Wafa Al Falahi

Roots by Wafa Al Falahi, photography by Alin Constantin

Emirati multi-disciplinary designer Wafa Al Falahi’s work bridges culture, history and science, creating intimate environments that blend fluid forms with storytelling. “My design philosophy and creative process are rooted in thorough research and methodology. Whenever I begin a new project, I make sure my ideas are well-informed, guided by a clear line of research and insights. I then move into prototyping and sketching. I believe hand-drawing is a crucial part of the process, as it shapes the direction of the work and allows for a seamless flow of conceptual ideas, which ultimately guide the physical manifestation of the design,” she shares. Al Falahi’s design journey began with the Athath Fellowship, where she created her first functional piece – a chair for potters in the UAE. Her exploration of materials continued with the Tanween 2023 programme, where she developed a bioplastic infused with henna, honouring her grandmother’s traditions. Al Falahi’s practice spans various mediums, including clay, bioplastics, hair and natural materials, all contributing to her dynamic and expressive pieces. Some notable projects include ‘Sprout’ – a bioplastic lamp made from pomegranate remains and displayed at this year’s Maison&Objet – and a bioplastic henna chandelier, which was recently showcased at Vacheron Constantine and Gerbou in two different iterations. As the founder of Sorbe Studios, a design collective focused on creating immersive experiences across interiors, furniture and ceramics, Al Falahi likes to push the boundaries of conventional design. Sorbe Studios is known for its playful, whimsical approach, producing unique works that resonate both with clients and audiences. Besides these projects, Al Falahi is currently refining her practice through the SEAF emerging artists programme, where she is focusing on the themes of memory and space. Al Falahi states that one of her dream collaborations would undoubtedly be with Icelandic–Danish artist Olafur Eliasson. “His approach to immersive, sensory environments and his exploration of light, space and perception resonates deeply with my own artistic practice,” she shares. Al Falahi’s daily creative practices include finishing at least one drawing in her sketchbook, because she believes drawing is one of the most important tools for any designer. “I also like to start my day with reading – whether it’s research papers or novels – since I’ve noticed that what I read often influences how I see and approach my projects,” she shares.

Tessa Sakhi, photography by Elie Abi Hanna

Primitive Collection, Coffee Table Rosso Orobico, photography by Lorenzo Basadonna Scarpa

Tessa Sakhi, an architect and designer based between Venice and Beirut and London, shares that her environment helps shape her work: “I’m inspired on a daily basis – by anyone and anything in my environment or that I encounter along the way. It could be nature, a historical artifact, a building, a painting, a song, a poem, a sentence in a book or even a conversation with a stranger – sometimes even my dogs!” However, whenever she begins a new project, she always starts by researching historical artifacts as her first point of reference. “Somehow, an inspiration comes from the natural environment, where I seek to learn and translate its lessons into sensorial experiences in my designs, and then everything just flows organically,” she states. Some of her recent projects include two residential houses and renovations in Venice. Sakhi also collaborated with her sister Tara (T SAKHI) on the public realm design for the Yard of Alserkal Avenue in Dubai, collaborating with landscape designer Zain Massud. She also worked on Murano sea creature sculptures called ‘Whispers from the Deep’, commissioned for the Design Doha Biennale last year by Qatar Museums, which acquired the pieces to form part of its collection. ‘Sand Pearls’, a sculptural seating piece, was acquired for Abu Dhabi’s Formula 1 VIP Lounge, which was designed by Agata Kurzela. Sakhi collaborates with artisans from diverse cultures, fostering dynamic dialogue and creative exchange, encouraging both traditional craftsmanship and contemporary innovation. Imbued with an artisanal touch, each piece is handcrafted by artisans in Cairo and Italy. 

Omar Chakil, photography by Billy Doss

Gros Guiollaume stool, photography by Billy Doss

Omar Chakil, a French-Egyptian-Lebanese designer, will soon present a new body of work that blends craftsmanship, art and design, and is created from his signature Egyptian alabaster and luxury marbles. Chakil offers a fresh take on Egyptian alabaster, bridging its ancient legacy with contemporary design. He will collaborate for the first time with renowned Paris-based Galerie Gastou at PAD Paris. which will showcase his work from 2 to 6 April 2025. With over 20 years of experience in design, his work with Egyptian alabaster, an endemic material once used in heritage crafts, is demonstrated here; reinvented through contemporary aesthetics, while still drawing on the rich heritage of Egypt through his personal interpretation of matter and shape. Chakil’s sculptural design pieces use organic lines, showcasing the beauty and versatile nature of the stone while paying homage to its ancient legacy through singularly modern aesthetics that bridge multi-cultural heritage. Chakil claims his unique multi-cultural identity helps define his work. “As a French-Egyptian-Lebanese, I constantly have to find ways to give meaning to the endless apparent contradictions of living [that are] rooted in different and sometimes contradictory civilisations. My creative work aims to bridge those gaps and open pathways to a world where differences can be transcended,” he shares. His creative approach channels emotions and personal experiences with the intention of finding universal resonance. He is currently preparing: a series of new colourful works for Iwan Maktabi’s Dubai flagship store; a series for Egyptian collectible design brand Don Tanani; upcoming pieces for We Design Beirut in collaboration with Stones by Rania Malli and Marm Group in Beirut; and a suite for a Steigenberger hotel. He dreams of choreographing a Prejlocaj ballet around his Encapsulated floor lamps or having his work featured in a Sofia Coppola film. He would also love to bring his singing into one of his future design projects. His creative rituals include reading international news, appreciating scents like Egyptian guavas and palo santo, collecting stones and listening to Frédéric Taddeï on his drives.

As design continues to evolve, the interplay between personal narratives, heritage and modern innovation is reshaping the industry. These designers exemplify how identity and philosophy are as integral to a piece as its form.

Read more features here.

The post Contemporary Design Meets Culture appeared first on identity.

Carlos Bermejo, Founder of Guch Design

He came up with the idea of solid surface washbasins. “Sinks, in particular, caught my attention because they combine sculpture and functionality, yet I noticed that most of them looked very similar. It seemed like an element that had not been given much attention in terms of design,” Bermejo notes. He saw an opportunity to innovate and redefine them as artistic pieces; timeless objects that not only serve a purpose but also enhance the sensory experience of a space, which led to the founding of Guch Design.

Deneb sink

Jishui sink by Guch Design

The inspiration behind the pieces lies in nature and its ability to sculpt forms over time. “I am fascinated by how water shapes stone, how erosion softens the edges of rocks and how evolution creates structures perfectly adapted to their environment,” he shares. With sustainability as a fundamental pillar of his work, Bermejo uses locally manufactured ‘Solid Surface’ as a material in the manufacturing process, which is a non-porous, hygienic and fully reparable material that allows for longevity. It also allows for fluid and seamless surfaces to take shape. All the moulds he uses for production are biodegradable. “At the end of its life cycle, the sink can be crushed and repurposed as decorative gravel or even incorporated into concrete mixtures. In this final state, the material is completely inert, allowing it to reintegrate into the environment without generating pollutants,” adds the designer. 

Bermejo starts his process with an exploration of form and proportion. “Each sink is born from a concept inspired by nature, whether it’s the fluidity of water, the organic shapes of eroded rocks or landscapes that evoke serenity and balance. My goal is for each piece to have its own identity and tell a story through its lines and volumes,” he shares. Bermejo then translates his ideas into digital modelling and then finetunes the design not just in terms of aesthetics but also considering ergonomics and comfort in its daily use. 3D printing also forms a large part of his process. He attests that the technology has allowed him to reduce material waste during the prototyping phase. “Another key advantage is that I manufacture my own moulds using 3D printing, giving me full control over the production process and enabling me to work with geometries that would be difficult to achieve with conventional techniques,” he states.

Bermejo has installed the sinks across private residences and has begun collaborations with restaurants, hotels and luxury yachts. He is keen on establishing collaborations with interior design and architecture studios, both in Spain and internationally, to bring exclusive and customised pieces to high-end projects.

The post Sculpting Meets Functionality appeared first on identity.

Please mention some of your proudest achievements as a firm (Top 3)
As a young practitioner in the field of architecture and design, I devote my practice in promoting Arabic culture through the sustainable development and social inclusivity in the Middle East.
Recently we were honored as finalist of the Arab World Design Award by the Institut du Monde Arabe in Paris for our socially responsible product design collections inspired by Arabian landscapes. The social project enabled Arab women take part in the making, empowering them by using crafts as a way of active involvement, achieving the vision of Middle East’s sustainable development, while promoting social inclusivity and equality through design.
Winning the AlUla Design Award has also triggered a fruitful collaboration with the Royal Commission of Saudi Arabia, revealing contemporary practices that merge modern design with local Middle Eastern craftsmanship, while bringing the ancient in dialogue with the contemporary and AlUla in dialogue with the world.
In last year’s Dubai Design Week, we received the Iris Ceramica Award for design encouraging cultural exchange with a social project aspiring to elevate brand value through user experience, place-making and community building. Following a winning entry to an international competition organised by the leading Italian Ceramics company Iris Ceramica, installation targeted on promoting socially responsible design and is a continuation of personal efforts to develop on the significance of cultural heritage in contemporary markets. Since we are newly established and we remain experimental in our approach, such recognitions are particularly important in assisting our ongoing efforts for responsible human activities in relation to natural and cultural ecosystems.

Can you talk about a type of project that you would like to take on in 2025 that would interest you and your team to pursue (dream project that you would like to manifest)?
I believe in the importance of cultural and historical context in design and for that reason I am trying to be actively involved in projects that incorporate elements of local culture, climate, landscape and history. My practice maintains a focus in the cultural sector and social aspects of architecture and this would be the ideal path I would like to follow. I am particularly interested in art installations that investigate the link between design and art as well as projects deeply rooted in research, ensuring accessibility to wider communities shaping the architectural and industrial design landscape in the Middle East.

How would you describe your ‘house style’ and design philosophy?
My work targets on promoting socially responsible attitudes, developing on the importance of cultural heritage in contemporary design, pushing the boundaries of aesthetics, materials, and technology. Through a design philosophy that is human-centred we want to raise awareness towards built environment in Middle East, while promoting sustainability through innovation as well as the cultural importance of design and craft. Using local material and techniques we believe in the designer’s social responsibility to contribute towards an environmentally sustainable world. Incorporating local traditions of craft and treating every project as a research and social initiative, we blur the limits among visual arts and architectural interventions, revealing the ways in which fine arts and design intersect with society.

As this is the power issue, what empowers you and your team?
In the spirit of knowledge sharing, dissolving boundaries by creating connections between people and disciplines is the connecting force behind our ventures. Strengthening cross fertilization between differing sectors forms the base for continuous innovation and experimentation in the wider sphere of cultural practice, reflecting the importance of the collective approach while advocating for inclusivity, diversity and equality. We aspire to belong to a group of industry innovators whose commitment is to move the industry forward through discovery and recognition of tangible and intangible heritage, producing exceptional design work in shaping a better world.

View the visionaries.

View the complete id50 2025 list.

The post id50 2025 – Niko Kapa appeared first on identity.

Karim+Elias is a dynamic duo of product designers based in the UAE, known for their innovative approach to local materials and traditional techniques. Their work bridges history and modernity, focusing particularly on desert sand and rammed earth – materials that are both abundant and culturally significant in the Arab world. Since founding their studio in 2022, they have sought to preserve ancient crafts while reimagining them for contemporary contexts. Their latest project, ‘The Desert Drops’, marks an exciting chapter in their exploration of sand and glass. This series delves into the gestural form of ‘droplets’, blending sand and melted glass to create visually captivating pieces. As part of this exploration, they debuted their first collectible piece at Maison&Objet 2025 in Paris, France, showcasing the unique relationship between glass and sand, inspired by the desert landscape.

Besides their product work, Karim+Elias have worked on ‘The Desert Relics’, a land art installation that debuted at the inaugural Tanween Festival at the Mleiha archaeological heritage site in Sharjah. The installation is a contribution to Sheikha Bodour Al Qasimi’s vision of preserving Mleiha’s cultural and desert heritage. Twelve modular totems rise to monumental heights against the mountain backdrop – taking the symbolic form of stacked vessel vases, a grand bejewelled necklace or a set of ancient stones. Each piece is unique in colour and form and, like all ancient crafts, fully handmade of and from the earth.

Looking to the future, the duo is keen to create spaces with deeper meaning. As Karim and Elias share, “We’ve always envisioned our contextual work translating into spaces of spirituality or prayer. Our work is born from a narrative that honours the past and the primal significance of geo-heritage.” The duo roots their design philosophy in connecting to the land and honouring the past while reimagining it for the future.

Read their interview here.

Access the full id50 list.

Omar Al Gurg, Founder of Modu Method

Known for creating interactive, purposeful objects that foster deep connections between people and their environments, Omar Al Gurg was recently the curator of the fifth iteration of the UAE Designer exhibition at Downtown Design 2024, where he worked with over 30 UAE-based designers. Currently, Al Gurg is working on an exciting project: a new show villa/majlis for Modu Method that he hopes will become a hub for creatives. “I hope to have a new community space where I can host other creatives and be able to develop the sort of environment that influences people to share their ideas more freely, without judgement,” he shares. This new project will be a coworking-friendly space that builds upon previous experiences while nurturing an open exchange of ideas.

From a creative standpoint, Al Gurg and his team are planning to shift their focus in 2025. “The team and I are going to be crafting smaller products that are more space-friendly. We went all out in the previous years with articles that are ‘large and in charge’, so now we want to create something just as playful, but more fun-sized for people to be able to enjoy,” he says. One of his dream projects involves creating a one-stop hub where people can collaborate and push the boundaries of material use. “I’d love to get to know what people are developing with all the technology that we have in today’s world,” he adds.

At the core of Al Gurg’s design philosophy is the motto ‘Get Personal’. He believes that interactive design leads to a more meaningful, sentimental connection with objects. “We always try to design to solve certain inconveniences, [and] that makes for thoughtful design that becomes interactive in return,” he says. What empowers Al Gurg and his team is a commitment to lifelong learning. “When we stop learning, we stop pushing ourselves to be the best we can be,” he reflects, underscoring the importance of continuous growth both in design and life.

Read his interview here.

Access the full id50 list.

KAMEH

Visionary designer KAMEH is renowned for pushing the boundaries of product design through the use of unconventional materials. Currently, they are immersed in creating a new piece that promises to surprise both themself and their audience. “I’m currently creating a new piece using a very unconventional medium. The unpredictability of working with such materials makes the process especially thrilling, as I’m never quite sure how the final result will turn out,” KAMEH says. This dynamic approach to design is a key characteristic of their work.

When asked about their dream projects, KAMEH envisions two exciting collaborations. “The first would be with a performance artist, because I’d love to see how my objects interact in a live, dynamic context. Watching them in action adds a whole new dimension to my work,” they share. Additionally, KAMEH dreams of collaborating with a brand, which they believe would allow them to co-create and step beyond their usual aesthetic. “Embracing a fresh perspective often leads to unexpected ideas, and I find that incredibly inspiring.”

KAMEH’s design philosophy revolves around the concept of ‘perfectly imperfect’. “It’s important to me that people find beauty in imperfection and form a genuine connection with the objects in their homes,” they explain. They view furniture not just as a functional item but as a form of art, bringing a deeper sense of connection to the daily lives of those who interact with it.

Ultimately, what empowers KAMEH is the people they encounter. “I love people; I draw inspiration from the spectrum – whether they’re musicians, artists, designers, architects, everyone has a story to share,” they say, reflecting the diverse sources of influence that fuel their creativity.

Read their interview here.

Access the full id50 list.

Aljoud Lootah

Aljoud Lootah is an acclaimed Emirati designer with a visionary approach to modern luxury. Based in Dubai, she leads Aljoud Lootah Design, a studio where traditional craftsmanship meets contemporary aesthetics in a harmonious fusion of innovation and elegance.

The studio’s portfolio spans diverse design disciplines, including furniture, lighting and object design. Lootah’s masterful use of textures and materials distinguishes her work, resulting in the creation of sophisticated, one-of-a-kind pieces. Her recent Falaj collection, featuring sofas and tables, draws inspiration from the UAE’s verdant oases. These designs pay homage to the organic curves, separations and reconnections of falaj water streams – a modern tribute to nature’s fluidity. Rooted in cultural heritage, Lootah’s design philosophy embraces a balance of tradition and experimentation. She consistently explores novel forms and techniques, crafting pieces that seamlessly merge functionality with artistic expression. Through her studio’s creations, Lootah has established herself as a trailblazer in the design world, earning widespread recognition for her ability to imbue contemporary design with timeless elegance.

Access the full id50 list.

Nada Debs

Nada Debs’ work seamlessly blends heritage with innovation, creating pieces that tell stories of duality – where East meets West, craft intertwines with technology, and tradition embraces modernity. For her, design is not just about aesthetics, but about forging meaningful connections. “At its core, we are about duality – an interplay between contrasting worlds,” Debs explains. “This duality is not a tension but a dialogue: a conversation between heritage and innovation, East and West, craft and technology – creating a design language that is both timeless and contemporary.”

Looking ahead, Debs and her team are excited about the launch of their new space in Alserkal Avenue this spring, which promises to bring her vision to an even larger audience. “We are working on a new furniture collection called Bulbous, focusing on the carving technique,” she shares, also hinting at some secretive collaborations soon to be revealed. Debs’ dream project would be to design a boutique hotel, a venture that would allow her to expand her design language into a holistic, immersive experience. At the heart of Debs’ design process is her strong relationship with her craftsmen. “Our connection to our craftsmen is the source of our energy,” she says, acknowledging that this bond fuels both her and her team’s creative drive.

Read her interview here.

Access the full id50 list.

View more features here.

The post id50 2025 – Product Designers appeared first on identity.

As our studio continues to explore rammed earth and desert sand, we’re currently developing a series of collectible product pieces. This year marks the launch of an exciting series named ‘The Desert Drops’, which explores the gestural form of ‘droplets’ through sand and melted glass. Over the next two quarters of 2025, our material will become more accessible to stylists, designers and curators.

In parallel, multiple architectural projects are underway designed for large scale spaces; in both the public and private sectors.

It’s exciting for us to see our artistic trademark translate into objects and spatial experiences.

Please mention some of your latest collabs /products you’ve developed recently

Very recently, we debuted ‘The Desert Relics’, a grand-scale permanent land art installation celebrating the craft of Mleiha’s artefacts, made of and from desert sand.

Renowned for its archaeological significance within the Arab region, Mleiha fosters a broad collection of the region’s artefactual heritage in Sharjah. ‘The Desert Relics’ draw inspiration from a selection of Mleiha’s ancient relics, visually expressing the “unearthing of an artefact” through a variety of vessel-like geometries.

Twelve modular totems rise to monumental heights against the mountain backdrop — in the symbolic form of stacked vessel vases, a grand bejeweled necklace, or a set of ancient stones. Each piece is unique in color and form, and like all ancient crafts, is fully handmade of and from the earth.

The work was unveiled at the 2024 Tanweer Festival, and designed as a contribution to Sheikha Bodour Al Qasimi’s inspiring vision to timelessly celebrate Mleiha’s cultural heritage and rich desertscapes.

Also, the first collectible piece from the mentioned ‘Desert Drop’ series was showcased at this year’s Maison Et Objet fair as part of the ‘UAE Design Oasis’ stand, hosted by the Dubai Cultural Grants Program, enabling us and 14 other designers to showcase our work within the international community.

The piece explores the organic relationship between two synonymous materials, glass and sand, drawing aesthetic inspiration from the desertscape. The work captures the gestural forms of sand “droplets”, and the fluid-like characteristics of oasis waters. Every custom-made part of this piece is proudly produced within the UAE.

Can you talk about a type of project that you would like to take on in 2025 that would interest you to pursue (dream project that you would like to manifest)?

As architects working with a ‘material of meaning’, we’ve always envisioned our contextual work translating into spaces of spirituality or prayer.

Across nearly every culture, the journey to spiritual enlightenment has often been rooted in nature; whether within a cave or amidst a natural wonder. Experiencing our work in profound spatial settings would introduce new meaning to our craft — as a reminder of our intrinsic connection to the earth.

Our work is born from a narrative that honors the past and the primal significance of geo heritage.

How would you describe your design philosophy?

Essentially, our studio’s work bridges two narratives together; one of adopting a local material with meaning — desert sand, and one of preserving an ancient artisanal technique — rammed earth.

Conceived and based in the UAE since 2022, our studio’s vision was inspired by the immediate context and geography of the Arab region; specifically landscapes of desert sands. Sand has existed timelessly and, in many ways, paints a meaningful picture of the region’s history, culture and identity. Instinctively, we saw this as an opportunity worth celebrating while asking ourselves — “how can we use the most abundantly found local material as a cultural ode to the larger region? What tangibly bridges the boundaries between these neighboring lands?”

Through creative exploration, we developed a personalized approach towards rammed earth in an effort to preserve the ancient art of “sculpting with sand”. Much like the preserved artistry of sculpting marble, or carving wood, we consider ourselves revivalists of a traditional craft now reimagined through a contemporary lens.

Our mixes also preserve traditional techniques. A proportionate mix of local earth, clay and water is packed in sedimentary layers within custom-made moulds to craft the bodies of work; be it an object, a sculpture, or an architectural wall. All our materials are locally sourced, and naturally pigmented in an array of earthen tones.

We began with pieces of Dubai, on a mission to craft earthen works and spatial experiences from landscapes of the country. Today, our work is finding its place amongst the neighboring Arab countries and beyond.

As this is the power issue, what empowers you and your team?

Narratives inspired by our context — be it the rich and timeless landscapes, or the vernacular traditions worth reimagining through contemporary culture.

View the full id50 list here.

The post id50 2025 – Karim+Elias appeared first on identity.

Right now I’m working on our new show villa/ majlis. I hope to have a new community space where I can host other creatives, and be able to develop the sort of environment that influences people to be able to share their ideas more freely, without judgement. Sort of like a build up of what we had previously, but more coworking friendly.

Can you talk about a type of project that you would like to take on in 2025 that would interest you and your team to pursue (dream project that you would like to manifest)?

For 2025, the team and I are going to be crafting smaller products that are more space friendly. We went all out in the previous years with articles that are large and in charge, so now we want to create something just as playful, but more fun sized for people to be able to enjoy. A dream project for this year would probably have to do with setting up a one stop hub for people to be able to approach us and design objects that push our limits in terms of material use. I’d love to get to know what people are developing with all the technology that we have in today’s world.

How would you describe your design philosophy?

Our motto has always been “Get Personal”. As a studio we want to create articles that are super interactive, because we think that the more you interact with your belongings, the more you develop a sentimental relationship with them. Another philosophy we have is that we always try to design to solve certain inconveniences, that makes for thoughtful design that becomes interactive in return. Always design for things that you need, and never add anything that is unnecessary just for the sake of decoration.

As this is the power issue, what empowers you and your team?

I think what empowers me the most is to be able to keep learning, and knowing that no matter how much time we spend in the field, we’re not always considered to be experts here. There’s always room for growth, and that to me is very empowering. Even with regards to the team, I feel that if there’s a continuous amount of learning that happens, it keeps things exciting, which is what we want as people. When we stop learning, we stop pushing ourselves to be the best we can be.

View the full id50 list here.

The post id50 2025 – Omar Al Gurg appeared first on identity.

I’m currently creating a new piece using a very unconventional medium. The unpredictability of working with such  materials makes the process especially thrilling, as I’m never quite sure how the final result will turn out.

What’s a dream project that you would like to manifest? 

I’m envisioning two distinct manifestations that would really excite me. The first would be with a performance artist, because I’d love to see how my objects interact in a live, dynamic context. Watching them in action adds a whole new dimension to my work. The second would be  partnering with a brand, which would allow me to co-create and step beyond my usual aesthetic. Embracing a fresh perspective often leads to unexpected ideas, and I find that incredibly inspiring.

How would you describe your design philosophy?

I embrace: perfectly imperfect. It’s important to me that people find beauty in imperfection and form a genuine connection with the objects in their homes. By recognizing how integral these pieces can be in daily life, we begin to see that furniture isn’t just functional—it is also a form of art.

As this is the power issue, what empowers you?

I love people, I draw inspiration from the spectrum—whether they’re musicians, artists, designers, architects, everyone has a story to share.

View the full id50 list here.

The post id50 2025 – KAMEH appeared first on identity.

The studio’s portfolio spans diverse design disciplines, including furniture, lighting and object design. Lootah’s masterful use of textures and materials distinguishes her work, resulting in the creation of sophisticated, one-of-a-kind pieces. Her recent Falaj collection, featuring sofas and tables, draws inspiration from the UAE’s verdant oases. These designs pay homage to the organic curves, separations and reconnections of falaj water streams – a modern tribute to nature’s fluidity.

Rooted in cultural heritage, Lootah’s design philosophy embraces a balance of tradition and experimentation. She consistently explores novel forms and techniques, crafting pieces that seamlessly merge functionality with artistic expression. Through her studio’s creations, Lootah has established herself as a trailblazer in the design world, earning widespread recognition for her ability to imbue contemporary design with timeless elegance.

View the full id50 list here.

The post id50 2025 – Aljoud Lootah appeared first on identity.

We are looking forward to the opening of our new space in Alserkal this spring.

Please mention some of the latest products/collaborations you’d like to highlight. 

We have a new furniture collection called the Bulbous collection, focusing on the carving technique. And a few collaborations which we cannot announce yet!

Can you talk about a type of project that you would like to take on in 2025 that would interest you and your team to pursue (dream project that you would like to manifest)? 

We would love to design a boutique hotel.

How would you describe your design philosophy?

At its core, we are about duality—an interplay between contrasting worlds. This duality is not a tension but a dialogue: a conversation between heritage and innovation, East and West, craft and technology—creating a design language that is both timeless and contemporary. We like to bridge the 2 worlds as a source of connection and meaning.

As this is the power issue, what empowers you and your team? 

Our connection to our craftsmen is the source of our energy.

View the full id50 list here.

The post id50 2025 – Nada Debs appeared first on identity.

Hand-polished black titanium marble was seamlessly fused with translucent acrylic to achieve visual contrast, structural integrity, and a playful reinterpretation of the term ‘seesaw’. The entire structure is masterfully balanced on a precision-forged steel sphere and plate, engineered to provide stability and inviting the viewer to ponder “How is this structurally possible?”

Inspired by childhood moments of play and the enduring bonds they create, the studio explores equilibrium through a fusion of materials. The interplay between these elements highlights both the fragility and resilience of human relationships. The installation transforms a familiar playground object into a sophisticated symbol of balance and unity, evoking nostalgia while encouraging introspection. This contemporary seesaw seamlessly bridges art and function, serving as both a striking visual statement and a catalyst for meaningful interaction.

At its core, the installation is a meditation on connection—how individuals support and respond to one another in an ever-shifting balance. By reimagining the seesaw, a universal symbol of childhood play, the designers emphasise the joy and vulnerability of shared moments in balanced design. The design invites viewers to contemplate how weight, movement, and harmony serve as metaphors for personal and collective relationships.

Beyond its artistic merit, this high-end contemporary seesaw serves as a unique feature for any space—residential or commercial. Its elegant blend of marble, acrylic, and steel makes it a versatile centerpiece that sparks conversation and elevates interiors. Whether displayed in a modern home, a luxury office, or a public art space, this installation merges aesthetic sophistication with an emotional narrative.

In addition to artistic installations, The Fifth Designs is a full service, interior design firm that offers comprehensive and creative design solutions, as well as custom furniture and joinery designs for residential, commercial and hospitality industries.

Follow them on Instagram.

The post The Fifth Designs Unveils A Modern Seesaw Art Installation in Alserkal Avenue appeared first on identity.