo Studios: The Spirit of Light, Handcrafted

Originating from Melbourne and now represented in key cities like New York, Articolo is a lighting studio that explores the poetic side of illumination. Founded by Nicci Kavals, Articolo embraces the subtlety and warmth of hand-blown glass, casting light as an emotional and atmospheric element within a space.

The studio’s dedication to artisanal processes and luxurious materials means that each Articolo piece feels timeless and tactile – more akin to sculpture than lighting. Its organic forms and refined finishes make it a compelling choice for interiors that balance softness with structure. The studio's commitment to quality workmanship and timeless aesthetics continues to resonate with a global audience looking for lighting that’s both deeply personal and universally elegant.

Together, Tom Dixon and Articolo represent two ends of the contemporary lighting spectrum – bold and architectural, soft and poetic. Both are available at Huda Lighting showrooms, where designers and project owners are invited to explore the full collection, receive tailored consultations and experience the products first-hand.

Light as a Design Statement

Lutron’s Alisse Keypads and S-Curve Shades are elevating Middle Eastern interiors with seamless control and sculptural beauty

In the Middle East, where design speaks the language of luxury and innovation, Lutron’s Alisse keypads and S-Curve automated shades have become signature elements for discerning architects and interior designers that enjoy merging refined aesthetics with advanced control. Designed to be both tactile and timeless, the Alisse keypad offers custom engraving, elegant metal finishes and subtle illumination – making it as much a design object as a control interface. Complementing this is the S-Curve shading solution, crafted to follow

the natural contours of curved architecture, enabling smooth, quiet movement that aligns with even the most unique window geometries.

“Designers today are not just creating homes – they're curating experiences,” says Omar Tabbara, Residential Head, Lutron Middle East. “With the Alisse keypad and S-Curve shades, we offer tools that support that vision – seamlessly integrating beauty, function and emotion into each space. We are proud to be part of the creative journeys led by this incredible design community.”

Lutron’s ecosystem, led by its HomeWorks system, allows effortless coordination of lighting, shading and scene-setting across every room and every moment. It creates harmony between architecture and lifestyle, offering unmatched reliability, precision and personalisation.

As light continues to define the mood and movement of modern homes, Lutron invites the design world to see lighting and shading not just as systems – but as statements of sophistication.

Web of Light

The modularity of Webb helps shed a new light on spaces

Newly released at Milan Design Week by Barovier&Toso, Webb plays with perspective, interpreting space and bringing it to life with extraordinary freedom. Light multiplies and dances through space, creating patterns and unexpected perspectives, like constellations in motion. At the heart of its infinite compositional possibilities is its modularity. Everything revolves around a Venetian crystal module, which is hexagonal with a diamond-like point. The Rugiada technique gives the crystal an irregular texture, allowing light to diffuse softly into the environment. Mounted on lightweight metal structures, three LED strips run along the back of each crystal hexagon, accentuating the convex shape.

Newfo by iGuzzini is emerging as a thoughtful counterpoint to a world where lighting often veers toward the purely functional or overtly ornamental. Though compact in size, the light radiates a timeless aesthetic, carefully shaped to feel both contemporary and enduring.

As its name hints, Newfo is a formal evolution of Ufo, iGuzzini’s iconic 1977 spotlight that first introduced the precision of theatre lighting to architectural environments with its use of low-voltage halogen technology. With Newfo, the brand revisits this groundbreaking lineage through a distinctly modern lens.

At the heart of its design lies the ‘squircle’ – a shape poised between the circle and the square. This softly geometric form, known in Italian as supercerchio, creates a compelling visual language: one that is simultaneously emotional and rational, soft yet structured. It’s a shape that subtly challenges expectations, offering a poetic interpretation of geometry that feels both futuristic and familiar.

The first product created specifically for the Filorail track, Newfo epitomises iGuzzini’s design philosophy: to distil optical performance and cutting-edge technology into a form that is visually engaging and intuitively human. Its rounded, minimalist contours are not just a stylistic choice but form a functional one that is carefully calibrated to provide visual comfort while allowing for expressive, dramatic lighting.

A tribute to its origin, Newfo channels the spirit of the original Ufo while setting a new benchmark for architectural lighting. It is compact, understated and refined, yet filled with quiet innovation that opens the way for radically different lighting designs, freed from the restraints typical of conventional commercial lighting. Newfo

WORDS – ANEESHA RAI

Influenced by the geometric formation of crystals, Arctic elegantly captures and refracts light Optical Delight

WORDS – ANEESHA RAI

Arctic is a collection of lamps developed by Bjarke Ingels Group (BIG) and Artemide. The lamps reflect and deconstruct reality, and are brought to life through their own light, natural light and the surrounding environment. They are formed from geometric elements that break apart and reassemble in modular compositions, playing with reflections. The final shape is an Archimedean solid without external faces, where the structure emerges from the projection of the pentagonal sides radiating from the centre.

At the piece’s core is a diffusing sphere, into which truncated pentagonal pyramids

are fitted. As these align at their vertices, they reconstruct the solid form. This creates a multitude of mirrored surfaces, positioned side by side and facing each other, multiplying in perception and generating a dynamic figure that shifts with the viewpoint and its surroundings.

The heart of the lamp contains all its active components, with a heat-dissipating structure that supports a series of LED circuits, ensuring even 360° light distribution while maintaining optimal efficiency. The result is the perception of a perfectly diffused, uniform sphere.

Once fully assembled, this sphere appears visually interrupted by the reflectors yet is

perceptually restored through the continuous interplay of reflected light. The final geometry follows a modular logic that balances intelligence with sustainable production efficiency. The overall shape is semi-regular – not uniform but animated by the contrast between pentagonal and triangular faces formed where elements meet. These optical components can be assembled by the end user, optimising space during transport. The diffuser surfaces can be either transparent or mirrored, interacting differently with light. In both versions, they are horizontally etched with precision-calculated incisions to control and diffuse the light.

While these details define the product’s aesthetic, they also serve an optical function, enhancing luminous efficiency through reflection and refraction. Artic is a modular mirrored volume that takes shape through the relationship between its parts, guided by principles of intelligent construction, allowing the user to play an active role in its assembly. The piece can be suspended, mounted on a ceiling, placed on a surface or integrated into a space. The lamp’s presence is always noted – when on, it spreads light evenly; when off, it reflects and interacts with its surroundings and natural light. Its structure is lightweight, and the shifting reflections make its perception fluid and dynamic.

BRIDGING THE PAST, PRESENT AND FUTURE

Ignacio Gomez, Global Design Principal at Aedas reflects on the firm’s two decades in the Middle East

WORDS – ANEESHA RAI

In this region, where both tradition and the course of transformation run deep, the approach to architecture takes a different shape. It needs to be culturally resonant and result in design that keeps its finger on the pulse of rapid revolution and current trends. Here, Ignacio Gomez, Global Design Principal at Aedas shares what’s equally important – the human dimension and the firm’s belief in people, mentorship and architecture’s presence as a social act. We dive into what sets Aedas’ work apart in the region and how the company creates spaces not just to be inhabited but also inherited.

“After nearly two decades in the Middle East, one truth has become inescapable: architecture here is deeply tied to time – not just history, but urgency,” shares Gomez. As we continue to keep up pace in developments in both sustainability and technology, time is the ultimate currency. “As the Arab proverb says: ‘Time is like a sword – if you don’t cut it, it will cut you.’ The urgency of now – the pressure to shape something meaningful and lasting – is very real. And yet, the path forward isn’t just about invention. It’s about reflection,” he shares. When asked what philosophies guide the design process of his team, Gomez shares that they have several ‘mantras’ they abide by. The first is ‘Never assume. Never settle.’ “Start each project like you know nothing. No ego, no preconceptions. Let the site, the people, the problem guide you,” he shares. The second is ‘Speed is more.’ “Not to rush, but to stay nimble,” Gomez clarifies. “Time is the ultimate constraint in this region – how we use it defines everything else.” The third one is that ‘The project is more important than the ar-

Left – Aedas’ first project in the region was designing the Dubai metro station; Bottom – SLS Dubai Hotel & Residences; Right page – The Trojena Ski Village in NEOM, Kingdom of Saudi Arabia will be the Gulf Region’s first ever outdoor ski resort

chitect.’ “The goal is to make something that serves – not something that glorifies,” he says.

The firm’s first project in the region was a landmark: designing the Dubai Metro stations.

“The Dubai Metro was the first large-scale public infrastructure of its kind in the region, and it opened up conversations not just about mobility, but about inclusion, sustainability and what a modern Arab city could look like,” shares Gomez. Eventually, the firm’s trajectory expanded into high-density and high-rise developments that now help define skylines.

“But the DNA of our practice – public-first, future-oriented – was forged in that very first commission,” he adds.

THE PAST AS PROLOGUE

Keeping this in mind, designing for a future we may not yet know cannot reflect what foreign solutions are for the Middle East. “The past and the future are not opposites; they are entangled, like in a quantum relationship – hard to explain, impossible to separate. Our role as architects is to navigate these threads,

using the present as a bridge between them,” shares Gomez. “At Aedas, we design with this timeline in mind. The past informs the future. The future reshapes how we engage with the present.” He cites projects like Trojena, a yearround mountain master destination in NEOM, and Magna, a coastline project on the Gulf of Aqaba as examples. “Projects like Trojena and Magna are attempts to create ‘relics of the near future’ – spaces that hold memory, ambition and clarity.” Such spaces possess strong narratives and equally strong ambition. “These are not just architectural challenges; they are temporal experiments,” he shares. The projects offer a chance to test ideas and shape the possibilities of what life could be.

Gomez also observes that the vernacular architecture of Saudi Arabia, like Al-Balad in Jeddah or At-Turaif in Riyadh, makes one feel like looking into the future as opposed to the past. “Those traditional designs weren’t just beautiful; they were incredibly resourceful. Mud bricks dried by the sun, rooms sized by the span of local timber, materials reused across

different applications – from palm leaves to trunks. There was an elegance in those constraints. A sustainability that was instinctive, not performative,” he shares.

TRANSCENDING TIME

Despite evolving technologies and urban pressures, Gomez believes some principles in design remain constant. “First, the human body hasn’t changed in thousands of years. Our spatial needs, our reactions to light, shade, warmth, movement – they remain rooted in our biology. If architecture doesn’t respond to that, it has missed its most basic duty. The second: place. Climate, geography, context. Architecture must be a negotiation between humans and the site. If it doesn’t mediate that relationship with care and clarity, it’s just a product,” he states.

Gomez often asks his team during design reviews whether they would bring the person they love the most into the space. “If the answer is no, we go back to the drawing board. That’s the test. If it can’t hold the people you care for, it’s not ready for anyone else either,” he shares.

NAVIGATING THE PRESENT

The present is the hardest to design for, admits Gomez. Constantly changing geo-political climates, shifting expectations and costs; not to mention time. “A meaningful design might demand more upfront, but it creates better perfor-

Top – Aedas has also recently completed The Red Palace Boutique Hotel in Saudi Arabia – the firm has preserved the palace’s historical essence while introducing modern amenities and design elements to create an immersive experience for guests; Bottom – A bird’s eye view of Trojena Ski Resort

mance, more longevity, more relevance. That’s the trade-off we advocate for – from day one,” he says. Aedas works closely in collaboration with local developers, city planners and cultural advisors to build projects that belong to the region in a multitude of ways that reflect real habits, not imported fantasies, which plenty of other architects in the region that have been guilty of in the past. “Design is not just about innovation. It’s about resonance. If a building doesn’t feel like it could only exist in that place, it hasn’t truly succeeded,” Gomez states.

A NEW URBAN ORDER –AI AND ITS POTENTIAL IMPACT

While current conversations are being had around design and productivity for AI, Gomez

believes that the real disruption the technology will lead to will be urban. For example, autonomous vehicles are rapidly becoming a reality and will affect how cities are organised. He envisions reclaiming thousands of square metres currently devoted to parked cars – space that could return to nature, to people and to public life. “When ownership becomes obsolete, when transportation becomes a shared service, we can redesign cities around presence, not absence,” he observes.

PEOPLE – A FIRM FIRST

In line with his narrative on how people are central to the projects Aedas undertakes, Gomez also notes that the firm’s most enduring contribution to the region has been through its people. Over time the firm has placed an unwavering emphasis on mentorship. “Many of the architects who began with us as interns – like Khadije Hamad, Lama Al-Kharboush, Nada Eleman, Hadia Hanan, Agha Pasha Musakhanov and André Valdez – are now leading projects, shaping narratives and serving as directors within the practice,” shares Gomez with pride. “Their growth has been both professional and personal, and seeing that evolution has been one of the most meaningful parts of our journey.” The firm also supports the development of women in architecture and is committed to mentoring new talents.

Through a lens of time, place and purpose, Aedas’ approach towards architecture becomes both mirror and map: honouring the past, responding to the present, and projecting forward with intention.

In Design With

Soul Meets Spirit

Step into Ahmed Sultan’s contemporary retreat shaped by space, light, and emotion

WORDS – ANEESHA RAI

The first impression when you walk into Ahmed’s home is the sheer warmth that emanates through. There’s a serenity born from its expansive openness, refined materiality and intimate layers. Spanning over 370 square metres and perched atop one of Business Bay’s most architecturally striking buildings, the home is a fusion of two apartments that have been seamlessly reimagined into one fluid, light-filled residence with sweeping Burj-to-Burj views.

The approach to the design of the home is multi-layered. It’s a project that reflects not just refined taste, but also the layered sensibilities of its owner. Ahmed's life story is one of movement and duality. A twin, his bond with his brother has shaped much of his personal

and professional world. Both Ahmed and his brother run Finasi, a luxury fit-out company that was founded by their mother in 1969. When asked what his favourite part about his work is, he says, “The true reward is walking into a home we’ve created and seeing the people inside happy. Building homes is personal. You become part of the family for a moment. That stays with you.”

Born and raised in Milan, Italy, just steps from what is now the Armani Hotel building, Ahmed grew up immersed in fashion, architecture and design. It’s no surprise, then, that his home reflects a fine balance of cultural curiosity and considered luxury. Renowned brands like Molteni&C, Armani/Casa, Zanotta, B&B Italia, Liu Jo Living and Designer’s Guild live alongside

curated pieces from Joe Armitage and Gufram, each adding its voice to the overall harmony.

For his home, Ahmed partnered with Daniel Badr, Head of Design at Finasi, to bring his vision to life. “I like volumes, I like air, I like to breathe,” shares Ahmed. “I wanted the apartment to feel open, where light moves and the eye can rest.” Floor-to-ceiling windows amplify this vision, connecting the interiors to Dubai’s skyline while bringing in abundant natural light throughout the day.

The design is structured around this feeling of flow. The living, dining and kitchen areas form a unified, social heart of the home. Custom features like the striking TV wall unit in the living space are crafted from a blend of earthy materials including marble, warm metal, Marmorino finish and open veined wood burl. The unit is finished with delicate, indirect lighting that celebrates the beauty of restraint. Double oversized sofas offer space for lounging, conversation and quiet reflection. The kitchen is a standout Finasi design, locally crafted in the UAE and enriched with deep emerald marble countertops. “This is where friends and family gather. It’s where life happens,” says Ahmed.

Left page – The living, dining, and kitchen areas form a unified, social heart of the home

This page – (clockwise from top) A vintage Eames chair handed down from Ahmed’s grandmother sits next to a Armani/Casa LOGO lamp; The master bathroom area features exquisite green marble and a freestanding bathtub; Ahmed Sultan, Partner at Finasi in the ‘pop art’ room

The bedrooms were designed in a way that affords more privacy. Three bedrooms were transformed into larger en-suite retreats, each with its own distinct personality. The master suite features a see-through bathroom and a walk-in dressing area – a balance of natural light, privacy and daily indulgence. A cinema room offers a cosy escape from the routine, while a spacious laundry and storage zone and a space dedicated entirely to the home’s smart home tech ensure practical living is never compromised.

Art plays a vital role in the home’s soul. Growing up, Ahmed developed a love for art thanks to his mother. “She always told me: never buy art as an investment – buy what you love,” he says. The apartment is a gallery of modern and Middle Eastern works, curated not by trend but by instinct. “I’m drawn to colour, abstraction – pieces that evoke feeling. Art has always been part of who I am,” he shares. Many of the pieces in the home were procured by Ahmed due to his close relationship with Ayyam Gallery. He particularly loves a piece by Mouteea Murad called ‘Abou Ali Mood’, due to its abstraction, sits in the living room. His home also features pieces from Syrian artist Tammam Azam, photography by Palestinian photographer Rula Halawani, and multiple pieces by Thaier Helal.

There’s even a pop-art room that features Keith Haring’s work in different forms. “He was my mother’s favourite artist. I grew up with his work. I still collect Keith Haring-based work. They can be books, trays or sneakers.”

While Ahmed’s aesthetic roots lie in minimalism, the birth of his son has softened the lines. “This home still feels minimal, but it’s warmer now. More personal. It has character.”

You can watch the video on our Youtube channel @identityae.

Photography: Alex Jeffries and Mark Mathew

Uniting Culture, History and Cuisine

In the heart of Sharjah, Sheikha Bodour Al Qasimi reimagines the meaning of home through a soulful, sensory experience inspired by the Silk Road

Left page – Bait Elowal offers a serene, design-rich environment where food, art and memory are in constant conversation; This page – Antique furniture hand-crafted in India and Morocco brings warmth and depth, while hand-woven Amazigh textiles from Morocco lend authenticity and intimacy

WORDS – ANEESHA RAI

Sharjah, long celebrated for its deep cultural roots and artistic spirit, is born from a love of stories told through flavours, craftsmanship and the ritual of return. Conceived by Her Excellency Sheikha Bodour Al Qasimi, Bait Elowal offers an immersive journey through heritage and hospitality. Drawing inspiration from her travels across Morocco, Persia, India and Türkiye along the Silk Road, Sheikha Bodour has created a space that feels timeless, rooted and profoundly personal.

In Emirati culture, home is more than just a place; it is a feeling of warmth, comfort and belonging. Sheikha Bodour Al Qasimi wanted

to create a space that reflects this essence, where visitors don’t just step into a restaurant but into a living story. Bait Elowal embodies this sentiment by offering guests a retreat from the everyday: a serene, design-rich environment where food, art and memory are in constant conversation.

From the outset, Sheikha Bodour envisioned a place that would celebrate stories –those passed down through generations, sewn into textiles, carved into wood and carried through spice-laden dishes. Every detail of the interiors is an ode to this vision, with each design element intentionally chosen to reflect traditional craftsmanship while indulging in modern refinement.

The space is layered with history. Antique furniture hand-crafted in India and Morocco brings warmth and depth, while hand-woven Amazigh textiles from Morocco lend authenticity and intimacy. One of the most captivating pieces is the central dining table in the ‘Al Atlas’ room, meticulously made from 100-yearold door frames and carved wooden stumps from Rajasthan. Having taken nine months to complete, the table is not only a functional centrepiece but a symbol of patience, artistry and heritage. Elsewhere, design moments unfold with quiet drama. A traditional swing from Jaipur anchors the restaurant’s ground

floor, while pendant lights from Morocco cast delicate shadows across richly textured walls, echoing the glow of historic Emirati homes. Antique mirrors, intricately carved side tables and vibrant wool rugs sourced from Morocco and Jaipur Rugs enrich the space with both texture and narrative.

At the heart of the house is the courtyard, a cherished feature in traditional Emirati homes. Here, the atmosphere is still and inviting. A Moroccan-inspired fountain offers not just a visual focal point but a nod to the region’s ritual of gathering – where water, conversation and hospitality flow effortlessly. Built using coral stone and cement, the architecture itself honours local materials, grounding the design in place while connecting it to a wider cultural geography.

Additionally, Sheikha Bodour curated a collection of raw crystals, sourced from Brazil and chosen both for their natural beauty and cultural significance. One of the most meaningful pieces is the Desert Rose, a crystal naturally formed in arid desert conditions. It reflects the resilience and beauty that emerge in challenging environments, much like the enduring spirit of Sharjah itself. These crystals offer both decorative elegance and the potential for spiritual inspiration, embodying a harmonious blend of artistry and the earth’s treasures.

In Perfect Harmony

Saya Studio has completed a music room that reflects contemporary eclecticism

WORDS – ANEESHA RAI

PHOTOGRAPHY – USAMA CHOLAVARAM

Listening rooms are rapidly taking centre-stage in homes – not only as spaces in which to enjoy tunes that resonate, but to gather similar-minded people together. They have evolved dramatically over the past decade, thanks to post-pandemic views on finding spaces for relaxation. These rooms have evolved from stately salons and closed-off studios into deeply personal sanctuaries embedded within the modern home. In a contemporary context, they reflect more than a love for sound and now are more indicative of identity, nostalgia and the joy of immersive, intentional listening. Whether used for spinning vinyl, curating playlists or collecting memorabilia, music rooms have become an expressive design category in their own right, blending acoustics with aesthetics, and sound with style.

In Al Barari, Dubai, Saya Studio was commissioned to bring such a space to life for a client with a profound passion for music. Over the course of three months, a former spare room spanning 26.5m was transformed into a highly curated, emotionally resonant space.

The client approached the studio with a very specific vision: this was to be their retreat, a place for listening, collecting and relaxing. Unlike the rest of the home, which leans into a light and airy aesthetic, the music room was imagined as a dramatic counterpoint that is moody, bold and immersive.

At the heart of the brief were several unique requests: a feature wall to showcase a vinyl collection and record player; a concealed DJ console for occasional use; a comfortable reading nook; and a seating area positioned for the ideal listening experience, especially tailored to the acoustics of the client’s custom speakers. One particular item became the emotional and conceptual anchor of the room – a rare collector’s piece: the glove worn by Michael Jackson in the Billie Jean music video, acquired by the client at auction. In contrast to the rest of the home’s palette, the design team embraced a richer, more saturated colour scheme. The style leaned into contemporary eclecticism with mid-century modern influences, weaving together sculptural furniture forms, tactile materials and vintage design references.

Function was as critical as form. The room discreetly houses numerous electronic components including amps, receivers and mixers that are all seamlessly integrated with no visible wiring. A custom-designed DJ console was engineered to disappear into the cabinetry when not in use, maintaining the room’s clean lines. Meanwhile, the vinyl display wall was crafted to be both a visual centrepiece and a practical storage solution, balancing easy access with gallery-worthy elegance. Some of the measures used to assure optimum sound quality included filling the space with rugs and upholsteries. The Saya team also installed a tapestry above the sofa to absorb noise. Every detail was designed to enhance the sensory experience: warm lighting to match vinyl’s analogue warmth, acoustic considerations for speaker placement, and plush seating to invite deep, immersive listening. This project is a reflection of rhythm – not just in music, but in form, emotion and the way the space flows and feels.

Left page – Offering a refined yet playful take on contemporary design, the firm worked on each space to materialise its own distinct personality, reflecting those of its inhabitants, and focused on connecting the spaces with one another; This page – The Roll & Hill Endless Straight fixture by Jason Miller offers a linear architectural statement

Warmth, Texture and Colour

Collectus Studio infuses a distinct design aesthetic in each space at this residence in Dubai

WORDS – ANEESHA RAIPHOTOGRAPHY – RAMI MANSOUR

Tasked with growing an existing home for an Emirati family, Collectus Studio, led by Amer Madhoun, focused on maturing the spaces to focus on the now-adults of the family, shaping and shifting the focus from childhood memories to a mature, design-forward project with elements of playfulness throughout. The property is located in a quiet residential pocket in Dubai, and the firm tackled the design with care and respect, maintaining its existing architectural identity of the space while simultaneously introducing a dynamic and distinct design to each space and retaining core elements such as the existing ceiling moulding and trims and Italian marble.

Offering a refined yet playful take on contemporary design, the firm worked on each space to materialise its own distinct personality, reflecting those of its inhabitants, and focused on connecting the spaces with one another. “We started out by stripping down all the existing elements that we did not want to maintain, and highlighting the key features that we will emphasise in the new design,” shares Madhoun. “The major modification was the layout change and complete new joinery and storage system, along with an elevated lighting plan that helped introduce the refined and mature feel we wanted,” he adds. Throughout the home, lighting plays a key role in defining zones and setting tone. The Roll & Hill Endless Straight fixture by Jason Miller offers a linear architectural statement, while hanging lights from Audo Copenhagen add warmth and intention. Among the standout design pieces is the Flos Skynest pendant light, one of the first to be introduced in the UAE, thanks to a special relationship with the Italian lighting brand.

The studio fully gutted the washrooms and replaced the flooring in two of the spaces with solid hardwood flooring. “Building on existing elements of the space that were refined, helped us maintain this consistent language between the spaces,” states Madhoun. One bedroom was reim-

This page – One bedroom was reimagined with a calm, curated aesthetic in mind. Natural white oak joinery and wall panelling deliver a sense of serenity and polish, with bespoke furniture adding to its quiet elegance

agined with a calm, curated aesthetic in mind. Natural white oak joinery and wall panelling deliver a sense of serenity and polish, with bespoke furniture adding to its quiet elegance. In contrast, another bedroom leans into a more expressive direction – a collector’s haven, layered with design pieces that spark dialogue. “I am particularly drawn to the second bedroom with the green ceiling,” shares Madhoun. “It has a really effortless feel of combining many colours, wood textures and furniture pieces that successfully bring to life the client’s vision for the space.”

The project is rich with collectible pieces and custom-made furniture, reflecting Collectus’ design ethos of blending refinement with playful curiosity. Particularly notable is the Boa Pouf by Sabine Marcelis for HEM, a sculptural piece that anchors one of the bedroom lounges with its bold, yet soft form. Furniture pieces were curated with equal precision, including the Bernard lounge chair and Pier storage system by HAY, the Block lounge chair by Form & Refine, and a modular sofa by &Tradition. Workspace elements are elevated too, with the Pavilion AV1 desk by &Tradition offering form and function in equal measure. Rugs from FBMI and Jaipur Rugs provide texture and softness underfoot, contributing to the home’s subtle layering and material richness.

Madhoun admits that, as with any renovations, there were some design challenges. “Some related to the client’s emotional attachment to existing spaces, and the majority of the other challenges were around existing conditions that often cannot be changed,” he shares. The studio tackled this by evaluating what could bring benefit to the family by being maintained, and the rest was a constant effort to help the team and the clients visualise how the new space could be more impactful. The final result is a home that now accurately reflects and caters to its residents – mature yet expressive, rooted in heritage yet distinctly contemporary. It’s a space where every room tells a story, and every detail has intention.

The Boa Pouf by Sabine Marcelis for HEM anchors one of the bedroom lounges with its bold, yet soft form

An open layout and minimalist spirit is used to utilise the natural light

A Collector’s Dream Home

Designed by Liu Hong of Y&J Design, this six-story residence in Shanghai balances function, emotion and immersive experience

WORDS – ANEESHA RAIPHOTOGRAPHY – SUI SICONG

Abold architectural fusion of three urban villas into a 3,000-square metre sanctuary, this ‘Shanghai Art Villa’ redefines private residential design through art, music and a minimalist spirit. With a vision shaped by five years of design evolution, the project serves a highly educated, art-collecting couple returning from years abroad – people who value not only visual and auditory culture but also the joy and wellbeing of their four children.

The result is a holistic experience that transcends conventional living spaces, combining the vertical complexity of a boutique hotel with the intimacy and mindfulness of a private sanctuary.

At the core of the transformation lies a soaring seven-metre-high atrium that stitches the original villas together. More than an architectural device, it’s a sculptural statement. Beyond, sunken courtyards, rhythmic wall compositions and curated sightlines form a space where every step reveals a new perspective; a cinematic ‘change of scenery’ in vertical form.

This central spine connects two subterranean floors that pulse with energy and community. A concert hall with superb acoustics, a wine cellar, banquet hall, golf simulator, basketball court, playground and even karaoke corners co-exist alongside necessary service zones including eight parking bays, a chauffeur’s suite and a nanny’s quarters.

Materials such as terrazzo, original wood finishes and fair-faced concrete give these spaces a tactile richness, grounding the otherwise surreal atmosphere. Installation art and warm red accents throughout the atrium turn this space into a living gallery – an invitation to enjoy celebration and introspection alike.

Above ground, light becomes the primary material. Hong’s approach avoids decorative excess, favouring a minimalist language that lets natural light and curated textures do the storytelling. This restraint creates an atmosphere where family life flows freely, and art becomes an extension of daily routine.

The front room – which connects directly to the garden – features classic Marquesa benches

by Oscar Niemeyer and Anna Maria Niemeyer, set beneath semi-circular arches and timber ceilings that echo the floor below. Here, family memories are framed like installations.

A concert hall centred on a Steinway grand piano, accented by whimsical elephant-shaped lamps from Imperfettolab, continues the surreal thread. Meanwhile, the living room radiates quiet elegance in warm beige, anchored by a sculptural black-and-gold fireplace and Edra’s Standard sofa – a lesson in tactile freedom and ergonomic art.

Adjacent lies the dual kitchen-dining area, a space both refined and playful. Swedish Crown armchairs lend softness and charm, while a ceramic petal chandelier floats above like a sculptural bloom of light.

The children’s quarters on the first floor are carefully zoned to reflect both personality and balance. North-facing boys’ rooms are layered in tranquil blue-grey tones and feature Reversível chairs that invite either lounging or conversation. The south-facing girls’ room continues the playful minimalism with Faye

Left page (from left) –Based on circulation as well as static and dynamic zoning, the design is vertically layered to balance multiple relationships: spatially, to promote the integration of architecture and interior, and perceptually, to connect the visual and auditory arts with thoughts; The red element, which contrasts with the space creates a welcoming atmosphere. The atrium, which runs through two floors, shows the transparency of a sunken courtyard and forms a viewrich corridor with the gallery on the basement’s first floor

INTERIORS

Above (from left) – The corridor is rich with art work; The master bathroom showcases the beauty of Antonio Lupi’s craftsmanship. The Intreccio basin in Carrara marble with overlapping and interlocking lines, designed by designer Paolo Ulian, presents a mastery of craftsmanship and dreamy light

Toogood’s pink Roly Poly chairs and balloon lamps that feel like clouds in a creative sky. The parents’ suite above is a study in warm tranquillity. Gentle beige hues, furry textures and sculptural seating, from the Alta lounge chair to the rounded Amore sofa, invite rest and reflection. Here, every object is chosen with care, and every finish speaks softly to the senses. The bathroom continues this narrative. Antonio Lupi’s sculptural Intreccio basin in Carrara marble and a Cristalmood bathtub in rich green tones turn daily rituals into sensory experiences – an interplay of Tuscany’s warmth and Shanghai’s pace. Crowning it all is the attic library, the spiritual heart of the home. Wrapped in warm wood, this top-floor retreat offers the family a place for collective breath – a quiet, homogenous space for meditation, imagination or simple stillness.

This home provides a sanctuary where children play like artists, adults think like poets, and architecture listens as much as it speaks.

Above – The Chinese and Western kitchen dining room adjacent to the living room is elegant and intimate, where the six Swedish Crown armchairs have a playful structure and rounded edges, while the ceramic petal chandelier hanging overhead is romantic and fun, like a small sculpture of light

Revolver restaurant at the The Opus by Omniyat designed by Yasmine Farahmandy of Y Design Interior

WORDS – ANEESHA RAI

Small Spaces, Big Impact

How intentional design, emotional storytelling and clever craftsmanship can quickly transform challenging spaces into points of interest

In today’s compact homes, every square metre counts. The challenge lies in maximising function without compromising the aesthetics of the space. What makes a compact interior not only liveable, but also luxurious, expressive and unforgettable? According to leading designers and architects, the answer lies not in scale, but in storytelling, innovation and intention.

For Yasmin Farahmandy, founder of Y Design Interior, a Dubai-based interior design studio, the approach should be about creating spaces that resonate emotionally, balancing functionality with a sense of wonder. “The most successful small spaces are those that spark joy, support daily life with ease, and feel emotionally resonant. They often blend clever spatial planning, atmospheric lighting, rich materiality and an element of surprise. When

you step inside and forget the square meterage because the experience is so thoughtful and immersive – that’s the real magic,” she shares. Her firm’s work across private dining rooms in restaurants and bespoke apartments in Dubai layers lighting, materiality and spatial planning to create small environments that live large. An example is the newly opened Maison Dali Private Room. The space dazzles with a Fornasetti-inspired feature wall, and rows of surreal black-and-white faces draw guests into a dreamscape. A marble table anchors the space, while sculptural red chairs and theatrical florals build layers of drama. The intimacy of the room, paired with its bold visual language, creates an experience that is immersive.

Tolù Ad k , founder of London-based studio Ad k and Co., shares that a well-designed small space is successful when every square metre adds value and function. “In our Mottingham Village project, we cleverly transformed a corner of unused space into a compact pantry and wine rack. It’s a simple yet effective way to elevate the kitchen’s everyday use, making small changes that have a big impact,” he shares.

The Power of Storytelling

“We approach design as a narrative exercise curating spatial experiences that encourage connection and engagement through consid-

This page (from top) –Mottingham village apartment designed by Ad k , photography by Darren Chung; Maison Dali by Y Design Interior

ered materiality, spatial flow, and architectural elements,” shares Zeinab Hashim, cofounder of Dubai-based multidisciplinary Nōn Design Studio. “These elements create opportunities for personal interaction, enabling users to form emotional connections with the space that turn into a meaningful experience regardless of size,” she says, adding that storytelling forms a central approach in most practices: “Storytelling is central to our approach in designing smaller spaces. You’re constantly engaging with the space, whether it’s the texture of the walls, the pattern on the floor or the materials above. We love working

with local artisans and craftsmen, as their unique, handcrafted pieces allow us to weave personal narratives into the design.”

Functionality First

Across the board, designers have shared a toolkit of strategies for transforming small spaces into adaptable sanctuaries that include zoning without walls by using furniture, lighting or ceiling details to define spaces while preserving openness: an emphasis on drawing the eye upward adds volume and form, from full-height bookshelves to curtains, material consistency, integrated storage and dual-use design.

There’s also a growing interest in editing, rather than adding. As Ad k puts it, “But for me, the most exciting innovation is simplicity. If a space can transform quietly, adapt seamlessly without feeling cluttered, that’s real design brilliance.” Sometimes the most powerful design move is knowing what to leave out.

Material matters

Creating richness in a small space hinges on tactility and tone. Farahmandy recommends natural stone, silk plaster and burnished metals, while Ad k favours a mix of soft matte textures and timber detailing. For Nōn Design Studio, the emphasis is on materials with “inherent character,” from clay tiles and natural timbers to handcrafted textiles that offer both visual depth and sensory appeal. This approach not only adds authenticity but redefines luxury as something intimate and enduring.

“In our work, we prioritise natural finishes for their authenticity and sensory quality. Contextually responsive materials such as clay tiles, marble, woven textiles and natural timbers introduce a refined imperfection and quiet beauty that reflects a more understated and enduring interpretation of luxury,” states Hashim.

The Role of Technology

While technology continues to influence interiors, the most exciting innovations for small spaces tend to be the quiet ones. Farahmandy suggests invisible tech such as integrated lighting, audio and shading systems that help create a seamless ambiance. She also shares that compact smart appliances and modular furniture are also helping redefine what’s possible in limited footprints.

Meanwhile, Saif Lassas, Co-Founder of Nōn Design Studio, shares, “The more minimal and integrated the technology, the more expansive a space tends to feel. For example, in this particular project the incorporation of a car lift in lieu of a traditional vehicle ramp enabled us to significantly reduce the spatial footprint allocated to circulation. This not only optimised the site’s buildable area but also allowed for a more efficient and intentional allocation of programmatic elements.” With thoughtful design, emotional connection and inventive use of material and light, compact interiors are becoming the most expressive canvases for contemporary living. The best-designed small spaces don’t obsess over what’s missing; rather, they celebrate what’s possible.

This page – Villa 515 by Non Design Studio

Choose from our extensive range of authentic Thesiger photographs.

PERFECT DECORATIONS FOR HOTELS, OFFICES AND

HOMES.

Framed or unframed prints available exclusively from The Arabian Gallery

A Contemporary Sanctuary Rooted in Thai Heritage

The newest Aman hotel in Bangkok offers culture, craft and timeless design

WORDS – ANEESHA RAI

Conceived by renowned firm Denniston Architects under the direction of Jean-Michel Gathy, Aman Nai Lert Bangkok is a retreat deeply rooted in the storied legacy of Nai Lert, Bangkok’s pioneering developer and the historic park that it lies in. Seamlessly integrating space, nature and light – which is core to Aman’s design ethos – the hotel presents a sanctuary that feels both timeless and grounded in the present.

“Nai Lert’s rich heritage provided an incredible foundation for this project. Our goal was to honour this legacy and Thai culture in a modern, timeless way alongside Aman’s renowned design DNA, developed over three decades,” said Gathy, Principal of Denniston. “Throughout, we integrated details of the park and its heritage home with contemporary interpretations, creating a palette that made sense within this context and the tapestry of influences.”

Denniston, with interior design lead David Schoonbroodt, sought to use tone-on-tone colours and sparse accents to create a place of calm that is emblematic of the brand’s peaceful ethos yet still provides functionality. The design incorporates a mix of contemporary pieces and custom-made products, inspired by antiques and made by local artisans. With each piece of furniture made specifically for the property by the Denniston team, the idea was to create more feminine, curve-shaped and lighter-toned furnishings to bring contrast to some of the dark and more masculine design accents.

Local Thai stone supergenti is used throughout, including in elongated tiles with a pattern that echoes the elegance of the home’s original timber flooring. In addition, the use of vented ceilings showcases a contemporary approach to the intricate roof details found in the historic space. Artwork is a significant part of the interior’s narrative, all of which is complemented by lighting. Local artistry plays a central role in each work, with Paris-born, Bangkok-based art designer Martin Gerlier working closely with Denniston for each area and tasked with creating a layered collection of bespoke pieces. During the curation process, Gerlier worked with several Thai craftsmen, imbuing the hotel with local flair.

A lush, green buffer at the hotel’s entrance offers immediate respite from the city. A wavelike roof canopy and tree-lined path set the tone for the tranquil experience within. In the main lobby, a gold-and-black artwork references Bangkok’s waterways, complemented by a locally made desk crafted from painted straw.

Once inside, spaces unfold with a careful balance of openness and intimacy, mirroring the grandeur of natural landscapes while preserving personal, private areas. Rising through a triple atrium stands a 12-metre-tall tree sculpture inspired by the century-old Rain Tree in Nai Lert Park. Adorned with over 6,000 gold leaves, the structure rises from a black pond, transitioning from gold at the base to near-ebony at the top. Floating lanterns and gold leaves reflect on the water, creating a mesmerising atmosphere. The lobby area also features a striking installation of over 3,000 spinning tops, adding texture and warmth against a series of bronze and stone desks. Arranged to form the silhouette of the Thai numeral one (๑), symbolising greatness, the piece celebrates Thai culture with a nod to the hotel’s address, 1 Soi Somkid. On the 9th floor, restaurant Arva is de-

Previous pages – The suites at Aman Lai Nert Bangkok; This page (from top) – Panels behind each bed made from banana bark of different hues, are inspired by the sloping curves of the Thai rooves; The premier south facing suite

fined by its fluid spatial layout. Six distinct dining zones are articulated by handwoven screens and carefully layered lighting. At its heart, an open kitchen glows beneath a wooden lattice, recalling the form of a traditional lantern.

The lounge, 1872, draws inspiration from nature, featuring lamps shaped like branches and leather clouds crafted by Chiang Mai artisans. Lighting that mimics shifting cloudscapes adds a kinetic energy to the room, inspired by Thailand’s shadow puppet theatre traditions.

At the pool, automatic screens at the entrance are elevated using a graphic of sheer material, printed inside the glass, giving the impression of a woven door yet providing a more practical solution. On the terrace surrounding the pool, floor-to-ceiling columns create private spaces, and a lattice shade arched above the shallow end of the water creates further exclusivity, filtering light in a spectacular way during sunrise and sunset. With rattan accents on furniture evoking woven baskets, and day beds in the water, the area has a laid-back yet sophisticated feel for dining and taking in the views.

Elsewhere, teak boat sculptures adorn the walls, paying homage to Nai Lert’s pioneering

role in maritime craftsmanship. A formidable challenge to the design of this space was how to achieve an exceptional feeling of space and light as well as preserving a central feature, the 100-year-old Rain Tree. The solution was to create a courtyard that frames the root of the tree, while an open ellipse void through the edifice allows the trunk and branches to remain in their natural place.

On the 10th floor sits the Aman Spa & Wellness centre. Here, the signature stone floors are found in a lighter hue, speaking to a sense of calm attributed to physical, spiritual and mental wellbeing. Adding to the feeling of lightness, textured clouds adorn many of the walls. In the Fitness Centre, hand-painted illustrations of Thai boxing movements adorn canvas-covered walls. Guest suites, arranged around three double-height atriums, each offer a distinct immersive experience – from zen gardens to bamboo forests. Interiors feature panels of banana bark echoing traditional rooflines, while textured wall art in plaster and resin reflects the riverbanks of the Soi. Bedside tables in local stone take on sculptural forms, and the minibar is concealed in traditional

Thai cabinetry accented with ceramic tiles imprinted with burnt rice. The Aman Suite on the 18th floor frames panoramic park views with bespoke art and flexible spaces. Sliding doors allow for both intimacy and social hosting, with a wheeled fireplace adding adaptability. Coconut shell installations and framed wallpaper reinforce the suite’s artistic character.

The 19th-floor Aman Club channels a Japanese aesthetic in honour of Aman’s properties in the region. Red bonsai trees and kimono sculptures offer bold visual moments, while textured metal, bamboo and copper-threaded fabric screens provide both elegance and privacy. At restaurant Hiori, hammered bronze tiles tell the story of the Soi River, while light wood elements create visual contrast against dark flooring. The Cigar Bar, with its heady scents of walnut and cinnamon woods, features tortoiseshell shelving and woven rugs that echo basketry traditions.

Aman Nai Lert Bangkok’s design transforms Thai tradition into a sanctuary that bridges the gap between old and new, where Aman’s DNA of harmonious design and generosity of space converges with Bangkok’s art, heritage and craftsmanship.

This page (from left) – At the entrance, metal panels entwined with greenery and lines of trees join to meet a layered, wave-like roof canopy carved to provide shade; 1872 Bar

CWORDS – ANEESHA RAI

Framed Allure

Architecture meets art at this stunning villa on the Palm Jumeirah

rafted as a seamless dialogue between structure, space and setting, Framed Allure is nestled along the exclusive stretch of ‘Billionaire’s Row’ on Palm Jumeirah. This four-level, fivebedroom residence was designed in collaboration with Alpago Properties (a subsidiary of the Alpago Group) and architectural design firm Emre Arolat Architecture (EAA), with interiors by CK Architecture Interiors, and embodies a deep sensitivity to its surroundings. The geometry is striking yet restrained, balancing sculptural connection with refined detail. Open layouts and purposeful transitions between rooms encourage a gentle rhythm to everyday living – spaces feel fluid, never forced. True to its name, every angle, line and material choice is intentional, offering an immersive spatial experience where design meets tranquillity.

Inside, the interiors have been curated with a clear design philosophy: muted grandeur. “We’re not here to build for today, but to craft experiences that stand the test of time, redefining luxury for generations to come.”

shares

Murat Ayyildiz, Founder & Chairman

of Alpago Group. Furnishings and fittings by renowned brands such as Minotti, Poliform, B&B Italia, Technogym and Axor are seamlessly integrated into the architecture, emphasising craftsmanship and comfort without unnecessary flourish. Tones remain neutral, textures layered, and the aesthetic remains unmistakably elegant.

Each en-suite bedroom extends beyond the conventional, featuring its own lounge or entertainment zone, allowing residents to host intimate gatherings or retreat into solitude, all framed by uninterrupted views of the sea. On the lower levels, art and curated design elements have been used to infuse warmth and light, ensuring every corner of the home resonates with the soul and emotion.

Beyond its visual poetry, Framed Allure is also functionally exceptional. Amenities are strategically embedded throughout, designed to enhance lifestyle with ultimate convenience – from a private cinema and golf simulator to a rooftop jacuzzi, an infinity pool and an airconditioned basement parking built to accommodate a supercar collection.

Left page – At the Framed Allure villa, spaces are fluid, never forced; This page –The geometry is striking yet restrained, balancing sculptural connection with refined detail

A Surreal Tribute

“Water, salt and olive oil. That’s what it takes to survive,” says designer Philippe Starck, who created the new La Almazara olive oil museum outside Ronda, Spain

WORDS – ANEESHA RAI

A corten sheet bull horn and a huge olive made of the same material protrude from the museum’s smooth walls

Left page – There is a giant painting on the ceiling created by Ara Starck, filled with symbols of bullfighting, olive oil, and other things associated with the city of Ronda; This page –The influences for La Almazara include Picasso and Spanish surrealism

In the heart of Andalusia’s rolling olive groves, a striking red cube rises like a surrealist monolith from the earth. This is La Almazara, a bold fusion of art, architecture and agrarian reverence. It is also the latest creation of French designer Philippe Starck, and an homage to one of the Mediterranean’s most sacred gifts: olive oil.

Clad in weathered corten steel, the building is as symbolic as it is sculptural. A giant horn and an enormous olive pierce its angular façade, hinting at the mythic relationship between nature and culture. Just below, a suspended terrace juts out like a mouth; part animal, part machine and part myth, it offers panoramic views of the grove. Starck describes it as “a big slap in the face that awakens, shakes, revives, stirs and celebrates the olive and its oil.”

But La Almazara is far more than just a museum. It’s a living, breathing olive oil estate,

where the extra virgin oil produced under LA Organic’s sustainable ethos is the liquid thread that ties together history, heritage and high design. Here, ten kilos of hand-harvested olives are needed to produce a single litre of oil – each drop distilled with reverence and precision.

The seed of La Almazara was planted far from Andalusia, in the storied vineyards of Rioja. In 2010, two Andalusian entrepreneurs toured the celebrated architectural wineries of northern Spain, where buildings by Frank Gehry, Norman Foster and Santiago Calatrava had transformed wine tourism. Inspired, they envisioned a similar confluence of design and tradition – this time, focused on olive oil.

By 2014, La Almazara was born, and the team invited Starck to bring the vision to life. His response was immediate: “Olive oil is something sacred to me. When they made the proposal to me, I said yes straight away.”

Inside, La Almazara is a sanctuary of subdued light and rich storytelling. Starck, who gravitates toward darkness, has bathed the interior in shadow to heighten sensory immersion. Visitors move through dimly lit spaces lined with films, texts and artifacts chronicling the olive’s profound role in Spanish civilisation – Spain, after all, produces 45% of the world’s olive oil. Art and history collide in a cavernous central hall, where a massive Goya painting of legendary bullfighter Pedro Romero hangs near a portrait of 9th-century polymath Abbas ibn Firnás – the Andalusian who attempted flight centuries before da Vinci. Overhead, a ceiling mural by Ara Starck, Philippe’s daughter, swirls with symbols: bulls, olives, wings and echoes of Ronda’s rich cultural soul.

The building itself is polyhedral, cubist and unmistakably Spanish in its avant-garde ambition. Picasso’s geometric playfulness whispers through its angles, while the surrealism of Dalí seems to hover in the shadows.

While the art and exhibits are now open to the public, the terrace restaurant is still in gestation. When complete, it will serve inventive tapas and small plates paired with regional wines from Ronda. The terrace itself forms a dramatic platform suspended by oil tanker chains, framing Sierra de Grazalema like a living canvas. The site also features a small auditorium, a tasting room for LA Organic oils, and a boutique where guests can take home a piece of the grove.

For Starck, who now resides on a Portuguese farm surrounded by olive trees and oaks, La Almazara is a deeply personal project. It embodies his lifelong pursuit of democratic design – of creating beauty and meaning accessible to all, not just the elite.

“La Almazara is a tribute to this respect for olive oil, a reverence born from all the civilisations that have preceded us,” he says. And in a world hurtling toward the hyper-digital, this olive-red cube stands as a quietly radical gesture: a return to roots, both literal and figurative.

Photography: Carin Tegner and Alfonso

Quiroga

Wabi-Sabi Sanctuary

Japanese aesthetics, fashion influences and nature meet in the Portland home of interior designer Jeanne Feldkamp

WORDS – KARINE MONIÉ PHOTOGRAPHY – PABLO ENRIQUEZ

by

Art

Nike Shroeder

Creating a forever home is a serious endeavour. When the owner is also the interior designer, it can seem like an impossible task. “I was truly shocked at how difficult it was to be my own client,” confesses Jeanne Feldkamp, founder and principal designer of interior design firm Heirloom Modern. “To drop into my subconscious, excavate a lifetime of influences and distil it all into a single structure for Dan and me to live in for decades – it was like a six-year therapy session. It was exhausting.” The couple, who are the cofounders and winemakers of Corollary Wines –which focuses exclusively on traditional method sparkling wines from the Willamette Valley, Oregon – have fallen in love with the beauty of the American Pacific Northwest. The region is the setting for their new, very personal adventure. “After living in San Francisco, where we rarely used our car, we’d become very attached to getting around on foot or bike,” says Feldkamp. “We wanted to know our neighbours and walk to pick up groceries. So we chose to

search for a building site in a more central area of the city.” They found their lot in northeast Portland and trusted Waechter Architecture to design the 408-square metre house spread over three levels, with landscaping by Lilyvilla Gardens. “The home combines elements of modernism – design clarity, a reinvention of traditional forms, large expanses of glass – with a Brutalist sense of physicality that celebrates raw, honest materials,” describes Feldkamp, who took care of the interior spaces, which are surrounded by sliding glass panels to create a seamless flow between indoors and outdoors and encourage contemplation of nature.

“My architectural references ranged from the obvious – Le Corbusier, Lina Bo Bardi, Tadao Ando, Kengo Kuma – to the less obvious (mid-century Roman office lobbies, Balinese bamboo construction, graffiti),” says Feldkamp. “All of these references pointed me toward strategies for creating connection between inside and outside, between the refuge of home and the city around us.” The main level is subtly separated into zones by a walnut-clad cube, set off centre and rotated 10 degrees from the footprint of the house. “Setting it slightly askew was one of the most important design decisions we made,” explains Feldkamp. “It both respects the building’s rigorous geometry and injects a sense of play into the structure.”

One side of the cube incorporates a powder room, a pantry, a bar behind concealed doors and casework. The stairways run through the middle, while the opposite side houses the spacious kitchen – a must for the couple who also

This page (below) –Pablo table lamp atop a vintage 1970’s nightstand sourced via Chairish. The wallpaper is by Stark

This page (bottom from left) – The powder room contains a stunning custom Onyx sunk via 1st Dibs, Fantini sink fittings and wallpaper by Makelike; The reading nook has a Tiago Curioni chair sourced via 1stDibs and a side table by Souda (Brooklyn)

wanted to have enough room for their 12-seat dining table for hosting friends and family.

Left page – (from top) The outdoor area hosts custom steel fire feature by Boy Boy and patio chairs by Bend Goods; The kitchen hosts pendants by Pablo, an island by Mirage quartzite and a Dornbracht sink tap. The living space hosts chandeliers by Pablo, a vintage 1970s Milo Baughman sofa via Chairish, reupholstered by Revive Designs in a Lee Jofa fabric, with custom sofa legs by Poest. The coffee table is a vintage 1980s one sourced by Urbanite

“Furnishings on the main level float within the space to create a sense of movement,” says Feldkamp. “The curved silhouette of the sofa echoes the low stone wall winding between the firepit and the rain garden.” Tactile materials bring textures throughout, while the warm colour palette was inspired by the shifting forest light, balancing with the home’s rigorous structure and retaining concrete wall. “The time I spent in Japan left a strong imprint on the project,” says Feldkamp. “I tried to weave the care, thoughtfulness and material richness of a Japanese farmhouse into the home in subtle ways: through handmade ceramics, handwoven bathroom towels, intricate joinery, textured rugs that reference the raked stones of a Zen garden, the origami rain chains and, of course, the Kintsugi veins in the concrete floors.”

Years ago, Feldkamp had a business making couture garments with everything sewn by hand. This background in fashion also influenced her approach. “Clothing – like buildings – must meld structure and function with style to be successful,” she says. Celebrating the knowledge of artisans – from woodworkers to metalworkers to furniture makers – in every nook, the house is full of discoveries and surprises; exactly as Feldkamp had dreamed.

This page – Simple forms are softened with curves and edges to exude serenity; Right page – The sofa, coffee tables and TV cabinet Minotti bring an European touch to the look, enhanced with a Rubelli fabric with rich texture, an elegant Calico wallpaper and the intricate woven metalwork of French designer Sophie Mallebranche for even more richness and tactility

Edginess in Shenzhen

This contemporary duplex with glowing accents brings a touch of Paris elegance to one of China’s booming cities

WORDS – KARINE MONIÉ PHOTOGRAPHY – RICCI WU

Adynamic hub of innovation and technology that connects Hong Kong with mainland China, Shenzhen is growing rapidly. With such development comes luxury properties and impressive design, as this project by Clement C Studio exemplifies. The founder, interior designer Clement Cheng, is used to working with demanding and successful clients, including several celebrities such as Malaysian actress Lin Min Chen and Hong Kong model Elva Ni, who trust him deeply. And these homeowners – a young couple of entrepreneurs – were no exception. Having previously worked with Cheng a few years ago for another apartment, they gave him only an overall direction and brief with spatial requirements, allowing him complete freedom for everything else in this duplex.

Surrounded by mountains, the two-level, 465-square metre apartment was efficiently completed in just six months, despite its large size. Although the timeframe was tight, every detail was thoughtfully crafted and curated, ensuring the final result would create the wow effect. And indeed, it delivered.

To connect the lower and upper floors, an internal staircase was designed and positioned to act both as an aesthetic feature and an indispensable element for circulation. Maximising natural light and inviting a breeze, the duplex incorporates local materials and modular panels to reduce waste. Meanwhile, the existing structures and walls were retained and reused wherever possible. Many decorative fixtures are bespoke, to elevate the design, including the rounded wall panels and ceilings, as well as the lighting pieces that introduce warmth into the very sophisticated decor.

Cheng drew inspiration from French design while introducing a contemporary twist throughout for a unique, eye-catching result. For example, a skirting detail runs throughout the home, elegantly defining

This page – Modern and classic materials combine, showcasing exceptional craftsmanship and finesse; The base of all walls echo the traditional moulding that is typical in Parisian homes. Arches in the different spaces create a chic atmosphere reminiscent of the luxury boutiques in the Champs-Elysées of the French capital

the base of all walls and echoing the traditional moulding that is typical in Parisian homes. Arches and wood finishes in the different spaces, as well as pastel tones in the bedrooms, create a chic atmosphere reminiscent of the luxury boutiques in the Champs-Elysées of the French capital. Modern and classic materials combine, showcasing exceptional craftsmanship and finesse in a space where crisp, simple forms are softened with curves and edges to exude serenity.

“In this apartment, we used the same marble for the lower floor with the living room, dining area and tearoom to create a similar effect for a sense of harmony,” says Cheng. The sofa, coffee tables and TV cabinet by Italian brand Minotti bring another European touch to the look, enhanced with a Rubelli fabric with rich texture, an elegant Calico wallpaper and the intricate woven metalwork of French designer Sophie Mallebranche for even more richness and tactility. Dark grey pairs with light earthy tones in the bright, airy backdrop of the double-height duplex, where a wooden floor was installed in the bedrooms for more cosiness. Brass tones, amber crystal and golden and black elements make the interior spaces even more classy. Reflecting a magical glow, this home radiates grandeur from floor to ceiling. clementcstudio.com

Brass tones, amber crystal and golden and black elements feature in the interiors

Things to Covet

1. Orson outdoor chair by Roda x Missoni

As part of the Roda x Missoni collaboration this year, the Orson seats with teak structure reinterpret the classic director’s chair in a contemporary key. Made of acrylic yarn with various jacquard weaves, the fabrics are rendered in five iconic Missoni patterns –Riva, Bamboo, Opera, Spiga and Duna – which meet the essential technical and performance characteristics of Roda outdoor fabrics.

2. RUBY Lounge chair by Castello Lagravinese Studio

Designed by Castello and Lagravinese, RUBY Lounge strikes a balance between formal precision and comfort. Its wooden structure, selected for its strength and durability, provides both solidity and aesthetic appeal. The essential lines of the legs blend harmoniously with the generous volumes of the seat, which is equipped with soft cushions upholstered with high-density polyurethane foam, designed to offer maximum support and relaxation. The Scandinavian inspiration is evident: the clean lines and the choice of natural materials, combined with a historical reference to the iconic armchairs of the 1970s, are explicitly expressed in the enveloping shape of the backrest, which extends seamlessly into the armrests.

3. Slice by Marco Zito for Bross

The Bross quest for versatile and multifunctional furniture complements is completed with Slice, a 2025 newcomer designed by Marco Zito. It is a coffee table, a stool, a bedside table and an object to be flexibly used not only in living and bedtime environments but also in the shared spaces of hospitality or work facilities. At the heart of this collection is a module with a compact and slender volume, a thin extrudate with a curved short side and one cut diagonally, to be used individually or in a combination of several ‘pieces’ –‘slices’ in fact: in versions with three,

four or more elements, it defines a design with sinuous profiles, with a continuous change of perspective. The matrix is made entirely of cork, with an elegant thin pattern, and is available in natural, dark or matte and glossy lacquered shades. When replicated, it can produce a composition where parts can be selected with a single finish or a combination of different shades. The result is a continuously customisable design product, a playful and elegant object

4. Zurich chair by Gianfranco Ferré Home

With its perfect balance of defined geometries, soft lines and tailored details, the Zurich armchair embod-

ies the essence of the Gianfranco Ferré Home 2025 collection. The reference to fashion codes is represented by thin leather bands that seal the seams, enhancing the purity of the forms, and by characteristic dark brown leather straps with details in a brushed bronze finish. The enveloping silver nubuck upholstery completes the sophisticated allure of the seat, with its discreet but not banal presence.

5. Bang by Adriano Rachele for SLAMP

Bang, designed by Adriano Rachele, features ten pentagonal arms of varying lengths extending from its centre, radiating light through the cuts in the diffuser. This vibrant geometry, born from meticulous attention to detail and natural study –which are hallmarks of the designer’s work – plays with shapes and shadows, evoking a sense of perpetual motion, whether used as a step light or wall fixture.

6. Opalia by Patricia Urquiola for GLAS Italia

Made by fusing scraps of glass with special additives to obtain irregular glass masses, rich in bubbles and with random undulating surfaces, the Opalia collection is available in extralight or bronze-fused glass. In the high tables with legs in extra-light fused glass the top is in float acidetched extra-light glass; with legs in bronze-fused glass the top is in acidetched bronze glass. The legs, which are removable, are fixed to the top thanks to glued plates and anodised brushed aluminium joints, available in silver, pink, green or bronze.

In today’s homes, air quality is as crucial as aesthetics, and Dyson’s latest innovation brings both together in one beautifully engineered device. The Dyson Purifier Big+Quiet Formaldehyde BP03 is a sleek, sculptural piece of smart tech that delivers ultra-efficient purification for large interiors, all while operating at an impressively low hum.

From open-plan living areas and creative studios to hospitality spaces and wellness retreats, this advanced purifier is engineered to perform – quietly. At just 56 decibels, it’s Dyson’s quietest yet most powerful purifier to date, combining groundbreaking technology with a clean, minimalist silhouette that sits comfortably within any interior.

The air purifier is capable of projecting purified air up to 10 metres (over 32 feet) using cone aerodynamics. By harnessing the ‘Coanda effect’, it merges twin air streams over the machine’s dome into one high-velocity jet, quietly delivering more than 87 litres of purified air per second. The purifier is also equipped with a Helmholtz silencer and a labyrinth seal, which acoustically insulate the re-engineered motor, enabling whisper-quiet operation even when performing at its most powerful.

Dyson’s three-phase, fully sealed filtration system targets pollutants that often go unnoticed. It captures 99.97% of particles as small as 0.3 microns (think allergens, mould spores, dust and bacteria) while also tackling gases and odours from everyday activities like cleaning, cooking and decorating.

But, perhaps most impressively, it features a solid-state formaldehyde sensor that is able to detect and destroy this persistent pollutant continuously and permanently. The K-Carbon filter, infused with potassium carbonate, absorbs up to three times more nitrogen dioxide (NO₂) than previous models, helping combat emissions that can sneak into our homes from busy streets and nearby traffic.

The new Dyson Purifier Big+Quiet Formaldehyde BP03 is perfect for open-plan spaces

A network of integrated sensors inside the purifier continuously monitors the indoor environment, detecting CO₂, fine particulates and more. In auto mode, the device crosschecks air quality data every second and adjusts its performance accordingly. Insights are available at a glance on the onboard LCD display, or via the MyDyson app, offering full control and reporting in real-time.

For design professionals and discerning homeowners, this seamless combination of performance, quiet operation and unobtrusive beauty makes this air purifier an ideal addition to clean-lined, tech-forward spaces.

WORDS – ANEESHA RAI

IStillness

Norm Architects shares its uniquely Scandinavian view of

Japanese aesthetics

WORDS – ANEESHA RAI

n Stillness, Copenhagen-based Norm Architects invite readers into a deeply personal and poetic journey shaped by more than ten years of travel, cultural immersion and creative exchange with Japan. The monograph is a meditation on aesthetics, a travelogue, and features an enduring dialogue between two design cultures rooted in simplicity, restraint and reverence for nature. Drawing on richly illustrated visits to Japanese landscapes, cultural sites and architectural landmarks, Stillness offers intimate insights into how Japanese traditions have profoundly influenced the studio’s contemporary projects. Whether it’s the meditative calm of the ÄNG restaurant nestled in the Swedish countryside or the sculptural serenity of the Heatherhill Beach House in Denmark, Norm’s work reveals a deep appreciation for the quiet power of Japanese design philosophies. By juxtaposing evocative imagery from Japan with the studio’s own built works, Norm

Architects traces the subtle threads connecting these distinct cultural worlds by emphasising shared values of harmony, imperfection and timelessness. Essays and commentary from expert collaborators across both regions further enrich the narrative, offering deeper context into key design principles like wabisabi, ma and shibui.

At its heart, Stillness is an aesthetic manifesto born of deep respect and cross-cultural kinship. Through every page, Norm Architects illuminates how the quiet beauty of Japanese design has helped shape a distinctly Scandinavian vision rooted in empathy, clarity and calm.Founded in 2008, Norm Architects has earned international recognition for its sensory, minimalist approach across architecture, interiors, product design and photography. With Stillness, the practice opens the doors to its creative world, where stillness is not an absence, but a presence that speaks volumes. gestalten.com

Jonas Bjerre-Poulsen, Stillness, gestalten 2024