The project was designed as a physical embodiment of simplicity, spirituality, tranquillity and community, with the concept of the mosque intended to reimagine the role of the old mosque in the village. Taking deep inspiration from the early mosque’s typology and the narratives of the village’s community, the mosque reframes its spaces to encourage community use alongside its purpose as a sacred worship space. The mosque is designed to accommodate seasonal increases in worshippers during Fridays and the holy month of Ramadan. The mosque accommodates additional activities besides the main prayer hall, such as a small library and a Kuttab for teaching the Quran.

Almena spoke to us about the specifics of the project and why they took up the initiative in the first place:

Why was this project undergoing reconstruction?

The original mosque was demolished and rebuilt several times and witnessed many additions and extensions over the years. As the village has experienced an increase in population during the past fifty years and difficulty in maintenance, the village community affectionately donated an adjoining plot for the mosque to be expanded and rebuilt.

What drew you to the project?

We were lucky that we didn’t choose to work on the project, but [that] the project chose us. We were invited by the Riyadh village community to reimagine the central mosque in the village, and we were keen on answering the question ‘What is a mosque?’ For a Muslim to pray, all he needs is a clean place and a direction toward the Kaaba. But on the other hand, the mosque has a much more significant role, [as] a place that reframes the spaces to encourage community use alongside its purpose as a sacred worship space.

Why did you start this specific collaboration? How did it come about?

We began with being involved in projects with a social and environmental cause. This experience has made us realise many things about the profession and has reformulated a conscious understanding of design as a vital impact tool on our built environment. In 2021 we moved to Dubai to get exposed to different architectural practices and new experiences, and in 2022 we joined the Woods Bagot team as architects. Through six years of experience in architecture, we have always believed in working on a parallel practice to enrich our community [and] to broaden our perceptions of the practice. We are dedicated to creating architecture that supports and strengthens communities, emphasising harmony within the context and the MENA region’s climate, culture and traditions. Our work is an outcome of a unique synthesis of bridging the historical and contemporary architecture gap. With this approach and expertise, we want to continue our journey and aspire to become well-grounded architects who can drive meaningful change in Egypt.

What are some of the other projects you have worked on?

We collaborated on ‘Jannat Masjid’, winner of the Future Projects category at the World Architecture Festival Awards. Also, we are best known for designing a community school using locally sourced materials in a village in Upper Egypt (2019). We received international attention by publishing the project in the 27th World Congress of Architects UIA, 2020 in Rio. [Also], the Abu Dhabi Flamingo Visitor Center competition (Honourable Prize 2020) [and the] Filter for Peace – Competition (Finalist 2019).

What were some of the key challenges when working on the Riyadh Mosque?

The key challenge was to get the village community involved in the design process with the stakeholders [which we did] through several participatory design workshops to meet their desires and aspirations. These workshops provided a unique forum for participants to exchange their experiences and consider the approaches needed to develop the central mosque. With deep inspiration from the narratives of the village’s community, we created a dialogue with the community about the role of the mosque, which goes beyond the sacred worship space. 

Any background on the mosque itself? Why was it named as such, and when it was built?

The Riyadh Village Mosque is in north-east Egypt, near Abu Kabir in the Sharqia Governorate, [and was] built in the early 1920s. For more than a hundred years, the Old Mosque of Riyadh occupied the plot serving the village community. Situated within the Nile Delta’s dense landscape, the new mosque is envisioned to be harmonious with its context. 

The design team was invited by the Riyadh village community to reimagine the central societal space and the most vital space in the village, which is the mosque in which the village as a whole gathers once a week on Fridays and five times every day to perform daily prayers, in addition to additional activities besides the main prayer hall, such as a small library and a Kuttab for teaching the Quran. 

A straightforward design process started by correcting the direction of the qibla wall, as the old one had a 10-degree difference from the correct inclination. This prescribed the four sides of the main prayer hall. The next step was to add an outer shell aligned with the main streets around the plot, following the urban context. This outer shell wraps the prayer hall creating two Riwaqs in between, one on each side. A series of gateways was introduced to attract people from all directions, for the main idea was to make the mosque work as an anchor for the village.

Following the main entrance to the prayer hall, a transitional space separates the large prayer hall from areas intended for ablution and footwear storage. This space forms a symbolic courtyard or Sahn. A palm tree inside the Sahn leads to the main doors of the prayer hall, where adjacent sitting benches suggest a friendly and tranquil place.

From within the prayer hall, the two Riwaqs are open to the sky on either side. The Riwaqs serve as courtyards that help circulate fresh air and gather daylight and provide worshipers with a different place to read, reflect and gather. The mosque relies on vertical openings in the ceiling, which allow indirect lighting to enter through vertical glass panels that let the fresh northern breeze filter into the mosque [as well as] indirect glare-less sunlight to naturally illuminate the prayer hall. 

Finally, the minaret’s location was on the right corner of the qibla wall. This location allows the minaret to form a visual mark that appears from both directions of the main village road; at the same time, this maintains the original village skyline, preserving the memory-of-place of this significant and beloved village spot. 

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The entrance to the resort announces itself with a restrained material palette, blending with the Barasti-style canopies, abode walls and columns that mimic the vernacular-inspired architecture. The new porte-cochère provides a threshold with dappled shade, while the original carved and metal-studded doors have been re-stained for a nostalgic feel. The arrival experience into the foyer features locally inspired slatted screens that guide visitors to the reception desk, while the banquette – centred on the solid walnut reception desk – is the focal point of the check-in area. 

The interior designers also worked with art consultants Capsule Arts to curate the art and artefacts that interweave the visual narrative with that of the interiors. One of the pieces is the hanging textile art behind the reception desk, by Iranian artist Mahsa Baraghani, inspired by Bedouin jewellery and headdresses worn by Emirati women. In the same area, another textile artwork by Loretta Bilinskaite-Monie features a minimalist interpretation of an embroidered Bisht, a traditional cloak worn in the UAE.

In other areas, works by Emirati photographer Mohammed Ahli present striking views of the Arabian desert, together with contemporary plasterwork on linen canvases, inspired by the hotel’s architecture, by Melissa Charlier. Each piece of art – from handcrafted items and framed objects to textile artworks and contemporary photography – was carefully selected to contribute to the story of ‘the lost princess and her palace of treasures’, chosen as the design narrative for the hotel’s relaunch. 

“This approach is a prime example of how hotels can refurbish sustainably and stylishly,” says Rachael Brown, co-founder and creative director of Capsule Arts. “By repurposing existing items and elevating them with expert curation, the hotel retained its authentic charm and legacy while embracing contemporary design elements.”

The main lobby bar features an ornate counter, detailed with metal studs, walnut wood and mocha cream marble, fashioned as an apothecary table. In the same area, LW Design retained the skylight as one of the key features of the original design, allowing daylight to softly filter through the intricately patterned architectural elements and casting shadows throughout the space. Once the sun sets, the lighting design has been kept intimate and ambient, with fixtures design by Studio Lumen. The furniture has either been restored or handcrafted by local artisans, from the hand-knotted rugs to the jewel-toned upholstery. 

The guest rooms and five signature suites have been transformed while also retaining some of their original design elements. The new concrete floor integrates the indoors and outdoors, while the solid teak doors were stripped and stained to a more authentic natural timber tone, balancing with the soft bastakiya-inspired colour palette synonymous with Bab Al Shams. 

To soften and brighten the room – which has small windows and limited daylight – the designers used a lighter colour palette and mirrors to reflect light where possible. Each bedroom has high ceilings, detailed with timber beams and a feature ceiling fan, while many of the items have been re-used and upcycled, including the coat hangers, which have been re-lacquered to complement the new colour scheme. 

The standalone spa building is due to open in April, with two hammams, five treatment rooms, a gym and a yoga deck adding to the experience of luxury in the desert. 

Photography by Natelee Cox

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The building stands at the entrance of his Rachid Karami International Fair, which he designed between 1964 and 1975 in Tripoli – and which has remained incomplete and derelict since its construction was halted due to the Lebanese Civil War.

Considered to be one of the finest examples of modernist architecture in the Middle East, the 10-hectare masterplan had been the subject of grandiose schemes and unimagined competitions, while this current renovation of one of its structures is being praised by the jury as “an inspiring tale of architecture’s capacity for repair, at a time of dizzying, entangled crisis around the world, and in Lebanon in particular, as the country faces unprecedented political, socio-economic and environmental collapse.”  

Tripoli is one of the oldest port-cities of the Mediterranean and was once renowned for its craft industry – particularly wood; however, its present state shows growing poverty, migration and lack of public space.  

Led by architects Nicolas Fayad and Charles Kettaneh, the project was commissioned for Mijara – an initiative that is working to reinvigorate Tripoli’s declining wood industry by providing a platform for carpenters to meet, share, learn skills and access tools and materials, and to meet designers.  

Drawing inspiration from the existing typology, the building is a single-storey introverted, windowless structure from the outside, yet flooded with light within through a central atrium and two courtyards.  

“Our intervention’s main principle stays true to the building’s integral architectural qualities, materiality and imagined past,” the architects explain. “We’ve asked ourselves how Oscar Niemeyer would have completed the structure, by researching similar projects and architectural conditions within his body of work that might recall the Guest House’s initial design intent. The result is our own interpretation of the Guest House’s ‘DNA’, that we brought to life by proposing three intervention typologies.”  

These include inserting flexible partitioning using lightweight steel and glass panels, creating a transparency between the internal and external spaces, and introducing ample, playful light and shadow. “With the help of local craftsman, we were able to translate the ceiling’s structural grid into a series of slender, full-height operable panels in a cost-efficient way,” they say.  

As a reference to the Itamaraty Palace in Brasilia, designed by Niemeyer in the ‘60s, the architects chose to conceal the main structural elements of the building using wooden panelling, creating columns and drop beams in linear shapes that became almost ornamental. Additionally, a custom-made lighting solution was created, made of bent recycled metal sheets, referencing the patterned ceiling and proportions.  

“The proposed material palette and colour tones reference the state in which we first encountered the building – in its unfinished concrete grey colour – which is reminiscent of the Fair grounds. The resilience of concrete as a material, but also as a colour, gives a sense of timelessness and austerity to the incomplete city in which the building resides. We’ve intentionally embraced this timelessness and introduced ‘monochromatism’ as an integral part of the design intervention: ceilings, walls, floors, millwork and metal frames, all predominantly grey, help reveal the building’s original weightless interiors, blurring thresholds between inside and outside,” the architects describe.  

The main ground floor of the building hosts a reception, materials library, and exhibition and meeting spaces, as well as an administrative zone, toilets, a carpentry workshop, an assembly/think-tank space, a machinery storage area and a service room for dust-extracting machinery. No new walls were added aside from the glass partitions, and all furniture is free-standing. 

 The architects describe the current function of the building as ‘ephemeral’, meaning that the building has been designed to be able to take on other functions, or perhaps even reclaim its original use. The lightweight partitions, lighting fixtures and machinery could be removed, leaving place for another programme to take over; “However, the integrity of the original design intent would stay untouched,” they state. 

“We hope that the renovation of the Guest House is the starting point towards a transitional urban renewal strategy that will gradually reclaim the smaller pavilions of the Fair through inspiring, reversible and tangible experiments,” they conclude. 

The post East Architecture renovates Oscar Niemeyer building in Tripoli into a space for the city’s carpenters appeared first on identity.

Sitting at the intersection of multiple residential areas near the city centre – such as Dasman, Ghubaiba, Yarmouk and Ramla – and overlooking what was previously known as the ‘Flying Saucer Roundabout’, the building was most likely built between 1974 and 1976, based on aerial archives; facing one of the entrances to the British Camp which maintained its presence in Sharjah from 1942 to 1971. “In reality, the last British Army official left the Sharjah Camp in 1976,” affirms Mona El Mousfy, founder of SpaceContinuum Design Studio, the architecture firm behind the restoration of the Flying Saucer, who adds that occupation around the building was sparse, creating a structure that was isolated from its surroundings.

“The beloved Flying Saucer expresses the optimism and forward-looking vision of the UAE genesis years,” El Mousfy recounts. “Sharjans appear to have been engaged in all phases of its occupation from 1978, when it was an isolated building on a roundabout, to its present. The building’s history and its transformations have multiple references to the growth of Sharjah and of the multiple residential neighbourhoods that surround it.”

As it stands, the Flying Saucer’s futuristic design is indicative of the city’s growing modernity at the time, which saw the erection of a number of modern buildings around the area – although none with as striking a structure as the Flying Saucer’s.

“Prior to its opening in December 1978, an advertisement in Al Khaleej newspaper set the tone for the project’s futuristic ambition, implicitly acknowledging the space-age influences of western ’60s and ’70s pop-culture that are evident in its design,” El Mousfy explains. “The article announces, along with a futuristic abstract drawing, that ‘The Flying Saucer will be soon landing in Sharjah’, followed by a second article that reads ‘The Flying Saucer will be landing in Sharjah Tomorrow’, (Al Khaleej 1978). A more detailed advertisement in Gulf News on 18 December 1978 read ‘Space Age Shopping comes to Sharjah’.

“Undoubtedly the Flying Saucer was an alien object to Sharjah and the area it landed on, yet Sharjah at this period was beginning to embrace modernity –  as evidenced by the 1970s modern buildings along Al Aruba Street, Sharjah Corniche Street and in the newly developed neighbourhoods located around the Saucer and few kilometres inland from the city centre,” she adds.

Initially conceived as a French-inspired store that combined a restaurant, newsstand, tobacconist, gift shop, patisserie and delicatessen, the building was later taken over by a local supermarket chain. The Sharjah Art Foundation (SAF) first acquired the building in 2012, replacing a fast food chain that had modified its architecture through the incorporation of an annex, interior partitions and a false ceiling that hid its concrete dome and ceiling structure from the inside. The peripheral structural pillars had also been cladded with silver aluminium panels.

Three years after acquiring the building, Sharjah Art Foundation began the process of returning the Flying Saucer to its original form in preparation for the 2015 exhibition ‘1980 – Today: Exhibitions in the United Arab Emirates’, curated by SAF’s president and director Hoor Al Qasimi for the National Pavilion UAE La Biennale di Venezia at the 56th International Art Exhibition that year. For this temporary renovation, the building was stripped of its exterior cladding and interior elements, including the false ceiling and partitions, fully revealing its over seven-metre-high dome and impressive structure.

“SAF began restoring the building in 2015, working with SpaceContinuum Design Studio to reverse the transformations undertaken during The Flying Saucer’s occupation by Al Taza restaurant that led to the erasure of the building’s Brutalist character. In this first phase of renovation the structure was stripped back to its core form by removing the grey aluminium cladding on its pillars and the orange aluminium cladding on its canopy, and taking down all false ceilings and interior partitions,” El Mousfy comments.

The most recent intervention restored the building to its original silhouette, enhancing the open character of the interior gallery space. Notable elements of its design include a wide circular dome floating above a ring of eight columns, a star-shaped canopy projecting beyond a fully glazed panoramic façade, and light and open interior space supported by angled V-shaped pillars.

“The core aim of the present restoration was to bring the Flying Saucer back to its original silhouette by removing its incongruous connected annex and reinstating its openness and perceptual lightness. This deletion fully reveals the glazed façade that immerses the space with daylight and allows for a 360-degree panoramic view of the surroundings. It also restores on the interior and exterior the radial symmetrical shape of the building, helping visitors to further appreciate its quite magnificent ceiling and façade structures, and towards the centre, its 7.3-metre-high dome that was kept in its existing condition- a rough exposed concrete finish.

“The main aim of this cycle of adaptive reuse was to fulfil the desire of the Sharjah Art Foundation to further inscribe the Flying Saucer into the daily life of Sharjans while contributing to its rich socio-cultural history,” El Mousfy says.

“This present intervention has a two-fold strategy; firstly the restoration of the Flying Saucer to its original character, and secondly the addition of a new outdoor public space and a lower-level community space that aims to foster gathering, learning and creativity.”

The outdoor urban space, dubbed the Platform, is an open public space designed to act as a spatial and programmatic extension of the Flying Saucer, and set to host social events, performances and outdoor art installations.

“One important urban addition of the present intervention aims to enhance the approach to The Flying Saucer and invite pedestrians and visitors at large to engage with the venue’s outdoor spaces. The Platform, which is anchored on the site around the Saucer, has replaced the old parking space. It acts both as a threshold surrounding the building on three sides and as spatial and programmatic extension of the Saucer, to be used as a public gathering place and to stage outdoor exhibitions and events,” El Mousfy explains.

Due to the building’s intersectional location, pedestrian access to the building is easier from some areas more than others, although El Mousfy adds that Sharjah Art Foundation intends to work with the Sharjah Roads and Transport Authority to attempt to achieve more pedestrian-friendly conditions.

The additional underground location, the Launch Pad, creates a community space that houses a sunken circular courtyard called the Green Crater, featuring lush vegetation and natural light; there is also a convivial, multi-activity café overlooking the Green Crater, a curated library, as well as areas to host events such as film screenings and workshops.

“The Launch Pad is intended as a community space that fulfils a cultural and social function. In contrast with the Saucer’s radial symmetrical shape, the Launch Pad has a fluid character and is enclosed all around by white-stained fair-faced concrete walls giving it a rough textural expression. The space geometrically mirrors the Platform above; it fans around the Saucer’s faceted retaining walls and extends to the periphery of the site,” El Mousy says.

“The horizontally extended yet vertically compressed underground space has limited outside vistas – in contrast to the Saucer space that allows for 360-degree panoramic views of its surroundings. Also, in contrast to the Flying Saucer, which is fully immersed with daylight, the Launch Pad receives daylight from different types of light source: the lush circular sunken courtyard, the glass encased stair and the three linear peripheral skylights that bring zenithal lighting to the open space.”

The ongoing renovations of the Flying Saucer as well as other modern buildings across Sharjah sheds light on Sharjah Art Foundation and SpaceContinuum’s stark interest in preservation and adaptive reuse, placing Sharjah at the forefront of such initiates across the Emirates.

“Sharjah Art Foundation’s President and Director Hoor Al Qassimi has a long-term interest in revisiting and adapting selected modern structures of the ‘70s and ‘80s to new uses. Their preservation aims to highlight their architectural and urban qualities, and reveal their rich history with multiple references to the UAE’s own history,” El Mousfy explains.

“Myself and the two architect colleagues from the Sharjah Art Foundation who have also worked on this project, Mona El Chaar and Hinjal Kumar, fully share this interest in engaging with existing structures in the city. Not only is this approach environmentally sustainable, but it also creates a layered architecture that is in continuous dialogue, while building upon the city’s history and memories, and responding to contemporary uses and evolving aspirations. I believe that thoughtful adaptive reuse of culturally valuable buildings supports the re-evaluation and transformation of architecture.”

Read more: Hopkins Architects’ Buhais Geology Park blends with the desert landscape

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All photography by Natlee Cocks

“We name our projects after cities around the world and this specific project was named Palo Alto,” Durou shares. “As one of the principal cities of Silicon Valley, the city has not only the most reputable high-tech company but some serious real estate gems. Palo Alto and its surroundings were definitively a great inspiration. A blend between contemporary design with old treasures and creative minds, we wanted the interiors to be thoughtfully put together, yet have an effortless feel.”

The renovated residence features a carefully curated list of designer furniture that is balanced by the owners’ extensive art collection which, in itself, adds vibrancy to the large, three-storey villa that includes a main hall, four master bedrooms and bathrooms, dressing rooms, a lounge area, family room, living room, kitchen, family sitting area, play area, a dining room and lounge.

“During the design process, we were set on creating elegant and sophisticated spaces with unique and unusual elements that gives it an avant-garde feel. Our clients own an incredible art collection so our main goal was for the interiors to enhance and complement the beauty of each piece,” Durou explains. “We wanted the spaces to embrace the feeling of being in a modern art gallery so we took inspiration from the look and feel of Atelier Brancusi at the Pompidou Centre to achieve this.

“Design and art are so personal and so is beauty. The things that get collected over time express our most intimate memories and that is something we wanted to reflect in our design.”

Other influences such as a modern-Scandinavian sensibility offers warm touches to the space, contrasted with nods to Greek history that is accentuated in the décor. Nevertheless, the interiors remain true to a refined and contemporary aesthetic featuring clean-lines with natural and organic materiality.   

Geometric and linear shapes are offset by bulky and monochromatic objects, an eclectic composition which gave rise to the furniture selection including the likes of Patrica Urquiola in collaboration with Cassina, armchairs by Carl Hansen and bespoke pieces by Line Concept. The informal dining area features a charcoal black Clay dining table paired with a masterpiece light by Vibia. These designer pieces are contrasted with hidden gems that have been sourced the world over. 

“We emphasised the clash of cultures in the décor, from lighting to furniture. This was an essential approach for this home where we mixed Cycladic and neoclassical influences with contemporary and modern design pieces. Along with a neutral but textural palette in the upholstery and wood tones to the plaster wall finishes, it became our template,” Durou says. 

The most outstanding architectural elements of the project are its double-height ceilings and windows in the formal living and dining rooms, allowing natural light to fill the space. Vital elements that complement the architectural features of the modern villa are the clean lines, a minimal approach to open spaces and the use of natural materials, with a show-stopping staircase at the entrance.

In the living room, a statement sofa was sourced from La Cividina, offset by the whimsical spaghetti chairs made in Sherpa – one of the most trending textiles of the year. Massproductions supplied the armchairs that have been contrasted by a black marble table, while the elegant, sculptural objects from Faina are showcased across the room, created by a multidisciplinary design studio in Kiev, Ukraine by designer Victoria Yukusha. 

The Palo Alto aesthetic comes alive most prominently in the outdoor lounge area, where the designers layered white-on-white elements with touches of wood and terracotta accent pieces, dotted with furniture pieces by the likes of Paolo Lenti, MDF Italia, Tribu, Sand and Vondom. This bright, minimal and cosy atmosphere allows for a perfectly relaxing space within an overall sophisticated environment.

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While Italian design is renowned for its elegant applications, the rural culture of the country remains a vital part of Italian tradition and design, in which the kitchen serves as the breathing heart of the home; typically organised around a fireplace as a source of heat.

The architects wanted to translate this cultural element into the layout of the house where, although remaining contemporary in its formality and application, the result stays rooted in traditional Italian values of the home.

In turn, the kitchen becomes a crossroad within the layout of the space, set close to the entrance which allows visitors and home owners alike to pass through it in order to access other areas of the house, from the kids’ room to the laundry room, as well as the garden and the courtyard.

The design itself remains minimalistic but true to its site, using elements of millwork that clad the walls, hiding any visible doors and joints, while the long central kitchen counter stands as the protagonist of the overall space.

“The kitchen is as important to the design as the heart is to the body,” the architects said. “In a contemporary Italian lifestyle, the kitchen and dining areas must be one-space, especially as cooking has become a passion that the owners of the house share with their guests and other family members – and even more so now in times of lockdown.”

Additionally, during the renovation, the architects opened the Masonry wall facing the garden and built a greenhouse that extends to the outdoor park. In this way, the house gains additional space to accommodate a generous dining area that faces the kitchen.

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The often-detached concepts of office and home life have come to a collision in recent months, with many questioning the boundaries and intersections of the two distinct realities. Interior design practice Styled Habitat tackles these precise boundaries in the renovation of its studio in Dubai Design District, creating a space that encourages the best of both worlds.

Opening up to an airy yet casual living room-like space, the studio emulates a sense of being in a private loft that aptly overlooks Dubai’s Downtown and Burj Khalifa. The large, inviting space acts as the central core of the studio, serving as a welcoming lounge, meeting and collaborative space.

“We studied different models of office spaces but we found that traditional models didn’t represent Styled Habitat’s aesthetics or values,” says founder, Rabah Saeid. Instead, she decided to marry elements of both to create a space that felt authentic to Styled Habitat; one that is welcoming, personal, calm and contemplative.

“The studio environment allows for team members and guests to step back and be able to see the whole space while still being able to zoom in on how individual moments play together,” Saeid explains.

The result is a studio comprising fluid spaces that adapt to its various uses. The hybrid model combines both open and closed office plans teamed with a selection of finishes, textures and furniture that further contributes to the feel of a comfortable and inviting living space.

The open central core overlooks a series of beautifully plastered arches that separate the public space from the individual offices on one side, while on the other side, a tall, floor-to-ceiling custom materials library establishes an anchor between public and private spaces.

“Good design has to be functional and meet the actual needs of the users,” Saied explains. “Pulling a space together is all about building character. The series of arches create a visual boundary for the lounge area and emphasise the thickness of the openings and walls with an old-world plaster finish. This is further balanced by the European herringbone wood flooring. All these elements collectively melt together to give the studio a sense of character and history, but more importantly, an approachable and inviting feeling.”

Another area that has been given meaningful attention is the pantry that was once an isolated storage room but has now been transformed into a dramatic space. The decadent room features custom joinery, integrated appliances, rich four-season marble countertops and a marble ledge, that acts as both a functional shelf as well as a display to showcase beautiful collections of handmade ceramics. Much like other areas of the office, interwoven spaces take precedent over closed doors, with the pantry similarly spilling into the studio using a cosy bench dressed in vintage velvet set at the end of the counter, creating an alluring spot to enjoy a cup of coffee.

“The pantry becomes more of a flow-through from the rest of the studio,” says Saeid. “It is not choppy or an afterthought or purely utilitarian.”

Saeid’s attention to detail and nuanced design choices is also expressed in the endless curiosity of “honest” materials, textures and objects that are carefully curated and positioned across the studio. From natural oak herringbone floors, pitted travertine tables and marble countertops to textured linen fabrics and a plush rug area all, all chosen elements are used to enhance the lived-in narrative of the space.   

“I love the challenge of adhering to a limited palette of whites, linens, warm wood and a few hints of black,” Saeid comments. “To achieve a curated, well-lived in space, we layered tones and textures in a way that was super considered yet minimal. We also needed to energize the deepest parts of the studio where there was little natural light such as the pantry by painting the back wall a rich burgundy colour and carefully placing lights to draw attention to the vintage framed artworks.”

The studio also boasts a range of brands and products that are showcased in a manner that feels collected and admired, celebrating their quality and craftsmanship. From locally-made custom designs to classic pieces and contemporary works, each of these serves their intended function and highlight Styled Habitat’s creativity in seamlessly mixing different styles.

One example of this is the classic CH20 Elbow Chair designed by Carl Hansen & Son whose curvy and graceful form fits beautifully against the pure and simple lines of the Fredericia-Mesa table. Other brands that grace the studio include lighting from Flos, furniture pieces from Ikonhouse – who’s Alserkal Avenue showroom is also designed by Styled Habitat – as well as pieces from Cassina and DesignItch.

“I find that allowing the design to unfold piece by piece, material by material, is when the magic of design can take you by surprise. This unfolding is what stimulates comfort and excitement in design,” Saeid points out.

“In my opinion, there are no hard-and-fast rules. Anything that truly makes your heart sing should find its rightful place in your space,” she adds.

Photography by Oculis Project

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Located along a main road in the Xuhui district, a deep-set arched door, that appears to be carved into the building’s facade, invites visitors into its narrow walls and sequence of cave-like rooms.

“It’s very close to the cave entrance we have imagined,” the architects said, “the texture of the facade looks similar to stucco but is actually a result of pebble wash.”

Thee studio were tasked with transforming the 60m2 former diner into a gallery showcasing vintage design objects. Upon their first visit in 2018, the team were presented with a long and narrow space that was divided into four rooms of various heights, with the only natural light filtering in from the entrance and the courtyard in the rear.

“The word cave broke into our mind when we first sought to define the space as a whole,” the architects said “And because the space shares similar physicality with a cave, while we were verifying this concept, we realised that cave is not an imposed concept but manifested by the nature of the site itself.

“Once the overall concept of the cave was established, other elements for this space that share the same design language naturally fell into place,” they added.

The interior space embraces the leveled floor, allowing visitors to step down into a central gallery then step up again to gain access to the spaces at the rear end of the building, mimicking the natural movement of descending and emerging from a cave.

The architects further emphasised the various levels but subtly alternating each space with different earthy hues and textures.

The entrance area and side gallery has been completed in a white enamel finish, while the corridor is painted in an ochre shade. A darker shade of sienna has been used for the back of the gallery.

Due to the lack of natural lighting, the architecture studio created wall openings across the space to create indirect light sources while a row of small niches were carved along the wall of the central gallery to create a candle-lit ambiance.

An irregular peeking window has also been punctured between the central and side gallery to allow for a visual connection between the two spaces.

In the rear, a row of skylight were designed to guide visitors out of the gate through the exit, once again mimicking the natural manner in which light penetrates through thick cave walls.

The walls feature built in curved plinths, shelves and platforms to exhibit various design pieces, while pebble-shaped ceramic door handles sourced from a Berlin flea market have been used throughout the space.

Curved plinths, shelves and platforms have additionally been built into the walls of the exhibition spaces to present design pieces.

Adding to the cave theme, pebble-shaped ceramic door handles that the studio sourced from an antique flea market in Berlin were used throughout the space.

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Set in the heart of the Sienese Clays in Italy, Podere Navigliano now showcases a reinterpretation of traditional elements which has allowed the architects to find a new language and a new aesthetic that is inseparably linked to its tradition.

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The high-profile design team has the delicate task of completely remodelling the 47-floor (190-metre-high) brick and limestone building that was designed by architects Schultz and Weaver in 1931. When it first made its debut, the hotel was the world’s tallest building.

Currently owned by the China-owned Dajia Insurance Group, the Waldorf is said to be the largest privately-owned landmark in New York City.

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The 153,000-square metre property was closed in 2017 and is to re-open in 2022 following the extensive programme, which involves creating 375 luxury condominiums and the same number of hotel rooms from the space initially allocated to some 1400 hotel rooms.

Over the decades The Waldorf Astoria New York has had numerous Hollywood divas, stars and musicians as long-term residents, including Frank Sinatra, Elizabeth Taylor and Angelina Jolie. Cole Porter, who called the hotel his home for over three decades, wrote his famous You’re The Top number from his musical ‘Anything Goes’ while living there.

The property’s famed kitchens invented the world-famous Waldorf salad and Eggs Benedict. From the outset, the motto ‘The guest is always correct’ was standard practice.

Yet this will be the first time that current A-list celebrities and wealthy investors will be able to own a slice of this coveted Manhattan property.

“We have embraced a profound responsibility as the stewards of the Waldorf Astoria and assembled an incredible team to bring an unmatched residential product to the New York City market,” said Andrew Miller, CEO of Dajia US.

“For almost 100 years, the Waldorf Astoria has been New York’s ‘unofficial palace’, and was famously anointed by Conrad Hilton as ‘The Greatest of Them All.’ Now, with residences for sale for the first time, buyers from New York and all over the world can call it home,” Miller added.

The developers are also hoping that the exclusive properties will be appreciated by discerning Middle Eastern investors.

The renovation of the building has been extensive, and the design team was challenged with recreating a high-tech modern interior and exterior while remaining true to the essence of the property and its Art Deco origins.

Skidmore, Owings & Merrill (SOM) – one of the world’s most highly revered architectural firms, which has been involved in significant buildings such as Dubai’s Burj Khalifa, the world’s tallest tower – was commissioned to work on this significant project.

Established in 1936, SOM has a reputation for innovation, unparalleled design and sustainability.

Frank Mahan, Associate Director of SOM commented: “It is both an honour and an enormous responsibility to be overseeing this next iteration of the legendary Waldorf Astoria New York.

“We started this project from a place of profound respect for the building’s heritage, and detailed research into its history, including all of the changes made to it over the years. We are not only returning the building to its former glory but also adapting it and making it relevant for future generations.”

Over the decades the hotel has undergone several minor interior changes, which meant that the design team had to strip much of those back to discover the original spaces.

Over 5000 new double-glazed, soundproofed windows have been installed; and new entrances have been created for The Towers residents and deliveries, to ensure a smooth and elegant flow in and around the prestigious building.

Areas in the original building’s turrets – once used as mechanical rooms – have been converted into two luxurious 600-square metre penthouses. These exclusive new triple-height, four-bedroom spaces will offer unique, never-before-seen views of the skyline in parts of the property never before inhabited.

Residential interiors

Six dedicated elevators whisk residents up to the elegantly appointed condos, created by French interior designer Jean-Louis Deniot.

Much sought-after, Deniot is a favourite of design magazine editors and probably one of the world’s most published interior designers. He has been entrusted with creating contemporary modern interiors for the luxury condos. Renowned for his attention to detail, Deniot has designed many of the fixtures – like the panelled interior doors adorned with bespoke bronze hardware.

Deniot commissioned customised cabinets from Italian firm Molteni&C. He sought inspiration from Art Deco and associated shapes for the vanities, the marble kitchen work surfaces and the polished nickel fixtures.

He also created a distinctive pattern for the mosaic work, which was inspired by an element from the original Waldorf Astoria New York’s interiors.

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Top-of-the-line Gaggenau kitchen appliances have been integrated into the kitchen spaces.

“The interiors will reflect the magnificence of the past, mixed with today’s great sense of energy. They will be grand and playful, all highly inviting, with many elements of surprise and excitement,” Deniot said, adding that while adding that he is keen to maintain the Waldorf Astoria’s enduring and lavish aura.

Adding to the desirability of the condos are the three-metre-plus-high ceilings, which create a sense of additional spaciousness.

Most of the luxury condos are two-bedroom models, which are being marketed from US$1.7 million.

A unique integrated concierge closet is located at the entry of each of the condos, from which residents can collect their deliveries.

Deniot also created 4600 square metres of residential amenities – including the gym, spa and pool – as well as the co-working spaces.

The indoor pool has been placed under a double-height ceiling featuring a magnificent skylight from the original design; for the past 70 years, the window has been obstructed.

Hotel interiors

Celebrated Paris-based designer Pierre-Yves Rochon is the mastermind who brought the über-prestigious Four Seasons George V in Paris and the London Savoy back to their former glory.

“The Waldorf’s beautiful architectural character from the American 1930s is the perfect mix of classic and modern, and the ideal setting for a timeless luxury hotel,” said Rochon.

“It has always had a special place in my heart, and working with this team to respect the history of the space while bringing it into a new era has been a dream come true.”

Working in collaboration with the team from SOM, Rochon has brought new life, vigour and glamour to the public spaces – which now ooze with a fresh sense of occasion and glamour.

He has also given the restaurants and bars and the 375 luxurious guest rooms and suites new vitality while respecting the original style.

Rochon has installed state-of-the-art lighting schemes and new windows, opening up and breathing light into hitherto dark areas, such as the Lexington Avenue lobby.

“We are bringing it back to life – to a place where you want to stay,” he added.

Rochon is quoted as saying, “You feel it’s a change without change. From an architect’s point of view, that means we are going to respect all the rooms, while it will be a completely different destination.”

Meanwhile, several items synonymous with the property’s history – including the Spirit of Achievement statue, the famous World Fair Clock and even Cole Porter’s original Steinway piano – have been restored, in preparation of the grand 2022 re-opening.

Over the next 18 months, the hotel will be furnished and decorated with items from the most prestigious global design houses. An art collection curated by Simon de Pury is being selected and will feature the work of emerging artists from all over the world.

“We chose artists from all over the world, whose spirit we believe in. These artists will help to breathe new life into this historic space,” said Simon de Pury.

The stage is set and it is just a matter of time before the well-heeled Chinese, Arab and Russian residents and the world’s A-list celebrities move into and enjoy life in one of the most iconic addresses on the planet.

Photos: Noë & Associates/The Boundary

This story was originally published in the May 2020 issue, which you can read for free here.

The post SOM, Jean-Louise Deniot and more lead Waldorf Astoria New York renovation appeared first on identity.