From bold colours, timeless aesthetics, and immersive experiences, within this exclusive report, we delve into their forecasts for luxury design, encompassing a shift towards bolder colours, personalisation, experimentation and a seamless fusion of technology and artistry. 

Rakan Jandali, design principal and creative director at KCA International:
“The most significant shift is that we’re moving away from exclusively creating safe designs, which predominantly focus on tonality and monochromatic interiors. So, no more reliance on just beige and gray tones. Now, we are encouraged to experiment more with colors and textures, introducing a layering effect in our interiors. This allows for specific elements, such as a cushion or a feature wall, to become a part of your DNA for the entire hotel design.

When discussing hospitality, and similarly for residential projects, clients are now seeking more bold colors, bold interiors, and experimental designs, moving away from the previously safe designs. This is the direction we’re heading in. Most hotels and operators aim to maintain their brand and the iconic look and feel of the brand.

However, with our creativity as designers, we can always enhance this experience and look by incorporating our own design languages and DNA.

Indeed, we will be moving away from minimalist, safe designs toward more intricate layering and additional details. We will see an increase in the use of metal inlays, diverse textures, and timber inlays in our ceiling and wall designs.”

Firas Alsahin, co-founder and design director of 4SPACE Design:
“I believe we are transitioning towards a concept of quiet luxury, characterised by timeless interiors. We’re likely to witness an increase in silver accents, moving away from goldish surfaces. Decorative surfaces will remain prevalent, perhaps with a focus on sculptural furniture pieces, and we will definitely see vintage elements being incorporated into interiors. Imagine integrating vintage lighting from the Italian and French eras of the 1950s into a beautiful, timeless space, possibly featuring marble surfaces and marble furniture pieces, adding a sculptural element to the interiors.

So, it seems we are still favoring warmth, natural hues, and materials and these elements are expected to be prominent in the forecast for luxury interiors.”

Julijana Mitic, design director at Gensler Middle East:
“I would say hospitality is definitely going to focus heavily on experience. Therefore, all materials that contribute to this experience, whether through touch and feel, play a significant role. Trendy colors may come and go, but I believe the involvement of local artists and heritage can provide a unique identity to a place, based on its location and context. This approach could significantly enhance the experience for people. Involving local artists and materials, which also ties into sustainability especially after COP 28, will be crucial. 

Other trends will obviously include AI, incorporating everything from social media to creating ‘Instagrammable’ moments. This isn’t new, but anything that contributes to this, be it materials, sculptures, or installations, will remain relevant for some time. AI’s role extends beyond operational aspects in hotels to utilizing data for personalized experiences and solving robust problems.

The driving force behind hospitality will be the overall experience, whether it’s geared towards health, visual appeal, or emotional well-being. This, I believe, will be the main driver.”

Kristina Zanic, founder of Kristina Zanic Consultants:
“I’d like to see a much more eclectic design approach, one that is bold and dynamic. I believe that’s the direction in which design is heading. People are becoming more daring, so I’m hopeful that we will start to move away from overly calm interiors.

For me, luxury is fundamentally about space, not necessarily the colors or materials used. It’s about how we utilise that space. That’s what luxury means to me.”

Carla Conte, founder and creative director of  Brand Creative:
“I think the last two years have seen a lot of the quiet luxury kind of experience, with soft tones, tone-on-tone, the neutrals, and the beiges. We’ve definitely worked on a lot of them ourselves. But I do think that 2024 will be a celebration of richer tones in terms of colors and textures. I think people are going to be a bit more bold and dynamic with layering. Certainly, we love to do that in our own studio, with color and different textures, working with fabrics and wall coverings to create a layered effect.

And I do think some of the best designers know how to layer, with lots of different elements. It’s just like developing a story. We all talk about narrative and building a narrative. It’s the same with space. There’s always a canvas of some sort, but from there, you build on it.

And I believe the richer tones, especially when it comes to accessories and art, will see a unique approach. Instead of calling it a trend, a more authentic approach to art and accessories will be taken, where things will be much more personalized and may touch on history and things like that.”

Riham Farajy,  senior project designer at David Tkint studio:
“As a design studio specialising in luxury design and lifestyle projects, we are deeply interested in storytelling or crafting narratives through our work.

For luxury design, it’s primarily about the experience itself. I believe guests now seek to immerse themselves fully in that experience. The more impressive the experience, the better guests feel about the design, particularly when discussing luxury.

It also encompasses comfort, the overall ambience, and the sense of relaxation, which can vary from one guest to another based on their background or what they are seeking. Regarding colours, neutral and muted tones have been prevalent in previous years.

However, I feel that natural colours are still present but now in a bolder form, such as earth tones with more vibrancy, like terracotta and deep green, mixed with some muted metals. This represents the evolving luxury trend in colour schemes.”

Susana Aldrabinha, interior designer at DLR Group:
“So, I feel like we’re at a point where what is termed ‘quiet luxury’ prevails, yet we’re incorporating a lot of technology into our projects in a manner that allows us to blend the culture of the space seamlessly, achieving a very understated tone, not overtly bold with the colours we use. However, we do employ accent colours, predominantly in hospitality, which is very much about creating tranquil spaces. These spaces merge with the local culture, allowing us to insert numerous small details and utilise what technology offers us today, thereby reinventing our approach to design daily.

For this year, regarding pops of colour, we’re likely to see shades of jewel yellows and even the new Pantone colour, which leans towards salmon, introducing warm colours into a neutral palette.”

Mehmet Aktash, managing director at Bishop Design:
“I think a lot of what’s happening in this community, in the design world at the moment, is we’re seeing a lot of collaborations. And I think what’s shifted is that we’ve seen luxury, obviously luxury products, luxury brands in the industry, in the market for a long time.

And now we’re seeing them wanting to create their own environments and really bring their touch of luxury into a lifestyle, into an environment. So, we see more collaborations, and I think even today is a great example of collaborations and the people that are involved today. And that’s what is driving, I guess, a lot of the projects that we’re certainly involved with and even independently. We are now seeing branded residences in isolation, without the hotel attachments to these spaces.

So that’s what I think is probably the biggest trend that we’ve seen in terms of the diversity of projects and the projects that we have on board.”

Dina Murali, design director at DZ Design:
I can see an emergence of traditionalism, coupled with a fearlessness in using color. Moreover, luxury spaces are no longer just designed but also decorated. There’s a re-emergence of antique pieces in very contemporary spaces and great detailing, such as gypsum on the ceiling. However, it still incorporates contemporary features, indicating a mix of design trends, which is emerging and pleasant to observe. I see a lot of jewel colors coming through; I’ve been dabbling in a lot of amber and ruby. Another trend I find really interesting for 2024 is the predominant mixing of metals. Here, and in the gorgeous Atlantis piece we added, there’s a blend of stainless steel, chrome, and a mix of bronze, brass, and copper. I would really welcome moving away from everything being tone-on-tone and matchy-matchy, if you will.

I feel luxury has always been present, but now there’s a significant emergence of expressing oneself and letting personality shine through in spaces. Personal touches to any space are now embraced without hesitation.”

Monica Twaroski, design director at EMA Studios:
“I’d say there’s obviously a push for sustainability, but I think what’s important is the honesty in sustainability, not just using it as a slogan, but actually executing on it. This includes where the materials are coming from and how they are being produced. Taking it a step further involves maintaining the purity of craftsmanship within those materials and reverting to basics for the longevity of materials.

Because quite often, I’m not necessarily fond of the word “trend” because it implies something temporary that will come and go. But I think adopting a holistic approach is what’s needed, aiming for what could be called the ‘slogan of the day.’ I found ‘classic craftsmanship’ quite fitting. It embodies the honesty of the material and the work, including when it’s produced locally.

I think there’s more layering now. You have the simplicity of materials, and this simplicity is what gives them longevity because it’s timeless. However, layering them with textiles or wall coverings offers a classical look as well, but brought in a modern way that’s refined and not over-cluttered, yet refreshing.”

Melani Sabhaney, founder and partner at Interspace:
“In 2024, things appear quite peaceful. The trends and colors emerging in both hospitality and residential sectors are soft, more natural, and textured.

I observe a significant demand for colors like sage and stone—soft hues, but interior design often tends to follow fashion to some extent. Thus, there are always strong pops of red or other elements trending in fashion that gradually seep into interiors and hospitality. That seems to be the current trend.

Luxury, to me, is conveyed through feeling. It’s always about how you feel in a space. A simple place can exude luxury, and that’s down to the colors and textures introduced into that environment. It’s not really about the bling. It’s about how one feels in the space. That’s what luxury represents to me.”

Lara Francis El Hani, senior design manager at Kling Consult:
“People are becoming more perceptive about luxury. They visit places and return with newfound knowledge. However, a new trend is emerging where more natural finishes are making a comeback. We’re seeing an increase in textures, subtle colors, and even a bit of ethnic or beachy colors, such as sandy tones. Warm tones are returning, contrasting with some vivid colors typically not associated with luxury.

Luxury embodies timelessness and elegance, along with value in the finishes. There’s a resurgence of colors. The color of the year has been trendy since last year, so its continued popularity isn’t surprising. Nowadays, it’s not just about the main color of the year but the entire palette that accompanies it. These tones provide contrast and complement each other, contributing to the overall atmosphere, infused with feelings and emotions.”

Monica Arango,  founder of Cestici Design:
“I believe that this year we’re truly craving for personality, an original vintage look that weaves the past and future together.

I’m not keen on using the word ‘trends,’ but it’s evident that design is gravitating towards craving for personality, embracing uniqueness, and not shying away from mixing colors and patterns. In terms of the color palette, we’re advancing towards a preference for chocolate tones, rich browns, high-end use of walnut, and the profound depths of dark woods. Regarding color trends, which I’m not fond of, it’s clear we’re revisiting that French look and feel, reminiscent of vintage aesthetics.

Overall, I believe 2024 will be about discovering your own personality, not just discussing styles, but truly creating a harmonious composition.”

Giulia Quaglia, senior associate at XBD Collective:
“My color for 2024 will be green in all shades. I believe we will see an increase in colors, patterns, and textures, definitely. It seems we are transitioning from the beige era to something a bit more playful and engaging.

I wouldn’t label it as maximalism, but rather a gradual shift in that direction, which undoubtedly makes our work much more enjoyable.

For me, luxury embodies timeless comfort. It’s about creating an environment that feels like home, particularly since I focus on residential projects, yet also places you in a distinctive and intriguing space.

It’s a comprehensive experience of colors, textures, and uniqueness. This is what luxury represents to me.”

Tanya Ivin Karam, founder of Interior Takeover:
“For 2024, in luxury interiors, I anticipate a significant trend towards more natural materials. This includes a shift towards earthy tones and raw textures. Personally, I’m observing a slight decline in the popularity of large slabs of tile and porcelain tile.

I’m increasingly drawn to the authenticity of real marble and stone, appreciating their depth and texture. This preference extends to wall coverings as well.

In 2023 and 2022, we witnessed a dominance of whites, off-whites, and very light tones.

For 2024, I foresee colors becoming stronger and darker while maintaining a very natural feel. My personal favorite color for 2024 is akin to burnt caramel. It leans towards brown but incorporates a hint of slightly rusty orange. This color is incredibly warm, cozy, and adds an elevated touch to any space.”

Aleena Waqas, founder of AW Interiors:
“So, what’s really capturing the luxury interiors currently are the rich, dark tones such as charcoals, blacks, along with deep, moody emerald purples and navy. These colors are defining the aesthetic of this year, offering a deeply intimate vibe that invites individuals to immerse themselves in a space that feels both personal and expansive. This palette allows for sophisticated interplays of lighting and textures, creating environments that are enveloping, dark, and incredibly moody.

Moreover, a significant trend I’m observing is the integration of digital art into interior spaces. This movement towards incorporating digital art, along with innovative lighting effects, is setting a modern and urban tone. It’s not just about the aesthetic appeal but also about creating dynamic spaces that reflect contemporary life, blending art and technology in ways that are cutting-edge, trendy, and uniquely expressive.”

Alexandra Mojse, founder of MOY design studio:
“There’s still a notable preference for neutrals among our clients. This choice resonates with them as it brings a sense of calm and peace to their living spaces, resembling the tranquil ambiance of a spa. Interiors are often accentuated with elements like stone, marble, and an abundance of wood. The incorporation of wood contributes to the concept of biophilic design, blurring the lines between the outdoors and indoors, a feature that modern clients are increasingly seeking. 

Additionally, the Pantone Colour of The Year – Peach Fuzz is making its presence felt. It remains to be seen how clients will respond to this particular shade, but I believe it has the potential to enhance the natural look and feel of spaces, infusing them with vibrancy. Accents, including items like wallpaper and cushions, play a significant role. These elements provide the flexibility to adapt the space over time, which is important as some colors may fall out of favour.”

Bethany Lockhart, interior designer at Ele interior:
“The trend that I foresee for 2024 is continuation form last year and is centered around a sense of quiet luxury. This approach places a strong emphasis on heavy textiles, wallpaper, and a neutral, minimal base. The idea is to accentuate and elevate the luxury factor by incorporating statement furniture pieces and modules.

In the realm of residential design, this trend remains prominent. People are keen to achieve a hotel-like ambiance that exudes timelessness. Furniture pieces are selected with versatility in mind, allowing for easy interchangeability.

Furthermore, there’s a notable focus on incorporating exotic marble pieces, whether in walk-in spaces or as striking additions to coffee tables, creating statement pieces that elevate the overall aesthetic.”

Mariam Abouelfotouh, founder of Interior Flavor:
“I believe that the overall interior trends for 2024 will emphasise a sense of quiet luxury, prioritising quality over quantity. This approach extends to the quality of materials and fabrics used, as well as the colour palette. Personally, I’m inclined towards warmer reds and browns, which are making a comeback and are expected to trend in 2024.

To me, luxury in food is defined by the use of high-quality materials. It doesn’t necessitate an abundance of materials in a single space; rather, it involves skillfully layering a few select materials together. When all of these materials are of the highest quality, they collectively create a luxurious effect. For me, the colour that encapsulates this sentiment is brown.”

Sara Khamis, founder of Sara Khamis Design:
“When it comes to colours, my personal favorite is blue, a hue that I consistently incorporate into my projects. Interestingly, I’ve noticed it trending again in 2024.

As for colors, I’m particularly drawn to the postmodern style, both in interior design and in the realm of textures and fabrics. I have a penchant for layering, using wallpaper and fabrics extensively throughout my designs.

In 2024, it’s all about the interplay of tones and textures. Stones are making a prominent appearance everywhere, from cladding to floors to fireplaces. It appears that stone is the standout star of the year.”

We asked these experts to offer insights into the emerging trends in high-end interiors in 2024.

The post Exploring the luxurious future of interior design in 2024 appeared first on identity.

His latest floor lamp, Shard (2022), features a series of clear-cut, shard-like bulbs that appear to be dispersed at the tip of a stainless steel arc. The ensuing light and shade distribution recalls organic forms, like the entrance to a cave or the silhouette of a crystal. For this, Gammas explains that he was inspired by the sculptor Alexander Calder’s floor mobiles, and by mineralogy. “The bundle of light comes from a term known as prismatic crystalline growth, where light comes from a centre and looks like a quartz,” he describes.  

Gammas began designing lighting objects in 2017 while working as an architectural consultant in Dubai. He was overseeing the design for a private home and looking for ways to integrate a centrepiece chandelier within the dining room’s lighting design. His first piece, the Fin chandelier (2017), developed from this project. “I took the structure of a modern, mid-century chandelier [and] redesigned the shades to create a rhythmic and repetitive radial effect.” 

Gammas was born in Illinois, which is home to one of his favourite buildings: Frank Lloyd Wright’s ‘Falling Water’ house in Chicago. “It was such a departure from how homes in Chicago are [typically] situated. Usually, it’s on a plain or a development, but here it’s above a waterfall in nature,” he says. “I guess I like the horizontality that comes with Frank Lloyd Wright, and the flat plains of Illinois.”  

His favourite artist, he adds, is sculptor Donald Judd, who was known for his minimalist, geometric approach. Such influences are present in Gammas’ series Wind (2018), which echoes the wind towers found in traditional Emirati architecture. Gammas re-imagines these vernacular structures as vertical rectangles made of blackened brass, with small specks of light protruding from the top and bottom ends. 

Today, Gammas splits his time between the USA, where he lives, and the UAE, where he works and produces his collections. His work has now evolved with a focus on more organic inspirations. “I want to explore the symbiosis between geometric and organic forms,” he says. One of his most recent pieces, Wall of Light (2021), is a hand-shaped gypsum panel which echoes the surface of the moon or a crater. It is marked with a series of straight, jet-black brass light fittings. “The design doesn’t rely on noble materials – it’s pure gypsum,” he explains.  

For the initial iterations, Gammas worked with Boston-based sculptor Evan Morse. “He made the prototypes, looking at the topography and types of gypsum, finishes and texture. Once we settled on one, he made a larger panel,” Gammas says. However, the Shard floor lamp was made by the designer himself. 

Since the pandemic, he has partnered with a team of Indian craftsmen who run a metal workshop in Dubai. The setup, he explains, is unusual for the city. “Dubai is all large scale, it’s all big factories. Nobody is going there to open a clay studio as an artisan. It’s not like Barcelona, or Beirut, or Brooklyn,” he says.  

He hopes this collaboration will give him more room to develop his ideas. “I was able to work closely with the makers, and I could get re-designs without any fuss. It allowed more freedom to put thoughts to paper and [move] from paper to prototyping.” 

The post Designer Nader Gammas hopes to turn lighting into a narrative performance appeared first on identity.

Originally used to train warriors in ancient Persia, this traditional system of athletics and form of martial arts became the starting point for Yazdjerdi’s first furniture series.  

“As a young child I learned the meaning of a Pahlevoon [‘hero’] through [my grandfather’s] love for life and everyone around him,” Yazdjerdi continues. “There is a lot about Iranian culture and its value system that’s distilled and captured in Varzesh-e-Pahlevani.” 

Staying true to what each shape represents while reflecting on how to interpret a deeper essence of Pahlevani was at the heart of Yazdjerdi’s project. Among one of these examples is the sculptural ‘Kabbadeh-chin’, which is inspired by the equipment that was used to prepare warriors’ arms, shoulders and back [in order] to handle the bow and arrow. “My interpretation of it as a large, heavy vase is meant to honour the gentleness that I believe coexists with strength,” says Yazdjerdi.  

In addition to this piece, the collection – which explores ethical principles, athletic rituals and ancient Persian beliefs related to the sport – also comprises the Sang-ru mirror, which is a reinterpretation of the shield and invites the user to omit their self and ego in favour of their surroundings; the Mil-gah seat that symbolises modesty, comfort and protection; and the Mil-stone bench that refers to the foundational spirit within the Iranian community.  

While raised in Iran, Yazdjerdi has lived in Colorado, Rhode Island, Bangkok, New York and California. At just 31 years old, the young designer posseses a creative maturity that makes all she conceives fascinating. At the heart of Yazdjerdi’s interests are the human experience, the celebration of her heritage and the re-imagination of her personal narrative. Reflecting a sense of nostalgia in a modern context, this collection – which is essentially an ode to tradition through contemporary eyes – embodies all of that.  

“Pahlevooni is a beautiful part of Iranian culture but, historically, its participation has been reserved and limited to men,” Yazdjerdi explains. “Through design, I wanted to define new functions and interpretations that would transport its meaning from an ancient performance stage into the home, and specifically through my lens as an Iranian woman. With this collection, I aim to equalise the role of Iranian men and women as heroes – particularly now as we witness so many female Pahlevoons shining in Iran.”

Photography by Nopanoni Itthiakarpong 

The post Saba Yazdjerdi explores an ancient Persian martial art in her first furniture design series appeared first on identity.

What inspired you to start soft-geometry?

Utharaa Zacharias (UZ): Each other. Our working relationship, that was centred around design and later friendship, was the foundation for our experiments. We tried to understand what made our collaboration work, who we are together and what we wanted to be doing. The dialogue and process was always interesting, and soft-geometry was born as a medium for this continued exploration between us as partners – a medium [that’s] reflective of our intricate, unique quirks and evolving philosophies.

How would you describe the pieces you create?

UZ: Everything we design is expressive of us and ‘soft’ is how we would describe us – our personalities – if that makes sense. As an extension of that, ‘soft’ is what we aspire to in our products, our work, and everything we touch. We think of ‘softness’ as slowness, intimacy, humour, humility, kindness and a quiet sort of courage and strength to be different and true, even if it is sometimes awkward or strange. It may be hard to view all of this in objects, but the hope is that you still feel it, a softness within geometries, hence the name.

How does the context of India influence your design language?

Palaash Chaudhary (PC): Growing up in India, craft and craftsmanship were all around us. Some of the most utilitarian objects in an Indian home are hand-made – step stools in bamboo with a distinct colour pattern, block-printed bedding, hammered brass lottas, hand-carved wood boxes, handloom cotton clothes and endless terracotta pottery. Granted, they barely ever matched, didn’t belong to a style or palette, and were not ever modular or stackable or ‘easy to clean’, but they worked – they were beautiful and they carried stories.

We try to carry that idea forward in our work: objects that reflect the process, materials, craft, story and ideas behind them. In other words, our Indian heritage makes us strive for objects that are more than just objects; objects that are poetic.

How did you begin working with craftspeople in India?

UZ: When we started soft-geometry we knew we wanted to slowly learn of our favourite Indian crafts [and] their context and history, practice their skills and techniques and fully understand and appreciate them, if and before we interpret them in our own work.

One of the first crafts we learnt and now hand-make by ourselves is the hand-woven cane side table, using the six-step tie technique abundant in India. We learnt first-hand from women artisans who practice weaving cane baskets, stools, chairs and the like at extraordinary speeds, every day, in clusters in Kerala. To commit to doing the cane tops for our tables in-house and by ourselves is something we take immense pride in, as it reinforces the importance of carrying this knowledge forward in modern design, which has a lot to learn from craft.

Tell us about some of your key pieces.

PC: The Donut Coffee Table was really special to work on. The project was centred around a sustainable use for wood waste. It was challenging, collaborative and quite tricky to solve – all of which made an exciting brief!

It started when an export furniture factory from India reached out to us regarding their solid wood cut-offs. Primarily supplying furniture to American retailers, they have to follow a stringent selection process for wood boards. Any board that carries knots or unusual grain patterns has to be rejected. This process of elimination accumulates vast quantities of wood cut-offs that are now waste. Both of us, like many Indians, grew up within strict instructions to never waste anything – not a grain of rice nor the last inch of a pencil. We can still hear our parents’ voices saying exactly those things and that became the context for the brief.

We worked closely with the factory on studying and categorising all of the different sizes of wood cut-offs. What was both beautiful and challenging was that there was little uniformity between them. We decided the piece needed to be sculptural, something that can take on these different sizes and celebrate them instead of discarding their ‘flaws’, and thus we arrived at the ‘Donut’.

The seemingly simple form of the ‘Donut’ and its circular cross-section allowed us to design a system of arranging the wood boards that made all these weird sizes come together, and then  could be carved on a CNC machine. The process of arranging the boards is on a grid format but the final form is rounded (we cannot pre-guess the wood grain), so we are only able to see the grain after the piece comes out of the CNC – which makes every piece unique and allows little room for waste. Any piece that came off the carving can again be used in the next ‘Donut’. It was very satisfying to arrive at an object that is so beautiful and very ‘us’, using waste material.

What are some changes that you would like to see within the furniture industry?

UZ: We exist in the tiny fringe of ‘collectible’ design within the larger furniture industry. Within the bubble of that space, one of the more encouraging things we have seen is a small start to being more inclusive of aesthetics that are different from just Euro-centric modern design. It’s getting more expressive, louder, more fun and there are more diverse voices. It’s long overdue and we hope that continues.

What we’d love to see change in the larger furniture industry is mass retailers and the like to start crediting small design practices for the ideas that they quite shamelessly rip off year after year, and pump into the market. Why is it okay for mass-market retailers to visit design weeks every year, see original designs from small studios, take photographs of details and send it to their suppliers to recreate? There is an argument to be made for high-end design trickling into the mass market; however, larger companies have the clout and resources to either collaborate with the small studio/designer or at the very least credit them when they use their work as ‘inspiration’.

What’s in the pipeline for soft-geometry?

PC: Last year, somehow, even with the chaos of the lockdowns, we made an exciting foray into a new material, texture and story with the Elio lamps. We’ll be thinking of exploring the depth of that idea more and expanding the series. We also have little ‘minion’ projects at the experimental stage right now: some glass, some inlay crafts, some castings and so on. Usually, as we work through them, the fog clears and there are one or two that emerge as compelling and we steer that way. It’s still too early to tell!

Read more: Rana Begum shares her journey as an artist and gaining confidence in her craft

The post Design duo soft-geometry are reinterpreting traditional Indian craft through the lens of ‘softness’ appeared first on identity.

Carlo Massoud, Cities

Produced in Beirut, Lebanon
Marble (Carrara, rouge de France, Guatemala, Mero Marquina)
2018

Cities presents modern-day relics that trigger memories and associations of structures from across the globe. Created using different types of marble, each object can be decoded to reveal the likes of Casa Malaparte in Capri, The Louvre in Abu Dhabi or the Guggenheim Museum in New York. Each piece has been made by hand using tools such as a saw, a lathe and a carver. Each object begins as a cube and is later carved like a sculpture into its completed form and finally polished using sandpaper.

Kawther Alsaffar, Dual Bowls

Produced in Kuwait
Copper, brass, zinc, aluminium
2016-present

The Dual Bowls have been created as affordable art pieces as well as functional objects fabricated with unique sand-casting methods developed with Alwafi Foundry in Kuwait, celebrating a community of craftsmen and designers while giving power back to those who deserve it the most. The sand-casting moulds in Alwafi Foundry use sand from the neighbouring Nile River, requiring only the addition of water. While this method of using sand for casting was originally employed by craftsmen to save on cost, its natural utility makes it sustainable and easy to recycle. It also reveals the beauty of the casting process, and of the raw imperfections that are usually masked and removed in more modern casting methods. The act of pouring multiple metals into these moulds pushes the limits of the casting techniques and allows the Dual Bowls to be easily produced in a variety of metals and finishes.

T Sakhi, Zamãn, Sculpting Time

Photo by Tarek Haddad

Produced in Cairo, Egypt
Indian Green, Red Travertine, Galala, Nero Marquina, brass, suede
2018

Zamãn, Sculpting Time by Lebanese duo T Sakhi was crafted in the Egyptian quarries of Marmonil Group in Cairo. The watch stand has been directly hand-carved into the mineral by Egyptian craftsmen to create a negative space for storage and display. The making of the collection is inspired by Skara Brae, where humans used to carve into the rock for shelter and to store their belongings. Similar to the discovery of precious gemstones while carving into rock, the collectable work of mechanical art – the watch – becomes a timeless and contemplative artefact. The brass holders were produced in Lebanon to emphasise the strong duality of both cultures and expertise in craftsmanship.

Nada Debs and Salim Azzam, Patterns in Nature

Produced in Beirut, Lebanon
Walnut wood, olive wood, French oak
2019

Patterns in Nature follows Nada Debs’ exploration of new craft techniques: this time in collaboration with fashion designer Salim Azzam. Both brands cultivate ecological and ornithological awareness, using nature as the ultimate source of inspiration to create this handcrafted furniture collection that marries flora and fauna in a show of poetic synergy of birds, botany and narratives about nature.

The collection uses a craft technique called Contour Inlay, contouring the traditional marquetry technique with tin inlay. The sharp contours of the different marquetry veneers offers the illusion of a hand-drawn illustration.

bahraini—danish, Atlas Stools

Produced in Bahrain
Teak wood
2017-present

The Atlas Stool series consists of fourteen stools, seven of which are individual. When spread out on the floor, they appear to be dancing as a result of their different appearances and positions. The stools are made from teak wood, which has long been used for boat making in Bahrain, and due to its stability and strength. The wood was cut in an industrial CNC milling workshop in Salmabad, Bahrain to make the stool, and later finished by artisans in a carpentry and boat-making workshop in Muharraq, Bahrain.

Rula Yaghmour, Kutleh, design series_02, vases

Produced in Jordan
Stone and marble
2019/2018

Kutleh (meaning ‘block’ or ‘mass’ in Arabic) is a project that repurposes the surplus produced from cladding tiles used in everyday construction projects in an attempt to create blocks out of the discarded material. The curvilinear forms of this collection bend and twist, revealing the underlying beauty and the concealed layers of stone and marble. Architect Rula Yaghmour’s appreciation and understanding of materiality has ushered in a fruitful collaboration with stone and marble fabricators A.W. Yasin & Sons Co; a family business who have been in the stone and marble industry since the early 1960s. Kutleh marries technology and craftsmanship, forming new masses from offcuts of old slabs and tiles.

Tarek Elkassouf, Flame, Contained

Produced in Lebanon
Carrara marble, basal, copper leafing
2020

Flame, Contained offers a series of ashtrays, candle holders, a censor burner and a ritual tray – all of which embody the idea of life as fire, offering objects that contain the flame while giving it new life and vitality. Tarek Elkassouf invites us to question our relationship with the powerful force of nature that burns both externally and internally. The collection is also an echo of the fires that raged across the Australian landscape earlier this year, where the designer was based. In Flame, Contained, fire meets ice in a paradox of materials that are designed to fuse and blend from one collectible work to the next, where lava stone, born from volcanic heat and pressure, is soothed by the cooling touch of Carrara marble.

Faissal El-Malak

Spool; A dancer, a leaf and a spool of thread
Produced in Dubai, United Arab Emirates
Glazed ceramic
2019

Inspired by a playful approach to Palestinian motifs and the functional aspect of Palestinian embroidery, Faissal El-Malak’s collection observes its narrative, decorative and talismanic properties while exploring the structural qualities of patching together various components. Spool is born out of an exploration of new materials, handcrafted in clay by Xeina Malki. If you look closely at these pieces, the final shape is what exists in the negative space outside the motif. This negative space is, in itself, inspired by historical vessels from archaeological sites around the Levant.

Aljoud Lootah , Mudeem collection

Produced in Dubai, United Arab Emirates
Camel leather, metal, suede
2019

The Mudeem collection is a set of hand-crafted storage boxes inspired by the traditional Mandoos wooden chests that have been reinterpreted to celebrate the deep-rooted values of Emirati culture and heritage. Mandoos are wooden chests decorated with brass nails that were commonly used in the past to hold a person’s most valuable and precious possessions such as documents, jewellery, clothes, money and a bride’s dowry. With Mudeem, Aljoud Lootah examines innovations in material manipulation while giving new life to tradition. It explores the endless possibilities of camel leather and highlights the delicacy and fineness of the material. Each detail is made by hand by pleating, layering, airbrushing and forging while other parts of the leather are folded, woven and cut out, resulting in a permanent three-dimensional surface.

Meshary AlNassar

The 401 Collection
Produced in Puglia, Italy
Ocean blue Travertine
2019

The 401 Collection is a group of collectable stone objects made from prehistorical ocean Travertine and embedded LED technology that function as three decorative lighting sculptures. Kuwaiti designer Meshary AlNassar was inspired by tactile product design and childhood memories and his interaction with nature at a young age. These memories involved nostalgic moments that recall the five senses in everything from trees, courtyards and days under the sun. The collection was made in a small workshop in Puglia, combining traditional sculpting methods and technology.

david/nicolas for Carpenters Workshop Gallery, supernova

Produced in Italy
Travertine, rose wood, palm wood, bronze, glass, stainless steel
2018

The death of a star results in either a black hole or a supernova. david/nicolas’ supernova collection looks at this death as a transformation that outshines everything around it, evolving into a new life. It is a reminder of Beirut, a city that has been reborn, again and again. The dialogue between past and present, contrasting materials and forms, and transformation and regeneration in Supernova is also a reflection of the designer’s homes; an amalgamation of influences from the Middle East and Europe. The collection includes two series: The Constellation and Monocle. It was created by 20 different artisans, using materials such as travertine and metal that interact with bronze and wood.

Thomas Trad, Eva

Produced in Beirut, Lebanon
Solid oak, rattan, brass, stainless steel
2017

Eva is a partition made of French oak, gold tainted stainless steel and rattan. The play of mirrors and rattan give a sense of blurred privacy with see-through openings that offer a sneak-peek of what’s behind the screens while the mirrored side reflect the inside. Eva can be used as a room divider as well as a changing space. It embodies a beautiful marriage between heavy machinery and skilled handcraft with the assembling of the wood and rattan.

Ammar Kalo, Carabus Collection

Produced in Sharjah, United Arab Emirates
Copper, hardwood, tinted mirrors, camel leather
2019

The Carabus collection is the result of conflating concepts of traditional craft with processes of advanced robotic fabrication. The aim was to address issues like tacit material knowledge and craftsmanship through a contemporary lens. Carabus embraces the imperfections of the process and highlights both machine and handcraft using robotically formed copper as well as camel leather and walnut wood. Forming tool marks are celebrated throughout the objects and recall the qualities of handcrafted objects. Even though the copper shells were made using a robot, the forms and textures maintain an organic softness so as not to take over the project. Most of the materials in the collection were handcrafted and hand-assembled including the formed copper pieces and leatherwork that was created by a leather craftsman using traditional leather-making techniques.  The wood components were also hand shaped and finished.

Dima Srouji, Hollow Forms

Produced in Palestine
Handblown glass
2017

Hollow Forms is a glass intervention that reactivates the dying industry of glassblowing in the region and sheds light on the history of the craft in Palestine. The collections are inspired by the Palestinian landscape and a sense of place with a contemporary twist. Hollow Forms was created in close collaboration with expert glassblowers, the Twam family, from the outskirts of Jerusalem.

The post Designers across the Middle East revisit traditional craft to create contemporary furniture and objects appeared first on identity.

The duo met at the Islamic University of Gaza where they were both studying architecture and engineering and quickly discovered their mutual appreciation for furniture design. Rejo Design Studio was set up to celebrate the rich and colourful culture and heritage of the Middle East.

“We launched Rejo to make our mark with oriental pieces, cultured with artistic shapes and colours instead of the copy-paste designs in the region,” the duo shares. “Working from two different areas of the region has given us an advantage in being able to explore the rich culture of the Middle East. Our work has become more about identity and environmental influences.”

Rejo launched its first collection at Dubai Design Week in 2019 as part of Downtown Editions, curated by Ghassan Salameh. Titled ‘Suitcase’, the three-piece collection included the Sheba cabinet, the Rudo stool and the Aliaa Table, which were all produced in Riyadh. The concept behind the collection was based on the various inspirations the designers came across upon their travels, with each item capturing a piece of memory in the form of an object. Suitcase told visual stories from Yemen, India and Ndebele in South Africa.

The harsh reality of living in Gaza has prompted the designers to focus on creating works that were strong in shape and bold in colour. “We have experienced three different wars in Gaza in less than 10 years. Seeing the destruction, the fear and the grey colour of the smoke that dyed the city, made us want to create strong shapes and bold colours”.

They attribute Middle Eastern cultural influences as a strong point of reference, using visual cues such as patterns, inscriptions and national clothing, in addition to architectural motifs such as the domes and triangles of the minarets or the elongated fronds of palms. “All the richness in the shapes around us is reflected one way or another in our work,” they explain.

The designers also work with a strong colour palette, which is also attributed to cultural influences and a form of resistance against neglecting these cultural identities.

“We believe that colour is one of the main factors when we try to communicate something through design. We can’t ignore the fact that our homes have always been full of colour. This has always been part of our culture and can be seen through our traditional clothes and patterns. But we feel that we may have lost this beautiful tradition due to being obsessed with neutral colours. Also, in these uncertain times, struggling with feelings of unrest, grief and anxiety, there is a craving for colour that has the ability to instil a sense of reassurance and comfort.”

Although the studio is quite young and has already experienced its set of victories, challenges continue to persist. One of such issues is the struggle of creating an environment for furniture design in their respective regions, where the designers feel a lack of interest towards the local market and a greater focus on importing commercially-made products from abroad.

Another challenge is the long-distance business set up and travel complications, which at times, creates difficulties for Qasem to attend events, such as the duo’s debut launch in Dubai.

“We usually do not like talking about this as we want to be recognised for our work and not because of the struggle we have been through,” the duo says. “We tried to overcome these obstacles as much as possible to complete our designs and connect our work to platforms that are interested in furniture, whether through communicating with local manufacturers or international companies that specialise in designing and producing furniture.

“And although our attempts, many times, have been unsuccessful, this has not prevented us from continuing to work and always strive to create new ideas because we love what we do.”

The duo is currently designing the interiors for a mosque in Riyadh that is inspired by the ancient oriental paintings of Jean-Leon Jerome, contrasting materials such as Russo Levanto marble with Travertine, complete with a light apricot colour scheme to instil a sense of serenity and clarity to the space. The duo is also working on the final stages of its soon-to-be-launched ‘Hug’ collection, which will be available online along with their other pieces.

The post Rejo Design Studio celebrate the beauty of the Arab world through design appeared first on identity.

Similar struggles can be observed across the design industry where international design fairs such as Salone del Mobile.Milano play a major role in connecting the larger design ecosystem – an opportunity that was lost this year due to the event’s cancellation in light of the pandemic.

“By suspending the 2020 edition of Salone, we’ve missed a very important occasion not only as a business opportunity but also as a moment for coming together and meeting with businesses, designers, collectors and design connoisseurs,” says Salone del Mobile president Claudio Luti, who is also CEO of the contemporary Italian furniture brand, Kartell.

Claudio Luti, president at Salone del Mobile

Rue Kothari, director of Dubai-based fair Downtown Design adds that although design fairs remain largely traditional in their format, they have always played a key role in the industry’s ecosystem as platforms to build relationships, collaborate and discover new ideas, while personally interacting with the design on show.

“Aside from leaving our schedules looking decidedly blank, this situation has had a significant impact on brands who often plan their selling cycles around these exhibitions, she says. Many would have invested heavily on the innovation and development of new products and materials, specifically to launch at international platforms like Salone del Mobile.

Rue Kothari, director of Downtown Design

“While individual designers often work all-year-round to ensure they have new designs to showcase at their local or regional shows; now, without the opportunity to expose their work, interface with buyers and gain crucial real-time feedback, brands and designers have had to look to new ways of getting their products out there. And while digital has been the ‘catch-all’ approach for many, it still doesn’t replace the experience and benefits of interacting with products and people in the real world.”

In reality, industry services and creative activities never stopped. Designers continue to create new solutions and concepts, with many researching novel ways for different areas of life to continue within a safer and more health-conscious reality. Yet, even with the continued workflow, the shutdown of production has had a strong impact on manufacturers and brands alike, with small businesses – which are important links within the overall supply chain – feeling sorely tried by the long lockdowns and lack of orders.

Another demographic who have been impacted are young designers, who use these fairs as platforms to introduce their work to manufacturers by forming new relationships that could kick-start their careers within the field.

Marva Griffin, founder and curator of SaloneSatellite

Marva Griffin, founder and curator of SaloneSatellite – the exhibition that showcases works by young designers within Salone del Mobile – comments that while cancelling the fair this year is unfortunate, the exhibition is gearing up for an even bigger show in 2021, inviting back all the selected young designers from this year’s cycle.

“The theme, ‘Designing For Our Future Selves’ will remain the same because, now more than ever, it is important to create a design that is useful after this terrible experience that we all have lived through,” she says, adding that a show like SaloneSatellite is vital to young designers, as most manufacturers remain on-site during the course of the fair and have a higher chance at being discovered than those exhibiting outside the fair grounds.

“Young designers want to showcase their creativity, and this has been the success of SaloneSatellite. Every year, the producers who attend Salone del Mobile.Milano visit the SaloneSatellite pavilion to talk, choose and initiate relationships with young designers,” she says.

Interestingly, it is young designers who are calling out for changes to be made to the existing cycle of design fairs and product launches, commenting that recent events have created an opportunity to address problems in the design industry that have long remained unsolved. 

Brad Ascalon

“The past four months have led to a lot of thinking on my part about this industry and how off-track it has gotten over the years,” shares American designer, Brad Ascalon, who has designed collections for brands such as Carl Hansen & Son and Skandiform.

“The cancellations of fairs this year, while unfortunate due to the tragic pandemic, has been a blessing in disguise. Many designers have been whispering behind closed doors for years that we have too many fairs each year, in too many cities, with too many new products and certainly without any semblance of sustained attention to those products once they are unveiled to the public.

“So many designers work tirelessly to develop products in the right way and over the span of years, while all that the media and design audiences care about is what is new. There is a huge disconnect between what we do, the efforts we make to do it, and what comes of it in terms of the attention our work is granted. Perhaps this pause in what was, until now normal, can show us that there’s a more sustainable way in which the industry can operate, a way that nurtures and markets the hard work beyond a single launch cycle.”

Dubai-based designer Ammar Kalo, on the other hand, notes the heavy toll design fairs have on the environment: “There’s a ton of material waste as a product of fairs and exhibitions, which also comes at a huge financial expense that’s currently justified as marketing and PR budget. After this crisis, the industry as a whole must reckon with these facts and optimise the best the way to deliver and showcase products without the huge amounts of waste associated. Perhaps a move to digital platforms and creation of new relevant technology would rebalance things in the years to come.”

Ammar Kalo

A move towards digital platforms can already be observed with some design fairs such as Maison & Objet and Isola Design District launching digitally. Similarly, many brands and designers have also taken to digitally launching new products while keeping communications alive within the industry during a time of physical disconnection. There has also been a surge in online sales, with e-commerce playing a more important role in design sales and perhaps one that will remain a preferred choice over the years, mimicking sales trends across the fashion industry.

Despite the rise in digital performance, Luti still believes that design is a visceral experience, and annual fairs offer something a digital model never can.

Ascalon, on the other hand, comments that if the design industry isn’t already using this opportunity to rethink its strategies, then it should be.

“Design should not be celebrated simply because of who designed it, or simply because it’s new. Newer isn’t better. It’s only newer. We don’t need newer every single year in Cologne, Paris, Milan, NYC, Chicago and London, not to mention the dozens of other cities in which products are introduced annually. But we do need better. If we have to wait every two or three years for better ideas and not just more eye candy, that’s an idea we should all embrace enthusiastically,” he says, likening the existing design launch cycle to that of the fashion industry, where trends, forms and aesthetics take precedent over necessary solutions.

“Until we start pointing this truth out, things will not change. So, it is up to responsible designers and manufacturers to chase a higher standard, not merely a bigger paycheck.”

Both Ascalon and Kalo believe designers and fairs can come together to create an alternative solution that can be beneficial to all.

“Several other industries have gone through the pains of adapting to ever-changing global technology and socio-economic climate, and it’s only logical that we do the same as designers. There is a ton of potential to access new markets, wider audiences, and present new kinds of work,” Kalo says.

Ascalon agrees. “The industry is filled with brilliant people. But it will take disciplined and purposeful conversations between manufacturers, designers and fair organisers to get us to a place where we’re not just doing less bad, but we’re actually doing good.”

The post Does the cancellation of design fairs due to COVID-19 present a chance to rethink old habits? appeared first on identity.

As part of an initiative by the American Hardwood Export Council (AHEC), Benchmark Furniture and the Design Museum, Connected is an experiment set out to explore how designers and craftsmen adapt their working practices during lockdown.

The designers involved include Ini Archibong (Switzerland), Maria Bruun (Denmark), Jaime Hayon (Spain), Heatherwick Studio (UK), Sebastian Herkner (Germany), Maria Jeglinska- Adamczewska (Poland), Sabine Marcelis (Netherlands), Studiopepe (Italy) and Studio Swine (UK / Japan).

They will each also record their creative journeys to illustrate how they approached the brief and developed their thoughts, sketches and ideas during these challenging times.

The resulting pieces will be shown at the Design Museum in London as an installation called Connected once the museum re-opens to the public, celebrating the act of physically coming back together.

The project aims to challenge both the designers and craftsmen at Benchmark to work in innovative ways by relying solely on digital communication and video conferencing to bring the designers’ visions to life.

In an exclusive series of by Herman Miller, designers including Brian Alexander, Keiji Tekeuchi and Michael Anastassiades also revealed various pieces of advice about working from home and how it has impacted their creative process.

The post Connected exhibition will showcase works by nine designers working remotely appeared first on identity.

Inspired by American designer, architect and educator, Sean Canty’s Instagram stories, highlighting 200 personalities that embody Black excellence within art, architecture, design and fashion, identity has compiled its own list of inspiring individuals, from leading architects to up-and-coming designers. We also like like to note that this list  is in no way comprehensive of the huge pool of talent working within the industry today.

Sir David Adjaye OBE

Sir David Adjaye Image © LDF

British-Ghanaian David Adjaye is one of the most recognized architects of our time, whose work fuses influences from contemporary art, music, science as well as African art forms. Founder of Adjaye Associates, he is often cited as an architect with an artist’s sensibility and vision, having worked with a number of leading contemporary artists such as Olafur Eliasson and Christopher Ofili. Adjaye’s notable projects include the Smithsonian Institute National Museum of African American History and Culture in Washington DC, Ruby City in Texas, the Moscow School of Management, SKOLKOVO in Moscow, Dirty House in London as well as the recently opened The Webster in Los Angeles. Adjaye has completed projects across the globe including the Middle East and Africa and has recently won a competition to design the Abrahamic Family House, a multi-faith complex in Dubai that is set to house a mosque, a church and a synagogue. He has also designed the Aishti Foundation in Beirut. Adjaye has been recognized as one of the 100 most influential people of the year by TIME magazine and has received numerous awards such as the Design Miami/ Artist of the Year title in 2011, the Wall Street Journal Innovator Award in 2013 and the 2016 Panerai London Design Medal from the London Design Festival. As a result of his ten-year study of Africa’s capital cities – which later became an exhibition and book – Adjaye has been documenting the continent’s built environment, from traditional African architecture to modern constructions, and continues to do so ’til this day.

@adjaye_visual_sketchbook

Diébédo Francis Kéré

Courtesy Erik-Jan Ouwerkerk

Diébédo Francis Kéré is an internationally-acclaimed Burkinabè architect and founder of Berlin-based Kéré Architecture. He was awarded the prestigious Aga Khan Award for Architecture in 2004 for his first-ever building: a school he designed, raised the funds for and realised in collaboration with the residents of his native Gando in Burkina Faso, for which he later designed an extension as well a library. Kéré’s contributions to his home village of Gando showcases a sensitivity to the residents’ needs as well as responding to various problems within the village. An example of this is the Gando Mango Tree Project that saw the planting of mango trees across Gando in order to address the problem of malnutrition within the community. Kéré is distinguished for his communal approach to design and his commitment to sustainable materials and modes of construction. He has worked on projects  across Africa and Europe including Burkina Faso, Mali, Kenya, Uganda, Germany as well as the United States. In 2017, he was commissioned to design the Serpentine Pavilion, creating  a community structure within Kensington Gardens  that draws on influences from Gando while maintaining experimental construction techniques. In 2019, Kéré created an installation featuring a series of 12 colourful ‘towers’ inspired by the Burkinabè baobab tree as part of Coachella Music and Arts Festival’s art program.

@kerearchitecture 

Kunlé Adeyemi

Nigerian architect, designer and creative researcher Kunlé Adeyemi is the founder of NLÉ – an architecture, design and urbanism practice founded in 2010 in Amsterdam with the aim of innovating cities and communities. Adeyemi is famed for his innovation and originality, gaining acclaim for his extensive body of work titled ‘African Water Cities’ that looks at the intersections of rapid urbanisation and climate change. His first – and most notable –  work from the ‘water cities’ project is the ‘Makoko Floating School’, a prototype floating structure once located in the lagoon heart of Lagos, Nigeria. In 2016 NLÉ launched MFS II, an improved iteration of Makoko Floating School at the 15th International Architecture Exhibition – La Biennale di Venezia, and was awarded the Silver Lion Prize. Makoko Floating School has since evolved into ‘Makoko Floating System (MFSTM)’ – a simple, prefabricated, building solution for developments on water – now deployed in five countries across three continents. His other projects include A Prelude to The Shed in New York, USA, and the Black Rhino Academy in Karatu, Tanzania. He was also one of the four architects selected to design the Serpentine Summer House at the Royal Kensington Gardens in London, UK.

@nleworks

Mariam Kamara

Photo © Rolex/Tina Ruisinger

Niger-born Mariam Kamara is the founder and principal of Niamey-based atelier masomi, an architecture firm committed to designing culturally, climatically and historically-relevant buildings in West Africa, and other parts of the world. Kamara’s architectural approach aims to provide a better quality of life to the communities she designs for, all while maintaining an intimate dialogue between architecture, people and context. Her practice also looks at developing innovative solutions to using local, renewable, and low-cost materials, while exploring new adaptations of local architectural techniques. One of Kamara’s most notable projects includes the Niamey 2000 housing project that is a direct response to the current housing and socio-economic conditions found in the city, proposing a new model that increases density in order to counter the city’s aggressive growth. Another project is the Hikma religious and secular complex in Dandaji, a Hausa village located in western Niger, where atelier masomi repurposed an existing mosque that had fallen into disrepair into a library and community centre, as well as a designing a new mosque located opposite the library, creating a link between Islam and the pursuit of knowledge. She is currently designing the Niamey Cultural Centre, one of her most important commissions to date.  Kamara is also the founding member of Seattle-based united4design, a global collective of architects working on projects in the U.S., Afghanistan and Niger. She was was mentored by David Adjaye as part of the Rolex mentor/protégé initiative, as both architects share a passion for rethinking contemporary architecture on the African continent.

@mariamkamr, @atmasomi

Ini Archibong 

Ini Archibong is a multidisciplinary designer and a third-culture kid who is currently based in rural Switzerland. He is of Nigerian origin and has grown up outside of Los Angeles – all of which informs his work in various ways. His “Secret Garden” collection of furnishings was showcased at the 2016 Salone Satellite, the emerging talent exhibition of Salone del Mobile in Milan was sponsored by actor and designer Terry Crews. Founder of Design by Ini, the young designer already has a number of collaborations with high profile brands under his belt, including Hermes, Knoll, and Se Collections – all of which embody elements of spirituality and mysticism while maintaining a strong sense of craftsmanship which is translated through his years of technical training.

@iniarchibong

Yinka Ilori 

Photo by Andy Stagg

Yinka Ilori is a London-based multidisciplinary artist who fuses his British and Nigerian heritage to tell stories through contemporary design. His work is both humorous and provocative and offers a sense of fun – and a lot of colour. He established Yinka Ilori Studio in 2017 following a successful pitch to transform the Thessaly Road Bridge. The studio now consists of a team of colour-obsessed architects and designers, with the expertise and capacity to take on large-scale architectural and interior design projects. The studio continues to experiment with the relationship between function and form, with an output that sits between traditional divisions of art and design.

@yinka_ilori

Chrissa Amuah

London-based designer Chrissa Amuah grew up in Brixton but feels strong ties to her African heritage where she has roots in Ghana, Benin and Togo, which sweeps into her homeware collections. Founder of AMWA Designs, her work explores Adinkra symbology which stems from Ghanaian oral traditions by visually communicating important values. Amuah’s luxury wallpaper collection was launched during Milan Design Week, winning her praise from Rosita Missoni, co-founder of the Missoni brand. She is also the founding director of Africa by Design, that aims to showcase the best of African talent, celebrating creativity, skills and craftsmanship. By presenting the works of designers across the African continent, it seeks to re-ignite the sense of pride and empower innovation and conviction within African design, drawing from the glory of the continent’s ancient empires and kingdoms while creating a new language for contemporary design.

@amwa_designs, @africabydesign

Mark Grattan 

 

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American designer Mark Grattan is the founder of design studio VIDIVIXI,  which was originally founded in Brooklyn but is now based in Mexico City. The name of the firm is translated from Latin as “I saw and I’ve lived” and is intended to be an adaptation of what VIDIVIXI responds to most: “the vogue of modern living”. VIDIVIXI’s design language exudes sensuality and masculinity,  and although its more recent designs take inspiration from Mexico City itself, the work itself remains timeless in its bold, curvaceous forms and materiality including glass, chrome and leather. VIDIVIXI recently opened its Mexico City showroom – a renovated artists’ studio that offers a warm and intimate space where the designer’s works are showcased along with a number of works by friends and fellow-creatives, making up an installation of dream-like objects.

@vidivixistudio 

Sean Canty 

Sean Canty is an American designer and architecture critic as well as being an assistant professor of architecture a the Harvard Graduate School of Design. He is the founder of Studio Sean Canty based in Cambridge in Massachusetts, as well as being one of the founding principals of Office III (OIII), an experimental architectural collective that spans New York, San Francisco, and Cambridge. Selected as a finalist for the 2016 MoMA PS1 Young Architects competition, OIII has completed a Welcome Center for Governors Island and exhibited work at the Museum of Modern Art in New York. Prior to founding these studios, Canty was a Project Designer at IwamotoScott Architecture in San Francisco. With IwamotoScott, he led commercial projects for clients including Pinterest, Bloomberg, and HeavyBit and oversaw residential projects including the Goto House and Noe Valley Residence.

@sean_canty_

Harvey Bouterse

 

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Originally from Surinam, Harvey Bouterse grew up in the Netherlands and is now settled in Antwerp. Bouterse was educated as a fashion designer, and has worked for high-end Belgian and French designers and brands. While working on fashion, he began collecting art and ceramics which amplified his love for the material and technique. Since 2010, he set up an atelier in which he creates ceramic objects, vases and sculptures. A multidisciplinary designer, Bouterse also works as an art director for multiple brands and projects, from the music industry to art and photography.

Ishka Designs

Ishka Designs is a Brooklyn-based interior design firm specialising in vacation properties, restaurants and residences across the globe. Founded by  Anisha Clarke and Niya Bascom, the design firm creates sophisticated minimalist interiors including hotels in Jamaica and F&B projects across the US. Clarke brings with her a strong nature-inspired aesthetic with efficiency playing a major role in her design process, heavily influenced by a waste-not upbringing by her Guyanese mother. Bascom, on the other hand, has a background in the film industry as well as photography experience, having spent15 years shooting celebrities, products and interiors, which has honed his eye for design and cemented his keen sense for style. Born in England to Jamaican and Guyanese parents, and raised in New York City, Niya not only brings an interesting worldly style to Ishka Designs but promotes efficiency and clean, modern aesthetics.

@ishkadesigns

Malene Barnett

Malene Barnett is a Brooklyn-based artist and designer and founder of Malene B, an art and design studio from which she produces bespoke textiles and ceramics. She has worked with brands such Marriott, Viacom, Saks, and WeWork, and since 2018, set up a Black Artists and Designers Guild (BADG), a curated collective of black artists and designers of the African diaspora. The collective includes over over 100 black artists and designers across Africa, the Caribbean, Europe, and North America working across architecture, ceramics, interior design, fine art, furniture design, and textile design. Her most recent work through her own practice is a striking sculpture collection called Redemption that critiques the relationship between social relevance and inequality. Every piece in hand-made and pays homage to the hand-building techniques found in the Yorubaland region of south-western Nigeria.

@malene.barnett, @badguild

Olubunmi Adeyemi

Olubunmi Adeyemi is a Nigerian designer, lifestyle entrepreneur and interior designer, whose firm called DA Brand, formerly Aga Concept, focuses on everyday urban life, creating a lifestyle brand inspired by African design and culture. Through Da Brand inspired Adeyemi creates objects based on the name of his former brand,  the word ‘Aga’ meaning “functional object or accessory of great utility” in the Yoruba language. His objects use local raw materials and combine craftsmanship with modern design techniques to create beautiful minimalist and functional pieces. His work also presents what he calls ‘Afrominima’. More than a style, it is a movement, a philosophy, a creative ethos, and a design-language which combines the true essence of Africa and minimalism, capturing the continent through its rich in culture and heritage.

@the.da.brand

Jerome Byron

Jerome Byron is an American architect and designer based in Los Angeles, California. His work is shaped by an avid interest in culture, material conditions and collective knowledge. His approach to objects and interiors encapsulates a playfulness and unexpected forms, combined with a hands-on knowledge of contemporary construction methods and craft along with an intuitive design sensibility that informs his process. Jerome received his Master of Architecture degree from Harvard’s Graduate School of Design in 2014 and a Bachelor of Architecture degree from Pratt Institute in 2010. Over the past 10 years he has spent time working in Los Angeles, New York and Berlin, most notably at the offices of Francis Kéré, Barkow Leibinger, and Tacklebox NY.

@jeromebyron

Mario Gooden 

Photo by Stephen Shadrach

The post 15 inspiring Black architects and designers you should be following appeared first on identity.

In its second edition of the series, industrial designer Brian Alexander, who is a thoughtful observer of human behaviour and someone who been working from home since 1998 – the year he founded his studio – shares tips on how to make the best out of the experience.

His natural inclination to watch, hypothesize, test, and reassess has led him to iterate on his own work-from-home patterns and places over the years. His thoughts on how to maintain creative flow and collaborate while working from home hold lessons for anyone struggling to work in isolation.

Here are Brian Alexander’s tips on working from home: 

Start with Stillness

Objectively do an internal inventory of your work-life up to this moment. The point of this is not to make a to-do list, but to get your bearings and center yourself. It’s up to each of us to sort our own paths. But we can’t do that if we don’t know our own triggers or have a general portrait of our work lives.

Practice Contextual Displacement

For many, home is the “off” button for work. You are surrounded by all the objects and cues which represent downtime or other activities which normally counter work life. A general sense of fatigue and frustration builds because the experiential cues of home haunt you. It’s a little like mixing complementary colours. If you maintain some separation it can be a powerful addition. If you mix too much, everything goes grey.

Designate a Workspace

If you already had a home office, you’re good to go. If not, designate one. However minimal or grand, lay claim to a spot in which you feel you can do your best work. Maintain that location for that purpose. When you leave that location, you are no longer at work. Don’t underestimate the power of closing a door or throwing a sheet over your desk to suddenly feel at home again.

Reference Existing Patterns

Whatever your previous work experience was, try adopting the associated behaviours and routines from being at the office. For many, the start of the day is more critical than the end. Wake up at a consistent time. Follow the same pattern you usually do to prepare for work, but introduce a few new minor variations. Make some coffee, walk around the block, come back, go to your work spot, and proceed with your day. These patterns can function as primers to get you in the frame of mind most beneficial to work.

Mind Your Relationships

Years ago, you probably had a shot of your family vacation pinned up in your cubicle. Now the same imagery is your wallpaper or desktop background. When you close an app or start a meeting, there’s a little bit of you-ness exposed at that moment. We appreciate that as fellow humans. So stay connected in whatever form you can.

Photo: Brian Alexander

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