Gid 3rd issue

14 ANTIQUITY THE SHERATON IN ITS 80S GLORY GID has the transformational

scoop on the Sheraton and all of the exciting details of a new kind of renovation that is all about refreshing memories.

18 MASTERMIND A NEW MONUMENT IN PARIS Bernard Arnault, the President

of the Fondation Louis Vuitton, reveals the story behind the $130 million monument and the vision of Canadian architect Frank Gehry that was brought to life.

26 THE THING GID loves The Abyss Table, an

intricate, majestic ocean blue coffee table by Christopher Duffy, a limited edition of 25 art pieces, the sculpted glass, Perspex and wood was arranged into a 3D representation of a geological map. This master piece is brought by Cities Dubai.

28 THE FOCUS UNDERSTATED ELEGANCE Her clients range from Mohammed

Al Fayad to an impressive list of sheikhs. Award-winning interior designer Katherine Pooley talks to GID about her inspirations, career, and her first interior design store in Doha.

FEBRUARY 20, 2015

A GRAND ENTRY, DESIGN BY KATHERINE POOLEY PAGE 28

PAGE 64

COVER IMAGECOURTESY: KATHERINE POOLEY.

34 THE DISCUSSION OF LINES AND INTERSECTIONS Dutch designer Eric Broug shares

his insights about Islamic geometric design and its potential in modern architecture.

40 THE EXPERT SURROUNDED BY CREATIVITY Muneera Spence, the Chair of the

Department of Graphic Design at Virginia Commonwealth University in Qatar, tells us about the mesmerizing effect of VCUQ’s creative environment on the students and faculty members.

44 EXPAT HOME AN ECLECTIC MIX OF BRIC-A-BRACS GID explores a uniquely designed

expat house, right here in Doha, which is owned by an art collecting couple who have a distinct eye for design.

50 REGIONAL FOCUS THE ART OF COLLECTABLES Cyril Zammit, Director of the Dubai

Design Days, tells us the story of the creation of the leading collectible design fair and the works that will be featured in the fourth edition.

58 GLAMOUR THE WHIFF OF SUNSHINE AND SEA Italian fashion designer Giuseppe

Santoni talks to us about his fashion journey and the simple pleasures that he enjoys in life, in his beautifully decorated Italian home.

AN EXPAT HOME PAGE 44

CLOCKWISE FROM TOPLEFT:DESIGNS FROM VUCQ STUDENTS, THE FONDATION LOUIS VUITTON, A PRODUCT SHOWCASED AT DESIGN DAYS DUBAI 2015, AND THE SHERATON DOHA.

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MANAGING EDITOR SINDHU NAIR

FASHION EDITOR DEBRINA ALIYAH

DEPUTY EDITORS EZDHAR IBRAHIM ALI

SRINIVASAN V L

SENIOR CORRESPONDENTS AYSWARYA MURTHY

ABIGAIL MATHIAS

PHOTOGRAPHER ROBERT ALTAMIRANO

SENIOR ART DIRECTOR VENKAT REDDY

DEPUTY ART DIRECTOR HANAN ABU SIAM

ASSISTANT ART DIRECTOR AYUSH INDRAJITH

SENIOR GRAPHIC DESIGNER MAHESHWAR REDDY B

SENIOR MANAGER – MARKETING FREDRICK ALPHONSO

MANAGER – MARKETING SAKALA A DEBRASS

ASSISTANT MANAGER – MARKETING HASSAN REKKAB

MATHEWS CHERIAN

SONY VELLATT

NAMRATA KAPOOR

SENIOR MEDIA CONSULTANT DENZITA SEQUEIRA

SENIOR ACCOUNTANT PRATAP CHANDRAN

SENIOR DISTRIBUTION EXECUTIVE BIKRAM SHRESTHA

DISTRIBUTION SUPPORT ARJUN TIMILSINA

BHIMAL RAI

BASANTHA P

PUBLISHER AND EDITOR–IN–CHIEF YOUSUF JASSEM AL DARWISH

CHIEF EXECUTIVE SANDEEP SEHGAL

EXECUTIVE VICE PRESIDENT ALPANA ROY

VICE PRESIDENT RAVI RAMAN

DESIGN TRENDS FOR 2015 ARE QUITE SPECIFIC; DESIGNERS MUST GO BEYOND THEIR ROLE PLAY, COMMUNICATE TO A SMALLER, TARGETED AUDIENCE FOR AN IMPACTFUL REACH AND INCLUDE SUSTAINABLE THINKING IN DESIGNS.

Designers must be able to draw on experience and knowledge from a broad range of disciplines, including the social sciences and humanities, in order to solve problems in a global, competitive market of products and ideas. The role of a designer is moving from the creative to touch on various aspects of life and influence businesses and commerce on a larger scale than before. As trends move in a new direction, architecture is embracing earlier convictions; ancient designs are still making a comeback in new avatars. Hollyhock House, Frank Lloyd Wright’s first Los Angeles house, a prototype for California Modernism, is restored to its earlier glory after five years of restoration work. Right here in Doha, Sheraton, the first international hospitality brand in the country, is restored to look exactly as it did in the 80s. No design alterations, no interior rehash, and almost minimal change to the look and feel of the rooms. A bold move from a country that usually wipes out memories and then preserves them in purpose-built museum spaces. While old buildings are restored, new ones that defy all rules of form and space take shape. Frank Gehry’s The Fondation Louis Vuitton is a monumental trailer for the cultural credentials of France’s biggest luxury house. As we all love to gaze at curving steel silhouettes that seem to billow in the winds and then fall sharply at a diagonal, so do we crave to discern houses of celebrities. Glam Interiors and Design brings to you the design of businessman Giuseppe Santoni’s summer home in Civitanova Le Marche, Italy. Glam Interiors and Designs takes a peak into the interiors of an expat home and explores with its owners the simple beauty of collecting memories from the Souq. We also delve into the mystery of Islamic patters that have been decorating architectural spaces since ages.There’s so much more to read, so go on and enjoy the beauty of design across all spectrums of life.

SINDHU NAIR

FROM THE DRAWING BOARD

12 GLAM INTERIORS + DESIGN

“Dubai is a city that had an opportunity, and rather than investigate their own history, their own culture, they tried to become Tokyo. They tried to become Shanghai. And I think that’s a huge mistake. What’s most exciting for me is to see what I call site-specific buildings—buildings that relate to their place. A skyscraper in Kuwait City, should and will be very different from a skyscraper in New York City because there’s different ecological conditions. The sun is different. The winters are different. The skies are different.”

Danny ForsterDanny Forster Design Studio

The winner of a conceptual design competition for a memorial honoring the passengers and crew of Malaysia Airlines Flight 17 (MH17) has been announced.

Last year the City of Amsterdam announced that it wanted to find a possible way to mark the tragedy with a public installation at a 350-year-old Navy base in the Dutch capital. The winning concept “Memorial in the Sky”, designed by US-based William Smith and Hiroshi Kaneko, features a sunken dais placed just below the surface of the water, reflecting the sky above. A series of delicate columns rises from the water, with the hope that they will in time act as supports for the various plants and foliage placed throughout the space.

GID GRAPEVINE

IN MEMORIAM

MoMA PS1 has named Andrés Jaque/ Office for Political Innovation as the winner of its annual Young Architects Program in New York.

The winning project, “Cosmo”, is a movable artifact made from customised irrigation components, which purifies water and exposes the hidden urbanism of pipes we live by. The assemblage of ecosystems is engineered to filter and purify 3,000 gallons of water, eliminating suspended particles and nitrates, balancing PH levels and increasing the level of dissolved oxygen. It takes four days for the 3,000 gallons of water to become purified, then the cycle continues with the same body of water, which becomes more purified with each cycle. The prototype has been designed to trigger awareness of water purification problems around the world, and it will be installed at MoMA PS1 in Long Island City in late June.

WINNER OF YOUNG ARCHITECTS PROGRAM ANNOUNCED

GLAM INTERIORS + DESIGN 13

Kenji Ekuan , the Japanese designer responsible for the classic soy sauce bottle, has died.

The 85-year-old was the brains behind the sauce dispenser first used by Kikkoman in Japan in 1961. The upside-down funnel shape with a red cap was subsequently exported around the globe and became visual shorthand for soy sauce as the craze for Japanese food swept abroad. He also designed the Narita Express train that ferries passengers to and from Tokyo’s international airport. A former president of the International Council of Societies of Industrial Design, and a recipient of the council’s Colin King Grand Prix, Ekuan was also made officier de L’Ordre des Arts et des Lettres by France and awarded the Order of the Rising Sun by Japan.

MORE THAN JUST AN AIRPORT

Zaha Hadid Architects (ZHA) has released the first images of the design for what will be the world’s largest airport passenger terminal in China.

The Beijing New Airport Terminal Building, designed in collaboration with airport planners ADP Ingeniérie (ADPI), will initially accommodate 45 million passengers per year. According to a press statement it will be “adaptable and sustainable, operating in many different configurations dependent on varying aircraft and passenger traffic throughout each day.” The terminal will feature an integrated multi-modal transport center with direct links to local and national rail services. Located in Daxing, Beijing, the new airport has been designed to cater for the fact that Beijing’s existing Capital Airport is already exceeding its planned capacity. ZHA and ADPI have been working on the concept since winning an international bid competition in 2011.

REMEMBERING AN EVERYDAY ICON


The fourth edition of this festival has reportedly attracted 44 renowned exhibitors from over 20 countries.

Studios and galleries from Paris, London, Cape Town, Beirut, Melbourne, Beijing,

Los Angeles and New York will be part of the event that also continues to support

the Middle Eastern design industry through exhibiting a record number of 16 design studios, galleries, and design professionals based in the Emirates and wider GCC. Held again at ‘The Venue’, the annual setting for the fair, located

next to the iconic Burj Khalifa, audiences can experience, discover and engage with

the works on display, and the galleries

and designers from around the world. This coincides with the approval for

the plans for Dubai Design District. D3 will be a new neighbourhood adjacent

to Business Bay that mixes office space, major brand outposts and small

boutiques with galleries, workshops and artists’ studios. The “creative

community” will also live on the 21 million sq ft campus in specially designed

housing. The goal, according to the developer, is to create a space and deliver

the “a full lifestyle experience” for “credible, cutting-edge creative events

more often found in London, New York, Paris and Milan”.

DESIGN AGENDA – BACK AND FORTH

While the Interiors Qatar exhibition that was planned for

February 2-4 in Doha was cancelled due to “licensing

issues”, we take a look at other design showcases around the world that one can drop in on.

F E B RU A RY 1 2-2 2

PA L M S P R I N G S , C A L I FO R N I A , U S A

Aiming to celebrate and foster appreciation of mid-century architecture

and design, Modernism Week is an annual event in Palm Springs, California.

The 2015 edition will be its 10th anniversary.

M A R C H 1 2- 1 5

R E Y K J AV I K , I C E L A N D

Meanwhile in Iceland, the sixth edition of the country’s annual design festival

will be playing out in the capital.

M A R C H 1 0 - 1 3

S I N G A P O R E

Fresh from its 20th anniversary edition in Paris in January, interiors salon Maison&Objet heads over to Singapore, where the focus will be on international and Asian design.

M O D E R N I S M W E E K

D E S I G N M A R C H

D E S I G N DAY S D U BA I

M A I S O N & O B J E T A S I A

F E B RU A RY 26 - M A R C H 1

P O N C E , P U E RTO R I C O

Latin American Design is thrustonto the global stage at this trade

fair in Puerto Rico.

BO O M :

T H E F U T U R E O F L AT I N

A M E R I C A N D E S I G N

M A R C H 1 6 -2 0

D U BA I , U A E

GID GRAPEVINE


A Hungarian inventor, Matyas Gutai, has demonstrated an inexpensive way to construct buildings that could slash its energy needs through a simple ingredient – water.

“Imagine a building without insulation, yet with a perfect indoor thermal balance, thanks to the properties of water,” the 34-year-old told AFP. The walls of the model house are made of glass panels, with a gap in between filled with water. This water, only a few cubic metres, absorbs heat like a battery during hot spells and distributes it during cold snaps, making all cosy in winter or cool in summer, as needed. An inbuilt monitoring system allows the user to set the desired indoor temperature, with the heat stored in the water transferred around as needed. The system reduces the need for external energy sources for heating, meaning that the building can be more independent from the local grid.

TOTAL WINArchitect Zaha Hadid settled out of court a dispute with New York Review of Books and architecture

critic Martin Filler, who erroneously wrote that 1,000 workers had died so far building Hadid’s Al Wakrah

Stadium in Qatar, which in reality hasn’t even started construction yet. In a joint statement, it was announced that the undisclosed amount of money

will be donated to an unnamed labour rights charity.

ASKY-HIGH

MAZEThe UAE can add another world record

building to its kitty with Guinness declaring that its Maze Tower is the

world’s largest vertical maze. The 55-storey building is located in the

Dubai Financial District features an eye-catching front and rear facade of

balconies that make up an intricate maze, which is not just a random

pattern but a real puzzle. The Maze Eye, an 8 metre circular video wall

at the top of the building, can beam images great distances and the maze pattern can also be lit up in different

colours. To top it off, literally too, there is a roof top maze garden.

ART AND COMMERCE

French-Tunisian street artist eL Seed who had previously brightened up underpasses along Salwa road in Doha is currently working on a painted calligraphy-styled mural on the exterior walls of the Sharjah Bank Street building.

AN ORIENTAL SECRET TO ENERGY EFFICIENCY


THE SHERATON

THE ANTIQUITY


RENOVATION FOR SHERATON DOHA MEANT BRINGING BACK OLD MEMORIES.

ONE OF THE FIRST GLOBAL HOTEL BRANDS TO COME TO THE COUNTRY IN THE BEGINNING OF THE 80S, SHERATON WAS MUCH MORE THAN A HOSPITALITY BRAND; IT WAS A PLACE THAT QATARIS LOVED TO BE ASSOCIATED WITH.

SKYLINEAND SHORELINE

The Sheraton Doha’s beautiful external space that

has everything to attract a global tourist: sun,

sand and sand.


It was a place where they could dream of travelling beyond their shores, of being internationally recognised and aspire to excellence. The Qatari kahwa server who is part of the heritage of the hotel was just one of the experiences that made the premises truly national.

Fast forward to 2015 and Sheraton looks exactly the same after the renovation. Every single detail, from the carpet covering the atrium to the chandelier hanging in the atrium to the upholstery, has all been redone, polished and refurbished to match the same look and feel of the 80s. And the coming home to Sheraton experience begins from the time you sip the kahwa at the entrance.

Designed by William Hill, the pyramid-shaped building, when it was completed in 1982, was a structural marvel of sorts with an atrium that penetrates the central structure. The atrium was one of the eye-catching elements of the premises, with seating provided around in small semi-private enclosures. The enclosures at two ends of the atrium made in white and gold frame the two chandeliers that were part of the building’s heritage. The chandelier is a record-breaking creation by Murano, and has more than 20,000 pieces which took almost three months to be pieced together. Weighing a total of 180,000 kg when installed, it continues to shine down in its

visual splendor. A complete refurbishment was carried

out in all 371 rooms and suites in addition to the 35,000 sq ft convention centre and other meeting spaces. All public areas and recreation facilities have also been enhanced. All the rooms are inspired by the Qatari form of design. The rooms are skillfully designed and make the most of the view that is Sheraton’s prized possession. It is said to be the only property which has most of its rooms (80%) facing the Gulf waters, thanks to the structure of the property.

But the true treasure of this museum-style property is the art that adorns its walls. Most of the paintings are the works of Qatari artists that take you on a trip through the history of the country, through its souqs, horse riding, and falcon hunting traditions. One particular calligraphic piece of tapestry that hangs in the convention centre is of immense value.

OLD AND THE NEWThe renovated outer space makes the most of the view; Below: the atrium in all its magnificience.

THE ANTIQUITY


Designed by William Hill, the pyramid-shaped building, when it was completed in 1982, was a structural marvel of sorts with an atrium that penetrates the central structure.

REIMAGINEDAbove: the conference rooms of Sheraton have seen many dignitaries and heads of state; Right: renovated rooms; Below: the restuarant on the top floor.


GID MASTERMIND

A NEWMONUMENT

IN PARIS

THIS ARCHITECTURAL WONDER OF GLASS IS A DAZZLING CENTRE FOR CONTEMPORARY ART AND CULTURE, THE BRAINCHILD OF BERNARD ARNAULT, CHAIRMAN AND CEO OF THE FRENCH LUXURY-GOODS CONGLOMERATE LVMH MOËT HENNESSY-LOUIS VUITTON, BROUGHT TO LIFE BY MODERN ARCHITECT FRANK GEHRY.

SHAPES AND FORMSTop: A model of the Foundation Louis Vuitton Left: Architect Frank Gehry with his wife at the opening of the Centre.


The $130 million Foundation Louis Vuitton opened its doors to the public in October 2014, and has been hailed as a beacon for modern architecture while some have also scorned the design, calling it an unimaginative building clothed to look interesting with the glass panels.

But then there has been no new building in Paris that was loved instantly by the Parisians; most new French architectural examples were hated by many before being loved by most and a case in point is the Eiffel Towers which was despised when it was revealed.

To Bernard Arnault, President of the Fondation of Louis Vuitton, the inspiration for the project Fondation Louis Vuitton is this quote by the artist Picasso: “”Art wipes the soul clean of the dust of everyday life. A cleansed soul restores enthusiasm, and enthusiasm is what we - and future generations - need most.”

The Fondation Louis Vuitton opens an exciting new cultural chapter for Paris. It brings to the city a new space devoted to art - especially contemporary art - and above all a place for meaningful exchanges between artists and visitors from Paris, from France, and from the entire world. By encouraging spontaneous dialogue, the new Fondation seeks to inspire both emotion and contemplation.

According to Arnault, this project was as a result of exploring the idea of

a foundation, “an institution that would tangibly express our commitment to art and culture. We have never wavered from this course and now, in the autumn of 2014, we have sailed to our destination, making this dream a reality.”

The Fondation Louis Vuitton is located on the frontier between the Bois de Boulogne and

the Jardin d’Acclimatation, a well-known part of the capital frequented for over a century by generations of Parisians.

Frank Gehry has designed a building that, through its strength and singularity,

represents the first artistic step on the part of the Fondation Louis Vuitton. This large vessel covered in twelve glass sails, situated in the Bois de Boulogne, on the edge of avenue du Mahatma Gandhi, is attached to the Jardin d’Acclimatation. Set on a water garden created for the occasion, the building blends into the natural environment, amidst the wood and the garden, playing with light and mirror effects.

The building stretches over a total surface area of 11000 m2, including 7000 square metre publicly available. It offers 11

GLASS IS THE MATERIALFloating art forms seems to be centric in the design. Right: The Centre is the newest landmark in a city that has many such icons.


THE ART OF SPACES

Each facet of the building is like a frame of

contemproary art; Right: the first

museum collection is Ellsworth Kelly’s

Colour Panels

GID MASTERMIND


galleries dedicated to the presentation of the collections, contributions from artists and temporary exhibitions, along with a 350-seater auditorium with a modular design, in other words some 3,850 square metre of museum space. The visitor can complete their tour with terraces that enjoy exceptional views over Paris, La Défense and the surrounding area.

From the Eiffel Tower to the canopy of the Bois de Boulogne, from the Jardin’s Pigeon Tower to the skyscrapers of La Défense, the visitors can discover, from the Fondation’s heights, brand new Grand Paris views.

The museum’s privileged setting in this landscaped garden, its creative and innovative architecture and the new cultural hub that it intends to represent for as many people as possible are designed to attract both local families and tourists from all over the world, along with architecture and contemporary art enthusiasts.

Inseparable from the image of its building and encompassing a large-scale artistic project, the Fondation Louis Vuitton looks to form an integral part of the Parisian landscape and become an international benchmark in the years.

Transparent materialsFrom the very first sketch, the building that Frank Gehry designed is its inaugural artistic gesture. The building combines all of the architect’s methods, codes and modes of expression and marks a new step in his work.

Guided by Proust’s memory, he took his inspiration from the lightness of late 19th-century glass and garden architecture to make his first sketch. Through the creation of a host of mockups, the architect has successfully given a sense of momentum to the building designed as a yacht or a vessel: set on a water garden, rising among the Jardin d’Acclimatation’s century-old trees, it blends in seamlessly with the natural environment.

The choice of the materials expresses the idea of transparency: a glass shell covers the body of the building, an assembly of blocks known as the “iceberg”, giving it its volume and movement. The definitive mock-up was scanned to provide the digital model for the project. The architect took a

THE BUILDING COMBINES ALL OF THE ARCHITECT’S METHODS, CODES AND MODES OF EXPRESSION

AND MARKS A NEW STEP IN HIS WORK.

FRAME BY FRAMELeft: Inside the horizon by Olafur Eliasson, one of the installations at the museum; views of the structure, angular planes at various angles, seem to be part of a chaos that is the structure.


revolutionary approach to the work with glass in particular to bring his vision to life: “Our wish was to conceive a building that would evolve with the passing of the hours and with the changing light so as to create an impression of the ephemeral, and of continual change,” he said. This architectural challenge is one of the iconic architectural achievements of the 21st century.

Gehry lives in Los Angeles and over the past 40 years has designed major buildings, primarily in the United States and Europe. These include his Santa Monica residence, which served as his manifesto, the Guggenheim Museumin Bilbao, the DZ Bank Building in Berlin, the Walt Disney Concert Hall in Los Angeles, the IAC Building and the New York Tower. He has been teaching at Yale University for the past few years. Driven by a constant

quest for innovation and meaning, project after project he pushes back the boundaries of traditional architecture to create powerful and poetic buildings.

Aerospace technology to support Gehry’s creation

Gehry’s creativity calls for constant technical innovation. Both in the project’s very design and in undertaking the work, the Fondation Louis Vuitton venture has overturned the principles of architecture. From the very first stages, all of the partners involved in the project learnt how to handle and relied on a unique tool: Digital Project, a 3D software developed by Gehry Technologies based on the Catia tool from the aircraft manufacturer Dassault. This software’s exceptional performance made it possible to create the complex shapes imagined by Gehry, in extremely close collaboration with the different teams working simultaneously on a joint model.

Unfailing attention was paid to the choice and manufacture of the Fondation’s materials. The glass production represents a decisive innovation. The 13,500 m2 of the twelve glass sails are made up of unique panels, developed using innovative technologies. A specific furnace was created to meet the requirements in terms of curvature and slenderness set by the designer. The “iceberg” is itself covered in 19,000 white sheets of ultra-high performance fibre-reinforced concrete, known as Ductal(r). Each plate is manufactured from a mould and a specific template according to its position in the building. Finally, the design of the assemblies and the manufacturing technique for the layered glue-laminated wooden beams that support the glass sails were at the heart of the research undertaken to deliver the project.

THE GLASS PRODUCTION REPRESENTS A DECISIVE INNOVATION. THE 13,500 SQUARE METRES OF THE TWELVE GLASS SAILS ARE MADE UP OF UNIQUE PANELS, DEVELOPED USING

INNOVATIVE TECHNOLOGIES.

THE SAILImages taken at the opening of the Fondation.

GID MASTERMIND


FOR THE MONTH OF LOVE AND THE SPRING SEASON AFTER, HERE IS A

COMPILATION OF ACCESSORIES1785.

This high-gloss metallic mirror untethers the rules of reality giving you the power

of self-exploration. Available in any combinations of gold, bronze, silver with

colour in matt or high-gloss finish.www.bykoket.com

R Ê V E M I R R O R T H E C O N C E PT O F A TA B L E

C R A N E F LO O R L A M P

Barcelona Coffee table from Bo concept is designed with great

functionality, making it the perfect solution for large living spaces.

QR4697

This lamp can be used for lighting or as a piece of accessory, either

way it is a winner.QR3179

F R O M T H E H E A RT

Gifting ideas from Tanagra that brings the best of lifestyle gifts;

ranging from the white Magnum vase with red rose from Daum and

the Christofle horse, both reflecting a detailing that is difficult to attain.

THE LIST


FRAIL FROM THE ONE

R E G I O N A L TO U C H

LO C A L A N D H A N D M A D E

L I N E S A N D S U R FAC E S

A B I T O F Q ATA R

This elegant tall stand from The One is all about minimalistic

function and detailing. QR2095

The Al Hambra coffee tablebrings the ethnic touch to an

Arabesque setting.QR1785

Innovations from the local carpentry store that rehashes

furniture from the Souq to your desired need. Furniture and home-

made accessories made from recycled wood sourced from the

secondhand shops in Najma, Doha. www.creuqatar.com

A Nada Debs accessory box.www.nadadebs.com

Carry memories of the place you live in and get this printed

cushion that reflects the spirit of the country.

QR120www.barika.me


THE THING

THE DEPTH OF BLUE

Like all of Duffy’s designs, The Abyss Table is a conversation piece as much as a furniture. But while previous works play with gravity, this new design is concerned with depth, and creates a geological cross-section as mesmerising as the sea.

The design team spent a year developing the table in their London studio, experimenting with sculpted glass, perspex and wood arranged like a 3-D representation of a geological map, until they re-created something of the mesmeric abyss that had first captured Duffy’s imagination.

Made from high-grade wood from Forest Stewardship Council-managed forests and other controlled sources and glass, this is a limited edition table with just 25 pieces. This special design will be showcased at the Design Days Dubai and is brought by Cities Dubai.

CHRISTOPHER DUFFY LOOKS TO THE DEPTHS OF THE OCEAN TO DREAM UP A DRAMATIC COFFEE TABLE THAT INTRODUCES THE MAJESTYOF THE BIG BLUE TO THE INTERIOR.



UNDERSTATEDEL EGANCE

SHIFTING GEARSKatherine Pooley was a banker before she chose to be an interior designer.

THE FOCUS


UNDERSTATEDEL EGANCE

KATHARINE POOLEY MAKES LUXURY LIVING LOOK GRACEFUL, BUT WITH CLOSE SCRUTINY WE CAN DISCERN A LOVE FOR DETAILING THAT IS CERTAINLY NOT AS SIMPLE TO ACCOMPLISH AS IT LOOKS.

BY SINDHU NAIR


SIMPLICITY COME WITH DETAILSAbove: The living room of the client in Doha is a picture of subtle elegance with bespoke chandliers, gold wall decor and art deco geometric designs that are interpreted throughout the house. Opposite: Chinese necklace stands, a KP product found in the showroom at the Gate Mall.

THE FOCUS


When Katharine Pooley visited her showroom in Doha, her love for the region was evident. She specified that she was not new to the market, having already executed numerous interior design projects in Kuwait and other Emirates in the region.

She says, “Having grown up in Bahrain, the Middle East has always held a soft space in my heart. I am lucky to have a wonderful partner – Nasser Al Ansari – and together we have founded the first truly luxurious Interior Design Boutique in The Gate Mall Doha.”

“Through this close relationship we have extended our Middle Eastern client base and I am very lucky that all our experiences to date have been overwhelmingly positive. From countries as disparate as Kuwait, Dubai, Saudi Arabia and Qatar our clients all have terrific taste and truly understand the requirements of international luxurious living,” she says.

Travelling is Pooley’s inspiration builder. “My travel experience has impacted my style the most as it is the source of my inspirations. While visiting other countries and cultures I gain new ideas for new projects, especially the Asian cultures have always fascinated me and are reflected in some of my pieces of work,” she says.

Her first client is none other than Mohamed Al Fayed, the owner of Harrods and in the Middle East her client list includes an assortment of Middle Eastern

sheikhs and high profile businessmen. Visitors to her shop now include many stars, including Elizabeth Hurley and Ivana Trump, and she has won two Decorex awards and an Andrew Martin award for interior design.

But interior designing as a career choice came much later for Pooley after she dabbed her hands in banking and even journalism. After a prolific career in banking in South East Asia, Pooley was kept busy doing up her properties and that turned out to be the “turning point” in her life.

“It is exciting to mastermind the conception, design and implementation of large interior spaces, such as palaces in Kuwait and Doha, a modern Condo on the side of a cliff in Cape Town and a boutique hotel in China – all current KPL projects,” she says. “However I also enjoy immersing myself in the smallest detail of product design. Quality of finish and detail is as important to me on the smallest nut bow as it is for the largest development. This may sound ridiculous but, fundamentally they will both carry my name.”

While Middle Eastern clients are said to be very private and their homes heavily guarded from privy eyes, Pooley’s most memorable designs she been designing these very personal spaces, and she seems to comprehend the clients’ need for a home that is not a show piece but a place for quiet contemplation and special family dos.


Talking about one of her very special project, she says, “One project I am particularly proud of is this very large family villa in Doha. The detailing and craftsmanship achieved by my team is excellent and the client loved the use of fresh colour combinations throughout.”

“While we work to ensure all our clients have the VVIP experience they deserve, I have worked closely with members of both European and Middle Eastern Royal and head of state families on their private family homes,” she says. “To help them create sanctuaries for relaxation and enjoyment away from their highly public roles has been an important and demanding task but I have often felt humbled by their grace and thoughtfulness.”

Pooley is equally inspired by products as she is by spaces waiting to be designed. “I enjoy masterminding large spaces but I also enjoy immersing myself in the smallest detail of product design. Quality of finish and detail is as important to me on the smallest nut bow as it is for the largest development,” she says. “This may sound ridiculous but, fundamentally they will both carry my name.”

Pooley is also stimulated by the cutting edge designs in fashion and she is constantly intrigued by design in various facets of life and the influence designs seem to have on all aspects of life.

“I find that the level of compromised detail and original thought shown by Karl Lagerfeld, for example, transfers to what we are trying to achieve at Katharine Pooley Design Studio, she says.

“Much the same as at Valentino or Armani Privé, our large teams of designers and craftsmen work tirelessly and on the smallest detail to ensure a perfect and incomparable final product.”

While fashion follows seasonal trends, Pooley does not believe in being constrained by trends, she creates her won trends according to each design brief. “I am not a great believer in trends as I like to follow my own path.

“I am inspired by our clients; their lives and families, the locations of their properties and the lives that will be lived within these properties,” she says.

All these influences inspire the Katharine Pooley aesthetic ensuring that for each client a truly bespoke, one-off, completely unique design is achieved.”

“Even more so than perhaps our European clients, I have found my Middle Eastern clients to be highly personal and involved and together we have been able to create some truly ground breaking designs.”

ALL PLAYLeft: This male entertainment zone met the client’s request for an extensive games room incorporating his love for music, complete with bespoke billiard table with a shagreen base and ebonised timber to match the joinery in the room. Right: Frame deco pieces from KP.


MAKINGA GRAND ENTRY

Right: KP followed the client brief to create

an impressive entrance by installing a bespoke crystal chandelier that cascades through the

centre of a show-stopping solid brass and glass balustrade; Below: The woodwork, marble and gold detailing in this

wash area transcends design expectations.


OF LINES AND

INTERSECTIONS

DESIGNER, AUTHOR AND EDUCATOR ERIC BROUG TALKS ABOUT GIVING A SECOND LEASE ON LIFE TO THE INTRICATE GEOMETRIC DESIGNS THAT HAVE DOMINATED ISLAMIC ART AND ARCHITECTURE FOR CENTURIES.

BYAYSWARYA MURTHY

THE DISCUSSION


Much of what Eric Broug has taught and written about Islamic geometric designs is self-taught.

He didn’t have much of a choice. Curious about these complex patterns created using just simple geometric shapes, the Dutchman realised that, though there was plenty of material that spoke about the prolific use of these designs, there was much less knowledge available in the way of how these can be created. To comply with religious rules about representations of the human form, especially in places of worship, early Islamic architects had to come up with ingenious ways to adorn their environment. Along with Arabesque designs, geometric patterns became ubiquitous in stately homes, mosques, books and everyday objects. While this is common knowledge, the technique itself is in danger of fading away into the annals of history. “There is hardly any documentation about how these patterns are drawn or historically how the craftsmen, with no formal training in mathematics, were able to create these complex geometric compositions with the simple tools they had. That’s my approach to teaching these designs. If they were able to make these patterns so many centuries ago, so should we,” he says. It’s only a matter of understanding the new shapes created when circles and polygons are superimposed. Broug says, after so many years that he is still stumbling upon new, complex designs. And it’s important to keep this spirit of experimentation and discovery alive.

Because, according to him, though these designs continue to be part of modern

architecture, the present-day versions don’t do justice to the “best practices of many centuries ago” or what “constituted excellence in the height of its popularity”. “Throughout the history of Islamic art thousands of these beautiful patterns have been created, but today only a handful of these are used in design and architecture. It’s because of our cut-and-paste culture. People just use what they can find on the Internet.” This is foremost on his

mind when he is designing motifs for his clients. Through his UK-based studio, Broug Ateliers, Broug crafts these designs for customers from around the world. Whether you are the owner of a Turkish restaurant in the USA looking for a tasteful metal divider or a home owner in Sharjah wanting a unique pattern on your wooden floor, Broug is the man to track down. “I talk to my clients to understand their needs, the context, try to figure out if they have a favourite time period in Islamic history, or maybe a personal connection to a certain region in the Arab world. Then I try to give them a variety of bespoke options that are identifiable but not

typical,” he says. You’d think geography and time

couldn’t possibly play a significant role in an art form that is essentially lines and intersections, but Broug sets the record straight. “Yes, there are certain basic patterns that occur in all eras and regions because they inevitably reveal themselves when you play around with a pair of compasses and a ruler. But there are some patterns that are specific to an era, like a Mamluk design from 15th Century Cairo. This is because the designs are more than just lines. While there are certain periods in history that exemplify the spirit of innovation and this can be obvious in the

To comply with religious rules about representations of the human form, especially in places of worship, early Islamic architects had to come up with ingenious ways to adorn their environment.

VERSATILE These patterns

look just as relevant in a

modern home as a centuries

old monument.


products of that era, the embellishments and other features, often overlooked, can be unique to a certain region. “This might have to do with the kind of materials available in that part of the world. For example, mosaics from Morocco would have been made using minerals available there, and this is reflected in the distinctive colours and glazes seen in their ceramics,” he says.

With the renaissance of Islamic architecture, thanks to the infrastructure boom in the GCC states (and some SouthEast Asian countries), Broug feels there is plenty of potential for these designs to be used in modern buildings and structures, and not merely cosmetically but in a more “profound” way. The appeal

of these designs, according to him, is how contemporary they can feel. That’s why it’s exciting to empower a new generation to understand it and be creative with it. Today the will is there to use Islamic geometric designs, but the ability, sadly, isn’t,” he says, implying how there is no practical way for design and architecture students to learn how to apply these to their work. Broug himself studied crafts for a year at the Prince’s Foundation and did his Masters in Islamic Art and Architecture at the School of Oriental and Arab Studies, but was left wanting for more. “While the historical context of Islamic arts does interest me, I was

“Throughout the history of Islamic art thousands of these beautiful patterns have been created, but today only a handful of these are used in design and architecture.”

keen on learning the practical aspects as well,” he says. That there is a thirst for this practical knowledge is evident from the success of his books (his first book – Islamic Geometric Patterns – has been published in several languages like French, Farsi, Turkish, etc.), online tutorials, and live workshops.

Eric Broug will be down in Dubai from March 3-7 to participate in the Emirates Airline Festival of Literature where he will be part of a panel that discusses how the best of traditional Gulf and Islamic design can be combined with contemporary global style in architecture. Apart from that he’ll also be hosting a two-hour session where he will teach the basics of Islamic geometric design. He has taught several workshops in Canada, UK and USA but surprisingly this is the first one in the Middle East. “The first of many I hope,” he says.

A MILLION PERMUTATIONSA few basic geometric shapes can yield a countless number of patterns.

THE DISCUSSION


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GID DECONSTRUCT

PHOTOGRAPHY BY ROBERT A


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BEYOND BLACK AND WHITE

WHO SAID MONOCHROMES ARE A THING OF THE PAST?A LIVING ROOM ARRANGEMENT IN BLACK AND WHITE WITH UNEXCITING GREY WALL TOUCHES ON MINIMALISM AND REFINED SENSIBLITIES. STEEL ACCESSORIES ADD TO THE DECOR. ALL FURNITURE AND ACCESSORIES SOURCED FROM HOME CENTER.


Muneera Umedaly Spence MFA Yale University Graphic Designis currently the Chair of the Department of Graphic Design at Virginia Commonwealth University in Qatar and has been for the past seven years. She leads a Graphic Design team of ten faculty in a contextualised BFA degree programme. She has participated in and led conference development and presentations, including Tasmeem Doha 2011.

Her interest lies in team generative methodologies, collaborative teaching and learning dynamics especially pertaining to design education in the international context. Her interest in international development/design projects has manifested in Tajikistan, Kyrgyzstan, Ukraine and now in Qatar.

SURROUNDED

THE EXPERT


BY

C R E A TI V ITYA DAY IN THE LIFE OF STUDENTS

AND FACULTY MEMBERS AT VCUQATAR

BY

MUNEERA UMEDALY SPENCE


This is what I love about living with design; every day is different with new problems to solve, new colours to try, new mediums with which to experiment, new thoughts to share, new students to educate and so much more.

The students, with all their creative thoughts and energy, are what really make my day. You see, as a professor, I take all the learning I think the students are ready for, pile it into a project brief, support the learning by engaging and being engaged, presenting theory, new technology and process approaches while watching and guiding the thirsty young minds. I invite them to look at what precedence research (the work of others) can show, experiment some more, and understand the steps to unearthing new ideas while standing on the “shoulders of giants.” I then choose the best and deck the halls, both literally and figuratively, with examples of their amazing work. Creating a creative environment is what is so very important.

Creativity is doing something in a new way with new materials and knowledge while making sure that your audience is stunned into remembering and taking action.

I often walk around VCUQatar, where I have taught for eight and a half years now, and breathe in the creativity. This is what keeps me excited to teach. One day last month, I walked around the building and took photographs to capture

I HAVE BEEN TEACHING DESIGN AT THE UNIVERSITY LEVEL FOR 27 YEARS.

I CANNOT BELIEVE HOW TIME HAS FLOWN AND WHAT AN INTERESTING LIFE IT HAS BEEN.

the amazing work. I want to share this energy in the building with you. Take a look at what the students are surrounded by; these are the results of creative imaginations, of possibilities, and dreams of the students in design, fine art and art history. The challenges seep into our psyche and colours our world with possibility. You cannot help but revel in the magic that creative people bring forward. I know that we are hard on our students; after all, measuring creativity is fraught with expectation of brilliance. At the end of the day, I see that there is so much growth and still so much more potential.

Each year when the students are about to graduate, I spend time remembering them as freshmen and how they came to us with the promise of so much. I watched as they worked hard, broke bad habits, found new ways to fill their pockets with knowledge, ideas, and research experiences while forging new pathways for growth in a field where nothing has a formula. I often ask the students whether their degree has changed them and what it was that had the most influence. Of course they tell me that it was their hard work, the challenges that their faculty presented them with, how differently they view the world now and what they will do to support Qatar as the country charges into the future. This is all true but the university environment, along with the halls filled with their good work, created the competitive edge that fueled their big advances. After all, if the work around us is so imaginative, then all of us jump higher to distinguish ourselves.

I invite you to come and experience a day of creativity to know what our students see, do and make.

Being surrounded by the creativity you see everywhere at VCUQatar, one can feel its influence and breathe it in.

THE EXPERT



SYMMETRY RULES As a geometer, Aziza finds harmony in symmetrical elements.

OUR HOME


ANECLECTIC MIX OF BRIC-A-BRACS

BY DEBRINA ALIYAHPHOTOGRAPHY BY KAREN GINES

THE HOME OF MAJID AND AZIZA WASI DRAWS DEEPLY FROM MOTIFS AND PATTERNS, PARTICULARLY OF TRADITIONAL ELEMENTS, AND ARRIVES AT A PERFECT BALANCE OF COLOUR AND DESIGN. IT’S A COMING TOGETHER OF TWO CREATIVE INDIVIDUALS THAT RESULTED IN THIS WARM COZY HOME IN DOHA’S SUBURBS.


Aziza’s a geometer and an artist while Majid is a PR professional with a keen eye for style. Taking advantage of the space’s natural light, the couple set about creating a synergy of clean, modern pieces offset by intricate, traditional elements, whether it’s a cushion cover or a trinket box.

Though the couple shares similar tastes, it was a process of compromise in decorating the home. “I like art for art’s sake, whereas Aziza wants objects to be functional as well or they don’t fit in. We also have a cat or two, so we try not to get too attached to our upholstery,” Majid jests.

In the living room, a golden yellow wall with art forms the main focal point with an Islamic-inspired blue and white theme, and objects reflective of its origins find their places around the room. Ceramic plates from Turkey, framed kitchen tiles from Morocco, cyanotype prints from Andalusia, and some of Majid’s own artistic work form a seemingly random collection, all of which come together in a harmonising colour theme. “We also have a collection of hand-painted ceramic knobs, and literally every single cabinet door of the

OUR HOME

BALANCE AND COLOURBottom: Sun-yellow, mushroom grey, pale cream and deep brown form the main palette. Right: Ikat and embroidery add vibrancy to the space.


MODERN MEETSTRADITIONTradition reflects in the crafts the couple collects yet it is presented in a modern perspective.

“We have a collection of hand-painted ceramic knobs, and every single cabinet

door of the house has a different one.”


house has a different one,” Majid shares. Pieces of furniture have been curated

over time from mass stores in Doha but the real gems are the small carved wooden pieces from India, custom orders from Souq Haraj in Najma, and

a handmade mirror work wall hanging from Kutch in Gujarat. The couple’s first buy for the home was a day bed in dark brown wood with Chinese motifs while a complex 18-point star paper lantern purchased for their wedding décor finally took the limelight when they moved into this flat. “Souq Haraj has been a real treasure trove. Interestingly enough, some of the pieces in the house that get the most compliments are real bargains from the Souq. We have picked up chairs for under QR50 that have added real value to the décor and carried forward

OUR HOME

““Souq Haraj has been a real treasure trove. Interestingly enough, some of the pieces in the house that get the most compliments are real bargains from the Souq.”

BLUE AND WHITEThe wall art adheres to a Islamic-inspired blue and white colour theme.


our design inspiration,” Majid explains. The Souq was also the place where they found a one-of-a-kind ash grey Persian-inspired rug that now forms the main focal point for their work studio space.

Within the space unfolds stories of travels and friendships, with mementoes that have been gifted by friends and loved ones and purchases of significance. “We are both collectors, so the house has a lot of stories,” he says. Hand-painted Romanian eggs in a jar, hand-painted wooden tulips from Amsterdam and a beautiful hand-blown oil jar from Mallorca are some of the curiosities. The couple’s prized possessions, though, are an intricately carved silver jewellery box that was a wedding gift, a handmade Zellig tile from Fès, and Aziza’s works of Islamic geometry paintings that cover the walls.

Though it’s only been a little over half a year since the couple has moved into this flat, the vibrancy of the shades and décor emits an instant homey touch. “Like with all other couples, we have had our share of huffing and puffing when setting up the home but we are glad that it’s all come together very neatly and our sense of design appeals to everyone who visits our home for the first time.”

PERSONAL TOUCHAn eighteen-point star paper lantern bought as part of the couple’s wedding decor finally finds its place in their new home.


THEART OF

THE FOCUS


COL-LECT-ABLES

HOW DOES CYRIL ZAMMIT KEEP HIMSELF INSPIRED AS HE DIRECTS THE FOURTH EDITION OF DESIGN DAYS DUBAI (DDD), THE MOST ANTICIPATED DESIGN FAIR OF THE REGION? HE DOESN’T HAVE TO TRY SO HARD, CONSIDERING THAT THE PRODUCTS THAT ARE BEING SHOWCASED MAKE EVEN THE UNINSPIRED SEE THEIR BEAUTY AND INIMITABILITY.

BYSINDHU NAIR


Cyril’s expertise has helped him stand back and look at the change that Design Days Dubai has been able to bring to the design fraternity in Dubai, with the waves of change hitting the shores of Doha and beyond too. Born in Paris, Cyril started his career in Prague before moving to London and then Switzerland, working on sponsorship for Art Basel and Art Basel Miami Beach.

In 2009, he moved to Abu Dhabi, where he joined the cultural department of Tourism Development & Investment Company (TDIC), and his interest in contemporary design in the Middle East region began to develop.

A few weeks prior to the fair, Cyril shares his excitement as the biggest DDD event gears up for the grand finale. This installment will see an international line-up of 44 exhibitors from 20 countries presenting purchasable works of modern and contemporary design to the Middle East and South Asia’s only collectible design fair.

“This year, we welcome China and Taiwan for the first time to our exhibition. We have a very strong UAE presence with 10 participants and a better regional presence,” shares Cyril. “Mainstream galleries like Gallery Fumi; Broached Commissions, an Australian Gallery coming back to the fair, all these

factors add up to the growing success of the Fair,” says Cyril.

From Qatar, Virginia Commonwealth University of Qatar(VCUQ ) is putting up two stands, one that is an offshoot of the work done by the students from their Masters course, while the other will focus on the learnings and share the success of the university’s design festival Tasmeem 2015.

In 2011, following the success of Art Dubai, a fair dedicated to collectible art in the region, a requirement for a fair focusing on design - the first of its kind in the Middle East and South Asia was established, and thus Design Days Dubai was born.

Before the concept of Design Days Dubai gained popularity, furniture was more about its utility value than a design feature; more functional and less monumental. But with art permeating life and all elements of it, collectible art started to take a functional element, with a value much beyond its practical aspect because of its uniqueness. Product designs took on a new meaning and while they had an everyday utility to it, there were some designs which were meant to be in the hands of those who could afford their exclusivity. An art form that moved beyond the canvas to take an important position in living rooms. And this rage for design pieces started spreading through Dubai as DDD and educated its viewers each year.

“People now understand that we do not bring just any chair with a functionality aspect, but a chair that is unique in every aspect of design,” says Cyril.

“Everyone is curious to know the story behind the creation of the collectibles, there is a buzz created by the designs and the interest continues beyond the exhibition. Most of the time there is a relationship initiated by the customers with the galleries which makes it enticing for the galleries to be present during DDD and garner this interest,” says Cyril.

Being a commercial exhibition, the interest shown does translate into sales for the galleries too, according to Cyril.

The learning curve is how quickly the idea has transformed into a feasible project that translates into a design thinking. “The fair offers design enthusiasts the opportunity not only to

meet international designers, but also acquire collectible designs and enhance collections for private and corporate use,” he says.

Design Days Dubai continues to support the Middle Eastern design industry through exhibiting a record number of 16 design studios, galleries, and design professionals based in the Emirates and wider GCC, according to Cyril. These include the first participation of 1971 (Sharjah), and 19th Century Antiques (Dubai), as well as the launch of Aljoud Lootah Design Studio (Dubai).

Other highlights of the 2015 programme will include a 10th anniversary celebration of Lebanese designer Nada Debs, as well as the regional opening for a new series of vases presented by Wiener Silber Manufactur by Iraqi-British architect Zaha Hadid, who will also have distinct ‘liquid’ table works shown by David Gill Galleries (London).

GID brings you some collectibles and work that will be featured at DDD that will dazzle the design community:

THE YEAR GONE BYOne of the most coveted pieces from

the 2014 version of DDD, Studio Job, Taj Mahal table. Bottom: Vincenzo De Cotiis, ‘Déchaînements’, Grand

Chandelier, polished brass and blown Murano glass from Venini.

THE FOCUS


The Liquid Glacial TableDavid Gill is a pioneering gallerist of 20thCentury and contemporary design. He produced some of the first furniture collections from Zaha Hadid to Mattia Bonetti and was one of the first people to show the work of artist Grayson Perry. David Gill broke new ground in championing the work of designers who have become world famous, from Marc Newson to Tom Dixon and Ron Arad.

The Prototype Liquid Glacial table is dramatically visual - the flat table top appears transformed by the subtle waves

and ripples evident below the surface which seem to pour into an intense vortex that forms the table legs. Like the previous Liquid Glacial tables, this new table is milled and hand polished to create an exquisite finish. The design embeds surface complexity and refraction within a fluid dynamic.

When it was launched in May 2012, the Liquid Glacial collection was acclaimed by collectors and press alike and the table was shortlisted by the Design Museum, London as one of the ‘Best Designs of 2012’.

DAV I D G I L L

AU T H E N T I Q U E A RT & D E S I G N , U A E

This UAE-based gallery represents 12 contemporary French artists who all have their own workshops in France.

The aim of the gallery is to contribute to cultural exchanges between the UAE

and France through the exhibition of exceptional art, and to cultivate an

environment for artists and art lovers alike to serenade future collaboration.

The primary collection presents artists enhancing noble materials:

wood, stone, metal, glass, and clay; all the artwork is unique, or comes from very limited series. The gallery also promotes furniture designs that can

fit tasteful homes, as well as spacious lobbies and high-end rooms found in

hotels here in the region.


Expanding on last year’s design project working with three Emirati designers, this year’s Tashkeel Design Programme engages designers, makers and artisans living and working in the UAE to develop a range of products that work towards defining a design, aesthetic and production process that is innately from the Emirates. Harnessing the cross-cultural range of skills and materials to be found in the region, the programme is based on a long-term experimental process involving an annual rotation of selected participants that will run for nine months in the lead up to Design Days Dubai.

The four selected designers are Rand Abdul Jabbar, Saher Oliver Samman and

Talin Hazbar who will join last year’s participant Latifa Saeed. Working with PAL Labs, the UK’s leading and most established organization for lab-based processes designed to facilitate the creation of new, innovative work by designers and makers, the selected designers will participate in a series of two-day workshops led by established designers and curators over the course of nine months.

Participants will work in a combination of group, pair and individual work, which will involve experimental and collaborative practice, constructive critical feedback as well as investigating new business models, to create limited edition products.

Inspired by two sisters Nisreen and Nermeen Abu-Dail, Naqsh Design House

was founded in 2010 to exhibit unique pieces of furniture, home accessories

inspired by both contemporary and traditional Arabic aesthetics, integrating

the beauty of the rich culture of the region. This year’s collection is the Language of Embroidery, Wihdeh

Collection, where every group of stitches combined together is referred to as

a ‘Unit’, stemming from their strong belief in the spirit of unity they have

created a new Naqsh art line and named it ‘Wihdeh’, not only to shed light on the

beauty of unification but also to bring together the delights of their beautiful

culture.

N AQ S H D E S I G N H O U S E ( A M M A N )

N A K K A S H G A L L E RY ( D U BA I )

TA S H K E E L D E S I G N P R O G R A M M E

Known for providing effortless style and elegance, Nakkash Gallery offers an array of collectible yet affordable limited edition art pieces, a range of

fabrics, furniture, and accessories suitable for all spaces combined

with a variety of styles that adhere to individual taste and cater to those who

appreciate impeccable quality.Founded by noted interior architect, Wajih Nakkash in 1983, Nakkash

Gallery is headquartered in Dubai and services clients throughout the UAE as

well as the GCC.


FA D D I S A R I E D D I N E ( D U BA I )

Fadi Sarieddine Design Studio is a multidisciplinary atelier that was officially founded in 2013 by Lebanese architect Fadi Sarieddine. Primarily focusing on furniture design, each bespoke piece is designed to cater to a personal “want” or a universal need. He brings his rich architectural experience to his furniture by combining form and function, giving life to practical and

charming objects. His pieces come with a sense of discovery, like books with stories yet to be told...

Houdini TableMaterial: MDF/Walnut veneer/paintNow You See Me, Now You Don’tMaterial: MDF/solid Walnut/paint/Steel/Mirror


THEWHIFF

OFSUNSHINE

AND

SEA

IMMERSEIN THE

PLEASURES OF GIUSEPPE SANTONI’S

SUMMER HOME IN

CIVITANOVA LE MARCHE,

ITALY.

BYSINDHU

NAIR

GID GLAMOUR


SIMPLE PLEASURESDesign contributes to

Giuseppe Santoni‘s “quality of life”


When you are steeped in creativity and surrounded by the icons of craftsmanship breathing in the air of heritage-infused grandeur, it is grueling to remain immune to beauty.

If you are involved in the business of fashion where ingenuity is a norm, it is but natural that these values seep into personal spaces.

For some, the journey in fashion and design begins early. As it did for Giuseppe Santoni who was still a child when his father Andrea established the Santoni brand with a vision to refine the cultural heritage of craftsmanship and Italian excellence. And for Giuseppe, design is a main component of the “quality of life”. “Design is not only esthetics; it’s also quality, functionality, and intelligence. When you live in a so-intended design space, you live better and you feel better,” he says.

It is into the personal space of Giuseppe Santoni in Civitanova Le Marche, Italy that we venture to try and find the person behind the creative vibes,

for a home is said to be a personal stamp, the true reflection of the person who lives within the walls.

Giuseppe agrees: “Décor is the way you choose to personalise your spaces, making them an expression of your taste.” A lover of beauty, he is always in the midst of it. “I’m definitely a beauty and quality lover, both in my professional and private life, so I love surrounding myself with beautiful and meaningful objects of intrinsic value and quality.”

The first impression this house exudes is that of soothing calm like a refreshing cool breeze, abetted by the sunshine that permeates each corner of the room.

Washed in shades of blue and white, the space is reminiscent of a seaside resort. And that is exactly what it is, according to Giuseppe. “We use this house as a summer residence, so we wanted the interiors to remind us of seaside colours and atmosphere,” he says. Giuseppe describes his house as a mix of styles and an amalgamation of treasures, not just expensive artefacts but memories included.

“This house is a mix of different styles, unique pieces, design objects and souvenirs from our family travels,” he says. “What I love the most is that everything in this house reminds me of my childhood, as we used to spend our summer period here on this coast, enjoying the sea and the freshness and

SCULPTURE ARTTop: One of the main design elements of the house is the use of paintings on wall and sculputred art forms; the headboard of the bed shown above; Below: library-sculpture designed and realised by RM57, is a unique piece; Right: Coupled armchairs designed by Giò Ponti (1950s), Fabio Zonta’s photopgraph, gass collection, limited edition, coupled vintage lamps, 1940s, bought in Paris.

GID GLAMOUR


COLOUR CLASH A corner of the

living room shows the coming together

of various features that form

a curious mix; armchair designed

by Tord Boontje for Moroso, glass vases

from the ‘60s , Paola Navone carpet


the breeziness of summer life.”While the house is an echo of earlier

memorable moments, it is also where Giuseppe comes back to rejuvenate, to immerse himself in some quality family time before he jets off to another location in his quest to broaden the horizons of the brand. He has successfully opened new markets such as Japan, China, Northern Europe and Russia for what was destined to become one of the top names in Italian luxury products.

He says, “Despite being defined a globetrotter as I travel most of the year, I’m very close to the territory where I was born and where the company HQ and factories are: the Marche region, in the heart of Italy, this amazing place with hills, countryside, small historical towns, and of course the sea. The Santoni company is still based here. I love that this house is close to my office ( just 15 minutes).”

And for this globetrotter, it is the simple things that matter most. “My family lives here from June to September,

so after a long and hard day of work I can relax with my wife and children, have a quick dip before sunset, have dinner on the front-sea veranda. Very simple things, but so precious for me especially when I come back from a long trip abroad,” he says.

While artefacts add drama in this minimalistic décor, the wall effects are interesting additions in an otherwise simple surrounding. “The entire wall decoration is the result of the creative work of RM57 Studio, two architects and artists, who are also very close friends of mine. They wanted to make every corner unique by decorating wall and paintings by hand. They have also sculpted some decorative objects, as they know very well my passion for unique pieces,” says Giuseppe.

The sculptures on the walls, the blue paintings close to the fireplace, and effects on the walls are all illustrations of this collaboration.

While the house is a seamless space that breathes life and a unified theme of

celebration, Giuseppe has his favourite spot in his house, the living room. “We

welcome so many friends there,” he says. “After a day on the beach we relax at home with our close friends, have a drink on the veranda and a typical Mediterranean dinner, home prepared of course. This is quality too!”

After all, it is the moments spent with family that

matters most. Even for the successful creator of a brand that is expanding globally.

“What I love the most is that everything in this house reminds me of my childhood, as we used to spend our summer period here on this coast.”

A HOUSE BECOMES A HOME Left: The outer area of the house; Far left: the wall art complements the decor; Below: Meduse painting by RM57, french ancient table (1800)and chairs designed by Gio Ponti, for MascagniI, 1954, vintage Italian sculptures in porcelain over the consolle from the ‘40s.

GID GLAMOUR


BLUE WASHEDThe living room is Giuseppe’s

favourite area; “Arco” floor lamp designed by Achille Castiglioni for Flos, armchair and sofa by

Flexform, patchwork carpets by Sartori, “Ammoniti” painting over

the consolle, wall painting on turquoise nuances, big wall closet

decorated by hand, all by RM57. .


Artist and long-term resident of Doha, Jacinthe Lamontagne-Lecomte talks about the building she loves the most.

Since the first day of construction in 2012 till today, I never tire of looking at Doha Towers by Ateliers Jean Nouvel.

The rounded shape is quite unique for a building. The typical islamic-style architecture, the oriental moucharabieh changes from one side to the other depending on the sunshine.

The tower is also covered with a lozenge structure. Each time I drive on the Corniche at night, Doha Tower surprises me with its light effects. Sometimes it is orange, sometimes it is blue. One things is for sure though; that tower stands out from the rest around it. It is an

unusual masterpiece. Seemingly soft and delicate but with a strong personality. On the same level, I love the Museum of Islamic Art. The purity of its lines. The intensity

of colour on the walls that can take on various hues during different times of the day … You never get enough of admiring that feat of ingenuity.

SUN AND

STEEL

PURE LINESJacinthe Lamontagne-Lecomte admires two iconic structures of Qatar.

THE SPACE

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