This piece reimagines Hassan Fathy’s original chair — an object once shaped for simplicity and belonging.
The new edition carries that essence forward: bold in its geometry, quiet in its gesture.

A high back rises like a minaret.
Arms curl into loops — protective, embracing.
The form is sculptural, yet human.

It is not only for sitting, but for grounding.
Not only for function, but for remembrance.

Crafted in dark wood, it holds both weight and stillness — a reminder that design is not fleeting, but enduring.
It is a dialogue across time: between past and present, between the hand of Hassan Fathy and the hands that shape it now.

This chair does not imitate — it continues.
It is heritage, re-expressed.

The Visitor is a sculptural table defined by three interlocking hexagonal forms, each one echoing the natural precision of a honeycomb. The design was born from a quiet, almost meditative moment: a bee, drawn by light, finding its way into a still room. There was no haste, no chaos — only a sense of purpose in its movement, a silent gesture that lingered long enough to become form. From this encounter emerged a table where geometry and narrative meet.

Each element of the composition claims its own presence yet contributes seamlessly to the whole, creating a study in balance, proportion, and coexistence. Crafted in warm wood and finished with layers of stone, glass, and textured grain, The Visitor blurs the boundary between function and contemplation, between utility and sculpture.

It is not designed to dominate a space but to ground it — a piece that invites pause, anchoring interiors with its quiet confidence.

Rooted in natural order and architectural clarity, The Visitor reflects a philosophy where design moves beyond decoration to become a narrative, where presence itself becomes the purpose.

Its frame carries the words: “Be beautiful, and you will see the world as beautiful.” More than reflection, it becomes perspective — a dialogue between self and space.

The name “كُن” (Be) echoes the divine command of creation. Around it, Kufic script is carved and softly backlit, so that language turns into light.

By day, the mirror stands sculptural and grounded. By night, it transforms — casting a sacred warmth through the rhythm of its script.

It is not just a mirror, but a ritual of presence. A modern relic where beauty is both seen and felt, where light reveals not only what is, but what could be.

Every design move was about enabling graceful living — especially for elderly residents.

We integrated a lift to support mobility across floors without disrupting flow.
The bathroom features dual-height sinks to accommodate daily rituals such as wudu’, allowing movement and purpose to coexist.

Details like hand-applied wall textures, custom lighting niches, and framed mirrors support a language of subtle care.

Long before the age of wardrobes and closets, there was the sabet — a large wooden chest that carried far more than belongings. Within its heavy walls rested the essence of a home: garments folded with care, embroidered fabrics shimmering with patience, silver and gold carefully wrapped, the treasured objects of a bride’s trousseau waiting for a life yet to unfold. It was both practical and ceremonial — a vessel of continuity, a keeper of value, memory, and tradition.

Traditionally carved from enduring woods — oak, walnut, cedar — the sabet was often adorned with intricate motifs, inlays of mother-of-pearl, brass filigree, even the occasional gemstone glinting softly under lamplight. It stood not only as furniture but as a symbol of permanence, a silent witness to generations passing before it.

This reinterpretation revives that legacy — crafted in minimalist Egyptian mother-of-pearl inlay, bound with hand-cast brass, even the nails forged in copper by artisans. Each detail honours the past while speaking to the present.

The chest becomes more than storage. It becomes a bridge between eras, an heirloom redesigned for modern interiors. A quiet reminder that design is never just about what we keep, but about what keeps us — the stories, the rituals, the sense of belonging carried forward through form and material.

A bee enters - not with threat, but with purpose.
Drawn to light, she hovers in stillness, a silent messenger.
In her path: harmony, geometry, and intention.

This table is a response to that moment. A quiet translation of nature's design - three hexagons
merging like honeycomb cells,
Each form grounded in sacred geometry and the balance it evokes

"The Visitor' is not merely a table, but a symbol.
Of calm in the midst of motion.
Of beauty found in the unnoticed.
Of the subtle encounters that shape what we create.

Crafted to honour presence over noise, and meaning over excess.
An invitation to pause - to feel, not just to furnish.

Each tray table draws from the geometric language of Anatolian Kilim motifs — a tradition where pattern is never arbitrary but symbolic. Stars speak of happiness and fertility; grids suggest order and continuity; horns embody strength; eyes offer protection. These timeless forms, once carried across generations in woven textiles, are now reinterpreted through precise marquetry veneers.

The result is a series of surfaces where craftsmanship and cultural memory intersect. Foldable, lightweight, and versatile, the tables adapt effortlessly between utility and ornament, blending functional design with narrative depth.

This is design as continuity rather than imitation — symbols distilled into form, heritage translated into a contemporary language of material, proportion, and purpose. Each table stands as a story told through pattern: enduring, articulate, and alive within modern interiors.