Arabian Equestrian Heritage Meets Contemporary Craft

The Arab world’s Islamic concept of Furusiyya is a medieval ethical code and discipline of knighthood developed during the Medieval period and deeply rooted in equestrian philosophy. The term is derived from the Arabic word faras, meaning “horse,” and also encompasses martial arts and ethical conduct for the mounted warrior or knight, known in Arabic as faris. It is a concept that Lebanese Milan-based design duo David/Nicolas have thoroughly researched to design two spaces for ADREA, Abu Dhabi Royal Equestrian Arts in Abu Dhabi, marking the world’s fifth school of classical horsemanship and the first to be based outside of Europe. ADREA, which opened its doors in November 2025, represents an authentic Emirati interpretation of Furusiyya uniting heritage, discipline and artistry. At its core ADREA is a hub for equestrian performances, the preservation of knowledge, and immersive learning experiences embodying the harmony between horse and rider. “For ADREA, we wanted architecture to speak through material, rhythm and proportion,” said David Raffoul and Nicolas Moussallem. “Drawing from Emirati equestrian traditions, we designed spaces that feel rooted in heritage yet contemporary, where craft, movement and the bond between horse and rider quietly shape the experience.” 

David/Nicolas designed two key spaces for ADREA, the Equestrian Library and the Saddle Workshop. The designers emphasise how the creation of both spaces went beyond just the physical design process but encompasses a need to articulate a wider cultural narrative through materials and craftsmanship that reflected ADREA’s contemporary vision, grounded in the preservation of equestrian arts. The intention, the designers emphasise, was to create environments that feel intimately connected to tradition through an emphasis on materiality, texture and proportion to project ADREA’s narrative. The two meticulously proportioned spaces that are anchored in Abu Dhabi’s identity and draw from regional Arabian craftsmanship, the world of stables and the rituals of horsemanship. 

In the Library, the emphasis is placed on curved steel bookshelves that offer a continuous rhythm, reflecting the movement and posture of a horse. In the centre of the space is a solid, hand-carved wooden volume, created in Lebanon. The space offers a rich contrast between the central anchor and the undulating shape of the surrounding bookshelves as well as the idea, explain the designers, of relishing in a quiet, contemplative moment to entering a space that is collectively shared. 

Along the outer walls of the Saddle Room, visitors will immediately see wooden hooks displaying saddles in the process of being made, until they enter the central space. Here, a wood-panelled room with numerous grids of holes used for interchangeable pegs to display tools, leather straps and brass hardware can be found. A few workshop tables, featuring intricate marquetry incorporating geometric forms reflective of Emirati architecture, occupy the room with chairs offering space for focused production. The Saddle Room features the physicality of the craftsmanship through the hung leather, brass and utilitarian tools, in a structure that is elevated through its refined design. The two spaces highlight materiality and proportion. Both rooms highlight wood as a key material, while emphasising local craftsmanship and equestrian heritage, forging a grounded experience bridging the past with the present.

Photography: Žiga Mihelčič and David Raffoul