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@SceneHome: By modern standards, this house should not exist. Set deep within Egypt’s Siwa Oasis, architect Kareem Aldomiaty has designed an entirely off-grid sanctuary that breaks all ties to urban life. With no connection to a power grid, no municipal water, and zero air conditioning, the structure relies on the logic of the land.

“The big question was how can I achieve a balance of building a house which conforms to today’s contemporary meanings of home, while still contextualising it within its environment,” Aldomiaty tells SceneHome.

From limestone walls that keep the interior 8 degrees cooler than the desert heat to a central tower that uses gravity to distribute well water, every design choice was driven by necessity. It is, as the architect describes it, a study of “stone, light, water and the space in between.”

Read the full feature on scenehome.com

📸 @magni_sara

@SceneHome: By modern standards, this house should not exist. Set deep within Egypt’s Siwa Oasis, architect Kareem Aldomiaty has designed an entirely off-grid sanctuary that breaks all ties to urban life. With no connection to a power grid, no municipal water, and zero air conditioning, the structure relies on the logic of the land.

“The big question was how can I achieve a balance of building a house which conforms to today’s contemporary meanings of home, while still contextualising it within its environment,” Aldomiaty tells SceneHome.

From limestone walls that keep the interior 8 degrees cooler than the desert heat to a central tower that uses gravity to distribute well water, every design choice was driven by necessity. It is, as the architect describes it, a study of “stone, light, water and the space in between.”

Read the full feature on scenehome.com

📸 @magni_sara

@SceneHome: By modern standards, this house should not exist. Set deep within Egypt’s Siwa Oasis, architect Kareem Aldomiaty has designed an entirely off-grid sanctuary that breaks all ties to urban life. With no connection to a power grid, no municipal water, and zero air conditioning, the structure relies on the logic of the land.

“The big question was how can I achieve a balance of building a house which conforms to today’s contemporary meanings of home, while still contextualising it within its environment,” Aldomiaty tells SceneHome.

From limestone walls that keep the interior 8 degrees cooler than the desert heat to a central tower that uses gravity to distribute well water, every design choice was driven by necessity. It is, as the architect describes it, a study of “stone, light, water and the space in between.”

Read the full feature on scenehome.com

📸 @magni_sara

@SceneHome: By modern standards, this house should not exist. Set deep within Egypt’s Siwa Oasis, architect Kareem Aldomiaty has designed an entirely off-grid sanctuary that breaks all ties to urban life. With no connection to a power grid, no municipal water, and zero air conditioning, the structure relies on the logic of the land.

“The big question was how can I achieve a balance of building a house which conforms to today’s contemporary meanings of home, while still contextualising it within its environment,” Aldomiaty tells SceneHome.

From limestone walls that keep the interior 8 degrees cooler than the desert heat to a central tower that uses gravity to distribute well water, every design choice was driven by necessity. It is, as the architect describes it, a study of “stone, light, water and the space in between.”

Read the full feature on scenehome.com

📸 @magni_sara

@SceneHome: By modern standards, this house should not exist. Set deep within Egypt’s Siwa Oasis, architect Kareem Aldomiaty has designed an entirely off-grid sanctuary that breaks all ties to urban life. With no connection to a power grid, no municipal water, and zero air conditioning, the structure relies on the logic of the land.

“The big question was how can I achieve a balance of building a house which conforms to today’s contemporary meanings of home, while still contextualising it within its environment,” Aldomiaty tells SceneHome.

From limestone walls that keep the interior 8 degrees cooler than the desert heat to a central tower that uses gravity to distribute well water, every design choice was driven by necessity. It is, as the architect describes it, a study of “stone, light, water and the space in between.”

Read the full feature on scenehome.com

📸 @magni_sara

@SceneHome: By modern standards, this house should not exist. Set deep within Egypt’s Siwa Oasis, architect Kareem Aldomiaty has designed an entirely off-grid sanctuary that breaks all ties to urban life. With no connection to a power grid, no municipal water, and zero air conditioning, the structure relies on the logic of the land.

“The big question was how can I achieve a balance of building a house which conforms to today’s contemporary meanings of home, while still contextualising it within its environment,” Aldomiaty tells SceneHome.

From limestone walls that keep the interior 8 degrees cooler than the desert heat to a central tower that uses gravity to distribute well water, every design choice was driven by necessity. It is, as the architect describes it, a study of “stone, light, water and the space in between.”

Read the full feature on scenehome.com

📸 @magni_sara

@SceneHome: By modern standards, this house should not exist. Set deep within Egypt’s Siwa Oasis, architect Kareem Aldomiaty has designed an entirely off-grid sanctuary that breaks all ties to urban life. With no connection to a power grid, no municipal water, and zero air conditioning, the structure relies on the logic of the land.

“The big question was how can I achieve a balance of building a house which conforms to today’s contemporary meanings of home, while still contextualising it within its environment,” Aldomiaty tells SceneHome.

From limestone walls that keep the interior 8 degrees cooler than the desert heat to a central tower that uses gravity to distribute well water, every design choice was driven by necessity. It is, as the architect describes it, a study of “stone, light, water and the space in between.”

Read the full feature on scenehome.com

📸 @magni_sara

@SceneHome: By modern standards, this house should not exist. Set deep within Egypt’s Siwa Oasis, architect Kareem Aldomiaty has designed an entirely off-grid sanctuary that breaks all ties to urban life. With no connection to a power grid, no municipal water, and zero air conditioning, the structure relies on the logic of the land.

“The big question was how can I achieve a balance of building a house which conforms to today’s contemporary meanings of home, while still contextualising it within its environment,” Aldomiaty tells SceneHome.

From limestone walls that keep the interior 8 degrees cooler than the desert heat to a central tower that uses gravity to distribute well water, every design choice was driven by necessity. It is, as the architect describes it, a study of “stone, light, water and the space in between.”

Read the full feature on scenehome.com

📸 @magni_sara

@SceneHome: By modern standards, this house should not exist. Set deep within Egypt’s Siwa Oasis, architect Kareem Aldomiaty has designed an entirely off-grid sanctuary that breaks all ties to urban life. With no connection to a power grid, no municipal water, and zero air conditioning, the structure relies on the logic of the land.

“The big question was how can I achieve a balance of building a house which conforms to today’s contemporary meanings of home, while still contextualising it within its environment,” Aldomiaty tells SceneHome.

From limestone walls that keep the interior 8 degrees cooler than the desert heat to a central tower that uses gravity to distribute well water, every design choice was driven by necessity. It is, as the architect describes it, a study of “stone, light, water and the space in between.”

Read the full feature on scenehome.com

📸 @magni_sara

@SceneHome: By modern standards, this house should not exist. Set deep within Egypt’s Siwa Oasis, architect Kareem Aldomiaty has designed an entirely off-grid sanctuary that breaks all ties to urban life. With no connection to a power grid, no municipal water, and zero air conditioning, the structure relies on the logic of the land.

“The big question was how can I achieve a balance of building a house which conforms to today’s contemporary meanings of home, while still contextualising it within its environment,” Aldomiaty tells SceneHome.

From limestone walls that keep the interior 8 degrees cooler than the desert heat to a central tower that uses gravity to distribute well water, every design choice was driven by necessity. It is, as the architect describes it, a study of “stone, light, water and the space in between.”

Read the full feature on scenehome.com

📸 @magni_sara

@SceneHome: Across the Middle East and North Africa, architecture was never meant to be just visually striking forms materialized on land. It was a conversation between humans and nature, an attempt to build homes that bring people closer to their environment rather than isolate them from it. And from that conversation, colour emerged. Tones that are shaped by soil, stone, climate, and belief, ones that tell stories and carry identity.

In this unrealistic, yet optimistic guide, we imagine a region without sky-high borders, one not exhausted by political conflicts or economic hardships. In that version of the region, we travel freely and we chase colours. And these monochromatic cities scattered across the landscape would sit firmly at the top of our list.

For more design and architecture stories, head to www.scenehome.com (link in bio) or download the #SceneNOW app, available on iOS and Android.

🖊️ Lunary Sabry

@SceneHome: Dubai’s skyline pulses with audacious shapes, but UAE designer Abdalla Almulla’s most resonant designs often touch the earth. Walk through The Palm Pavilion - a structure of woven palm fronds, trunk columns, and parametric ceilings - and you feel the ghost of Sheikh Zayed himself, who once sat on such mats under palm canopies. “We used one tree to create everything,” Almulla, founder of MULA Design Practice, tells #SceneHome. “Flooring, structure, shade, even the furniture inside. It’s about less resources creating more meaning.” This pavilion, was originally commissioned by the Abwab initiative for Dubai Design Week, later migrated across the Emirates - a nomadic testament to design that honours roots while embracing reinvention.

For Almulla, the blank page is an invitation to wrestle with the unspoken. “Pavilions demand you ask a radical question,” he reflects, his voice alive with the energy of a solver. “Not how to build, but why.” Where commercial architecture often prioritises safety and convention, the pavilion becomes his laboratory; a space where constraints ignite invention, not inhibit it, giving him the license to flirt with the improbable whilst unburdened by permanent occupancy codes or rigid client mandates.

To understand how such a structure came to be, you have to rewind to the quiet obsessions and turning points that shaped Almulla’s trajectory. The designer’s path defies the archetype of the architect-hero. He didn’t build Lego empires as a child; graphic design tutorials captivated him first. Architecture emerged as a bridge between engineering pragmatism and creative yearning. His pivotal moment arrived in revelation during his thesis: an 800-metre musala (prayer space) suspended above Dubai. “I realised I wasn’t just designing for the divine, but with it,” he shares. “That shifted everything. Now, every project begins with a feeling - sacredness, earthiness, reflection - and materials follow.”

To read the full feature, head to www.scenehome.com (link in bio) or download the #SceneNOW app available on iOS and Android.

🖊️ Rawan Khalil

@SceneHome: Dubai’s skyline pulses with audacious shapes, but UAE designer Abdalla Almulla’s most resonant designs often touch the earth. Walk through The Palm Pavilion - a structure of woven palm fronds, trunk columns, and parametric ceilings - and you feel the ghost of Sheikh Zayed himself, who once sat on such mats under palm canopies. “We used one tree to create everything,” Almulla, founder of MULA Design Practice, tells #SceneHome. “Flooring, structure, shade, even the furniture inside. It’s about less resources creating more meaning.” This pavilion, was originally commissioned by the Abwab initiative for Dubai Design Week, later migrated across the Emirates - a nomadic testament to design that honours roots while embracing reinvention.

For Almulla, the blank page is an invitation to wrestle with the unspoken. “Pavilions demand you ask a radical question,” he reflects, his voice alive with the energy of a solver. “Not how to build, but why.” Where commercial architecture often prioritises safety and convention, the pavilion becomes his laboratory; a space where constraints ignite invention, not inhibit it, giving him the license to flirt with the improbable whilst unburdened by permanent occupancy codes or rigid client mandates.

To understand how such a structure came to be, you have to rewind to the quiet obsessions and turning points that shaped Almulla’s trajectory. The designer’s path defies the archetype of the architect-hero. He didn’t build Lego empires as a child; graphic design tutorials captivated him first. Architecture emerged as a bridge between engineering pragmatism and creative yearning. His pivotal moment arrived in revelation during his thesis: an 800-metre musala (prayer space) suspended above Dubai. “I realised I wasn’t just designing for the divine, but with it,” he shares. “That shifted everything. Now, every project begins with a feeling - sacredness, earthiness, reflection - and materials follow.”

To read the full feature, head to www.scenehome.com (link in bio) or download the #SceneNOW app available on iOS and Android.

🖊️ Rawan Khalil

@SceneHome: Dubai’s skyline pulses with audacious shapes, but UAE designer Abdalla Almulla’s most resonant designs often touch the earth. Walk through The Palm Pavilion - a structure of woven palm fronds, trunk columns, and parametric ceilings - and you feel the ghost of Sheikh Zayed himself, who once sat on such mats under palm canopies. “We used one tree to create everything,” Almulla, founder of MULA Design Practice, tells #SceneHome. “Flooring, structure, shade, even the furniture inside. It’s about less resources creating more meaning.” This pavilion, was originally commissioned by the Abwab initiative for Dubai Design Week, later migrated across the Emirates - a nomadic testament to design that honours roots while embracing reinvention.

For Almulla, the blank page is an invitation to wrestle with the unspoken. “Pavilions demand you ask a radical question,” he reflects, his voice alive with the energy of a solver. “Not how to build, but why.” Where commercial architecture often prioritises safety and convention, the pavilion becomes his laboratory; a space where constraints ignite invention, not inhibit it, giving him the license to flirt with the improbable whilst unburdened by permanent occupancy codes or rigid client mandates.

To understand how such a structure came to be, you have to rewind to the quiet obsessions and turning points that shaped Almulla’s trajectory. The designer’s path defies the archetype of the architect-hero. He didn’t build Lego empires as a child; graphic design tutorials captivated him first. Architecture emerged as a bridge between engineering pragmatism and creative yearning. His pivotal moment arrived in revelation during his thesis: an 800-metre musala (prayer space) suspended above Dubai. “I realised I wasn’t just designing for the divine, but with it,” he shares. “That shifted everything. Now, every project begins with a feeling - sacredness, earthiness, reflection - and materials follow.”

To read the full feature, head to www.scenehome.com (link in bio) or download the #SceneNOW app available on iOS and Android.

🖊️ Rawan Khalil

@SceneHome: Dubai’s skyline pulses with audacious shapes, but UAE designer Abdalla Almulla’s most resonant designs often touch the earth. Walk through The Palm Pavilion - a structure of woven palm fronds, trunk columns, and parametric ceilings - and you feel the ghost of Sheikh Zayed himself, who once sat on such mats under palm canopies. “We used one tree to create everything,” Almulla, founder of MULA Design Practice, tells #SceneHome. “Flooring, structure, shade, even the furniture inside. It’s about less resources creating more meaning.” This pavilion, was originally commissioned by the Abwab initiative for Dubai Design Week, later migrated across the Emirates - a nomadic testament to design that honours roots while embracing reinvention.

For Almulla, the blank page is an invitation to wrestle with the unspoken. “Pavilions demand you ask a radical question,” he reflects, his voice alive with the energy of a solver. “Not how to build, but why.” Where commercial architecture often prioritises safety and convention, the pavilion becomes his laboratory; a space where constraints ignite invention, not inhibit it, giving him the license to flirt with the improbable whilst unburdened by permanent occupancy codes or rigid client mandates.

To understand how such a structure came to be, you have to rewind to the quiet obsessions and turning points that shaped Almulla’s trajectory. The designer’s path defies the archetype of the architect-hero. He didn’t build Lego empires as a child; graphic design tutorials captivated him first. Architecture emerged as a bridge between engineering pragmatism and creative yearning. His pivotal moment arrived in revelation during his thesis: an 800-metre musala (prayer space) suspended above Dubai. “I realised I wasn’t just designing for the divine, but with it,” he shares. “That shifted everything. Now, every project begins with a feeling - sacredness, earthiness, reflection - and materials follow.”

To read the full feature, head to www.scenehome.com (link in bio) or download the #SceneNOW app available on iOS and Android.

🖊️ Rawan Khalil

@SceneHome: Dubai’s skyline pulses with audacious shapes, but UAE designer Abdalla Almulla’s most resonant designs often touch the earth. Walk through The Palm Pavilion - a structure of woven palm fronds, trunk columns, and parametric ceilings - and you feel the ghost of Sheikh Zayed himself, who once sat on such mats under palm canopies. “We used one tree to create everything,” Almulla, founder of MULA Design Practice, tells #SceneHome. “Flooring, structure, shade, even the furniture inside. It’s about less resources creating more meaning.” This pavilion, was originally commissioned by the Abwab initiative for Dubai Design Week, later migrated across the Emirates - a nomadic testament to design that honours roots while embracing reinvention.

For Almulla, the blank page is an invitation to wrestle with the unspoken. “Pavilions demand you ask a radical question,” he reflects, his voice alive with the energy of a solver. “Not how to build, but why.” Where commercial architecture often prioritises safety and convention, the pavilion becomes his laboratory; a space where constraints ignite invention, not inhibit it, giving him the license to flirt with the improbable whilst unburdened by permanent occupancy codes or rigid client mandates.

To understand how such a structure came to be, you have to rewind to the quiet obsessions and turning points that shaped Almulla’s trajectory. The designer’s path defies the archetype of the architect-hero. He didn’t build Lego empires as a child; graphic design tutorials captivated him first. Architecture emerged as a bridge between engineering pragmatism and creative yearning. His pivotal moment arrived in revelation during his thesis: an 800-metre musala (prayer space) suspended above Dubai. “I realised I wasn’t just designing for the divine, but with it,” he shares. “That shifted everything. Now, every project begins with a feeling - sacredness, earthiness, reflection - and materials follow.”

To read the full feature, head to www.scenehome.com (link in bio) or download the #SceneNOW app available on iOS and Android.

🖊️ Rawan Khalil

@SceneHome: Dubai’s skyline pulses with audacious shapes, but UAE designer Abdalla Almulla’s most resonant designs often touch the earth. Walk through The Palm Pavilion - a structure of woven palm fronds, trunk columns, and parametric ceilings - and you feel the ghost of Sheikh Zayed himself, who once sat on such mats under palm canopies. “We used one tree to create everything,” Almulla, founder of MULA Design Practice, tells #SceneHome. “Flooring, structure, shade, even the furniture inside. It’s about less resources creating more meaning.” This pavilion, was originally commissioned by the Abwab initiative for Dubai Design Week, later migrated across the Emirates - a nomadic testament to design that honours roots while embracing reinvention.

For Almulla, the blank page is an invitation to wrestle with the unspoken. “Pavilions demand you ask a radical question,” he reflects, his voice alive with the energy of a solver. “Not how to build, but why.” Where commercial architecture often prioritises safety and convention, the pavilion becomes his laboratory; a space where constraints ignite invention, not inhibit it, giving him the license to flirt with the improbable whilst unburdened by permanent occupancy codes or rigid client mandates.

To understand how such a structure came to be, you have to rewind to the quiet obsessions and turning points that shaped Almulla’s trajectory. The designer’s path defies the archetype of the architect-hero. He didn’t build Lego empires as a child; graphic design tutorials captivated him first. Architecture emerged as a bridge between engineering pragmatism and creative yearning. His pivotal moment arrived in revelation during his thesis: an 800-metre musala (prayer space) suspended above Dubai. “I realised I wasn’t just designing for the divine, but with it,” he shares. “That shifted everything. Now, every project begins with a feeling - sacredness, earthiness, reflection - and materials follow.”

To read the full feature, head to www.scenehome.com (link in bio) or download the #SceneNOW app available on iOS and Android.

🖊️ Rawan Khalil

@SceneHome: Dubai’s skyline pulses with audacious shapes, but UAE designer Abdalla Almulla’s most resonant designs often touch the earth. Walk through The Palm Pavilion - a structure of woven palm fronds, trunk columns, and parametric ceilings - and you feel the ghost of Sheikh Zayed himself, who once sat on such mats under palm canopies. “We used one tree to create everything,” Almulla, founder of MULA Design Practice, tells #SceneHome. “Flooring, structure, shade, even the furniture inside. It’s about less resources creating more meaning.” This pavilion, was originally commissioned by the Abwab initiative for Dubai Design Week, later migrated across the Emirates - a nomadic testament to design that honours roots while embracing reinvention.

For Almulla, the blank page is an invitation to wrestle with the unspoken. “Pavilions demand you ask a radical question,” he reflects, his voice alive with the energy of a solver. “Not how to build, but why.” Where commercial architecture often prioritises safety and convention, the pavilion becomes his laboratory; a space where constraints ignite invention, not inhibit it, giving him the license to flirt with the improbable whilst unburdened by permanent occupancy codes or rigid client mandates.

To understand how such a structure came to be, you have to rewind to the quiet obsessions and turning points that shaped Almulla’s trajectory. The designer’s path defies the archetype of the architect-hero. He didn’t build Lego empires as a child; graphic design tutorials captivated him first. Architecture emerged as a bridge between engineering pragmatism and creative yearning. His pivotal moment arrived in revelation during his thesis: an 800-metre musala (prayer space) suspended above Dubai. “I realised I wasn’t just designing for the divine, but with it,” he shares. “That shifted everything. Now, every project begins with a feeling - sacredness, earthiness, reflection - and materials follow.”

To read the full feature, head to www.scenehome.com (link in bio) or download the #SceneNOW app available on iOS and Android.

🖊️ Rawan Khalil

@SceneHome: Dubai’s skyline pulses with audacious shapes, but UAE designer Abdalla Almulla’s most resonant designs often touch the earth. Walk through The Palm Pavilion - a structure of woven palm fronds, trunk columns, and parametric ceilings - and you feel the ghost of Sheikh Zayed himself, who once sat on such mats under palm canopies. “We used one tree to create everything,” Almulla, founder of MULA Design Practice, tells #SceneHome. “Flooring, structure, shade, even the furniture inside. It’s about less resources creating more meaning.” This pavilion, was originally commissioned by the Abwab initiative for Dubai Design Week, later migrated across the Emirates - a nomadic testament to design that honours roots while embracing reinvention.

For Almulla, the blank page is an invitation to wrestle with the unspoken. “Pavilions demand you ask a radical question,” he reflects, his voice alive with the energy of a solver. “Not how to build, but why.” Where commercial architecture often prioritises safety and convention, the pavilion becomes his laboratory; a space where constraints ignite invention, not inhibit it, giving him the license to flirt with the improbable whilst unburdened by permanent occupancy codes or rigid client mandates.

To understand how such a structure came to be, you have to rewind to the quiet obsessions and turning points that shaped Almulla’s trajectory. The designer’s path defies the archetype of the architect-hero. He didn’t build Lego empires as a child; graphic design tutorials captivated him first. Architecture emerged as a bridge between engineering pragmatism and creative yearning. His pivotal moment arrived in revelation during his thesis: an 800-metre musala (prayer space) suspended above Dubai. “I realised I wasn’t just designing for the divine, but with it,” he shares. “That shifted everything. Now, every project begins with a feeling - sacredness, earthiness, reflection - and materials follow.”

To read the full feature, head to www.scenehome.com (link in bio) or download the #SceneNOW app available on iOS and Android.

🖊️ Rawan Khalil

@SceneHome: Dubai’s skyline pulses with audacious shapes, but UAE designer Abdalla Almulla’s most resonant designs often touch the earth. Walk through The Palm Pavilion - a structure of woven palm fronds, trunk columns, and parametric ceilings - and you feel the ghost of Sheikh Zayed himself, who once sat on such mats under palm canopies. “We used one tree to create everything,” Almulla, founder of MULA Design Practice, tells #SceneHome. “Flooring, structure, shade, even the furniture inside. It’s about less resources creating more meaning.” This pavilion, was originally commissioned by the Abwab initiative for Dubai Design Week, later migrated across the Emirates - a nomadic testament to design that honours roots while embracing reinvention.

For Almulla, the blank page is an invitation to wrestle with the unspoken. “Pavilions demand you ask a radical question,” he reflects, his voice alive with the energy of a solver. “Not how to build, but why.” Where commercial architecture often prioritises safety and convention, the pavilion becomes his laboratory; a space where constraints ignite invention, not inhibit it, giving him the license to flirt with the improbable whilst unburdened by permanent occupancy codes or rigid client mandates.

To understand how such a structure came to be, you have to rewind to the quiet obsessions and turning points that shaped Almulla’s trajectory. The designer’s path defies the archetype of the architect-hero. He didn’t build Lego empires as a child; graphic design tutorials captivated him first. Architecture emerged as a bridge between engineering pragmatism and creative yearning. His pivotal moment arrived in revelation during his thesis: an 800-metre musala (prayer space) suspended above Dubai. “I realised I wasn’t just designing for the divine, but with it,” he shares. “That shifted everything. Now, every project begins with a feeling - sacredness, earthiness, reflection - and materials follow.”

To read the full feature, head to www.scenehome.com (link in bio) or download the #SceneNOW app available on iOS and Android.

🖊️ Rawan Khalil

@SceneHome: What happens when intricate Moroccan domestic references are interpreted through the lens of a minimalist architect? In his latest project, “Project Maroc”, Omar Sedky, founder of Studio Blank, explores this dialogue in a house in New Cairo.

The starting point is a brief shaped by the client’s Moroccan background. From there, the project moves between two directions: one comes from Moroccan homes, where wood, tile and pattern are part of daily life, and the other comes from a minimal way of designing that focuses on simple, clean spaces. Both are present in the house at the same time.

“The client of this house was Moroccan and she wanted something inspired by her culture,” Sedky tells SceneHome. “That became the starting point for how we approached materials and details.”

Alongside this, his own design background shaped how the house was put together. “I come from six years of working with minimal architecture, so I brought that approach into the project as well,” he says.

Across the house, each room follows a simple rule: one main feature is highlighted, while everything around it is kept calm. This makes each space easy to read and focuses on specific details rather than filling every surface.

Woodwork is one of the main materials used. It appears in doors, lighting and selected details, drawing from Moroccan craft traditions. A mashrabiya screen is used as a key feature in one of the spaces, placed on its own so its pattern and shadow can be clearly seen.

Pattern appears through cement tiles with Moroccan-inspired designs. The same tiles are used in different ways across the house, but never in the same scale or layout.

Read the full feature on scenehome.com.

📸Nour El Refai
🖊️Salma Thabet

@SceneHome: What happens when intricate Moroccan domestic references are interpreted through the lens of a minimalist architect? In his latest project, “Project Maroc”, Omar Sedky, founder of Studio Blank, explores this dialogue in a house in New Cairo.

The starting point is a brief shaped by the client’s Moroccan background. From there, the project moves between two directions: one comes from Moroccan homes, where wood, tile and pattern are part of daily life, and the other comes from a minimal way of designing that focuses on simple, clean spaces. Both are present in the house at the same time.

“The client of this house was Moroccan and she wanted something inspired by her culture,” Sedky tells SceneHome. “That became the starting point for how we approached materials and details.”

Alongside this, his own design background shaped how the house was put together. “I come from six years of working with minimal architecture, so I brought that approach into the project as well,” he says.

Across the house, each room follows a simple rule: one main feature is highlighted, while everything around it is kept calm. This makes each space easy to read and focuses on specific details rather than filling every surface.

Woodwork is one of the main materials used. It appears in doors, lighting and selected details, drawing from Moroccan craft traditions. A mashrabiya screen is used as a key feature in one of the spaces, placed on its own so its pattern and shadow can be clearly seen.

Pattern appears through cement tiles with Moroccan-inspired designs. The same tiles are used in different ways across the house, but never in the same scale or layout.

Read the full feature on scenehome.com.

📸Nour El Refai
🖊️Salma Thabet

@SceneHome: What happens when intricate Moroccan domestic references are interpreted through the lens of a minimalist architect? In his latest project, “Project Maroc”, Omar Sedky, founder of Studio Blank, explores this dialogue in a house in New Cairo.

The starting point is a brief shaped by the client’s Moroccan background. From there, the project moves between two directions: one comes from Moroccan homes, where wood, tile and pattern are part of daily life, and the other comes from a minimal way of designing that focuses on simple, clean spaces. Both are present in the house at the same time.

“The client of this house was Moroccan and she wanted something inspired by her culture,” Sedky tells SceneHome. “That became the starting point for how we approached materials and details.”

Alongside this, his own design background shaped how the house was put together. “I come from six years of working with minimal architecture, so I brought that approach into the project as well,” he says.

Across the house, each room follows a simple rule: one main feature is highlighted, while everything around it is kept calm. This makes each space easy to read and focuses on specific details rather than filling every surface.

Woodwork is one of the main materials used. It appears in doors, lighting and selected details, drawing from Moroccan craft traditions. A mashrabiya screen is used as a key feature in one of the spaces, placed on its own so its pattern and shadow can be clearly seen.

Pattern appears through cement tiles with Moroccan-inspired designs. The same tiles are used in different ways across the house, but never in the same scale or layout.

Read the full feature on scenehome.com.

📸Nour El Refai
🖊️Salma Thabet

@SceneHome: What happens when intricate Moroccan domestic references are interpreted through the lens of a minimalist architect? In his latest project, “Project Maroc”, Omar Sedky, founder of Studio Blank, explores this dialogue in a house in New Cairo.

The starting point is a brief shaped by the client’s Moroccan background. From there, the project moves between two directions: one comes from Moroccan homes, where wood, tile and pattern are part of daily life, and the other comes from a minimal way of designing that focuses on simple, clean spaces. Both are present in the house at the same time.

“The client of this house was Moroccan and she wanted something inspired by her culture,” Sedky tells SceneHome. “That became the starting point for how we approached materials and details.”

Alongside this, his own design background shaped how the house was put together. “I come from six years of working with minimal architecture, so I brought that approach into the project as well,” he says.

Across the house, each room follows a simple rule: one main feature is highlighted, while everything around it is kept calm. This makes each space easy to read and focuses on specific details rather than filling every surface.

Woodwork is one of the main materials used. It appears in doors, lighting and selected details, drawing from Moroccan craft traditions. A mashrabiya screen is used as a key feature in one of the spaces, placed on its own so its pattern and shadow can be clearly seen.

Pattern appears through cement tiles with Moroccan-inspired designs. The same tiles are used in different ways across the house, but never in the same scale or layout.

Read the full feature on scenehome.com.

📸Nour El Refai
🖊️Salma Thabet

@SceneHome: What happens when intricate Moroccan domestic references are interpreted through the lens of a minimalist architect? In his latest project, “Project Maroc”, Omar Sedky, founder of Studio Blank, explores this dialogue in a house in New Cairo.

The starting point is a brief shaped by the client’s Moroccan background. From there, the project moves between two directions: one comes from Moroccan homes, where wood, tile and pattern are part of daily life, and the other comes from a minimal way of designing that focuses on simple, clean spaces. Both are present in the house at the same time.

“The client of this house was Moroccan and she wanted something inspired by her culture,” Sedky tells SceneHome. “That became the starting point for how we approached materials and details.”

Alongside this, his own design background shaped how the house was put together. “I come from six years of working with minimal architecture, so I brought that approach into the project as well,” he says.

Across the house, each room follows a simple rule: one main feature is highlighted, while everything around it is kept calm. This makes each space easy to read and focuses on specific details rather than filling every surface.

Woodwork is one of the main materials used. It appears in doors, lighting and selected details, drawing from Moroccan craft traditions. A mashrabiya screen is used as a key feature in one of the spaces, placed on its own so its pattern and shadow can be clearly seen.

Pattern appears through cement tiles with Moroccan-inspired designs. The same tiles are used in different ways across the house, but never in the same scale or layout.

Read the full feature on scenehome.com.

📸Nour El Refai
🖊️Salma Thabet

@SceneHome: What happens when intricate Moroccan domestic references are interpreted through the lens of a minimalist architect? In his latest project, “Project Maroc”, Omar Sedky, founder of Studio Blank, explores this dialogue in a house in New Cairo.

The starting point is a brief shaped by the client’s Moroccan background. From there, the project moves between two directions: one comes from Moroccan homes, where wood, tile and pattern are part of daily life, and the other comes from a minimal way of designing that focuses on simple, clean spaces. Both are present in the house at the same time.

“The client of this house was Moroccan and she wanted something inspired by her culture,” Sedky tells SceneHome. “That became the starting point for how we approached materials and details.”

Alongside this, his own design background shaped how the house was put together. “I come from six years of working with minimal architecture, so I brought that approach into the project as well,” he says.

Across the house, each room follows a simple rule: one main feature is highlighted, while everything around it is kept calm. This makes each space easy to read and focuses on specific details rather than filling every surface.

Woodwork is one of the main materials used. It appears in doors, lighting and selected details, drawing from Moroccan craft traditions. A mashrabiya screen is used as a key feature in one of the spaces, placed on its own so its pattern and shadow can be clearly seen.

Pattern appears through cement tiles with Moroccan-inspired designs. The same tiles are used in different ways across the house, but never in the same scale or layout.

Read the full feature on scenehome.com.

📸Nour El Refai
🖊️Salma Thabet

@SceneHome: What happens when intricate Moroccan domestic references are interpreted through the lens of a minimalist architect? In his latest project, “Project Maroc”, Omar Sedky, founder of Studio Blank, explores this dialogue in a house in New Cairo.

The starting point is a brief shaped by the client’s Moroccan background. From there, the project moves between two directions: one comes from Moroccan homes, where wood, tile and pattern are part of daily life, and the other comes from a minimal way of designing that focuses on simple, clean spaces. Both are present in the house at the same time.

“The client of this house was Moroccan and she wanted something inspired by her culture,” Sedky tells SceneHome. “That became the starting point for how we approached materials and details.”

Alongside this, his own design background shaped how the house was put together. “I come from six years of working with minimal architecture, so I brought that approach into the project as well,” he says.

Across the house, each room follows a simple rule: one main feature is highlighted, while everything around it is kept calm. This makes each space easy to read and focuses on specific details rather than filling every surface.

Woodwork is one of the main materials used. It appears in doors, lighting and selected details, drawing from Moroccan craft traditions. A mashrabiya screen is used as a key feature in one of the spaces, placed on its own so its pattern and shadow can be clearly seen.

Pattern appears through cement tiles with Moroccan-inspired designs. The same tiles are used in different ways across the house, but never in the same scale or layout.

Read the full feature on scenehome.com.

📸Nour El Refai
🖊️Salma Thabet

@SceneHome: What happens when intricate Moroccan domestic references are interpreted through the lens of a minimalist architect? In his latest project, “Project Maroc”, Omar Sedky, founder of Studio Blank, explores this dialogue in a house in New Cairo.

The starting point is a brief shaped by the client’s Moroccan background. From there, the project moves between two directions: one comes from Moroccan homes, where wood, tile and pattern are part of daily life, and the other comes from a minimal way of designing that focuses on simple, clean spaces. Both are present in the house at the same time.

“The client of this house was Moroccan and she wanted something inspired by her culture,” Sedky tells SceneHome. “That became the starting point for how we approached materials and details.”

Alongside this, his own design background shaped how the house was put together. “I come from six years of working with minimal architecture, so I brought that approach into the project as well,” he says.

Across the house, each room follows a simple rule: one main feature is highlighted, while everything around it is kept calm. This makes each space easy to read and focuses on specific details rather than filling every surface.

Woodwork is one of the main materials used. It appears in doors, lighting and selected details, drawing from Moroccan craft traditions. A mashrabiya screen is used as a key feature in one of the spaces, placed on its own so its pattern and shadow can be clearly seen.

Pattern appears through cement tiles with Moroccan-inspired designs. The same tiles are used in different ways across the house, but never in the same scale or layout.

Read the full feature on scenehome.com.

📸Nour El Refai
🖊️Salma Thabet

@SceneHome: What happens when intricate Moroccan domestic references are interpreted through the lens of a minimalist architect? In his latest project, “Project Maroc”, Omar Sedky, founder of Studio Blank, explores this dialogue in a house in New Cairo.

The starting point is a brief shaped by the client’s Moroccan background. From there, the project moves between two directions: one comes from Moroccan homes, where wood, tile and pattern are part of daily life, and the other comes from a minimal way of designing that focuses on simple, clean spaces. Both are present in the house at the same time.

“The client of this house was Moroccan and she wanted something inspired by her culture,” Sedky tells SceneHome. “That became the starting point for how we approached materials and details.”

Alongside this, his own design background shaped how the house was put together. “I come from six years of working with minimal architecture, so I brought that approach into the project as well,” he says.

Across the house, each room follows a simple rule: one main feature is highlighted, while everything around it is kept calm. This makes each space easy to read and focuses on specific details rather than filling every surface.

Woodwork is one of the main materials used. It appears in doors, lighting and selected details, drawing from Moroccan craft traditions. A mashrabiya screen is used as a key feature in one of the spaces, placed on its own so its pattern and shadow can be clearly seen.

Pattern appears through cement tiles with Moroccan-inspired designs. The same tiles are used in different ways across the house, but never in the same scale or layout.

Read the full feature on scenehome.com.

📸Nour El Refai
🖊️Salma Thabet

@SceneHome: What happens when intricate Moroccan domestic references are interpreted through the lens of a minimalist architect? In his latest project, “Project Maroc”, Omar Sedky, founder of Studio Blank, explores this dialogue in a house in New Cairo.

The starting point is a brief shaped by the client’s Moroccan background. From there, the project moves between two directions: one comes from Moroccan homes, where wood, tile and pattern are part of daily life, and the other comes from a minimal way of designing that focuses on simple, clean spaces. Both are present in the house at the same time.

“The client of this house was Moroccan and she wanted something inspired by her culture,” Sedky tells SceneHome. “That became the starting point for how we approached materials and details.”

Alongside this, his own design background shaped how the house was put together. “I come from six years of working with minimal architecture, so I brought that approach into the project as well,” he says.

Across the house, each room follows a simple rule: one main feature is highlighted, while everything around it is kept calm. This makes each space easy to read and focuses on specific details rather than filling every surface.

Woodwork is one of the main materials used. It appears in doors, lighting and selected details, drawing from Moroccan craft traditions. A mashrabiya screen is used as a key feature in one of the spaces, placed on its own so its pattern and shadow can be clearly seen.

Pattern appears through cement tiles with Moroccan-inspired designs. The same tiles are used in different ways across the house, but never in the same scale or layout.

Read the full feature on scenehome.com.

📸Nour El Refai
🖊️Salma Thabet

@SceneHome: A house can be designed to resist being understood in a single reading, revealing itself instead through shifting perceptions as one moves through it. In one of her latest residential projects, Egyptian designer Karen Fadel approaches architecture almost as a spatial editing tool, manipulating depth, reflection, thresholds, and weight to continually redirect how the house is experienced.

“Sometimes I love playing with the architecture of the space, pushing it beyond its fixed form,” Fadel says early on, and the idea becomes legible almost immediately upon entry. The powder room sits inside a fully glazed box at the entrance lobby, one of the more unexpected insertions in the house, reading as a deliberate spatial interruption within the plan. A bench extends through the glass enclosure into the entrance lobby, visually pulling one space into the other and dissolving the sense of a hard boundary between them.

Inside, even the material curation continues this logic of extension and continuity, with a bookshelf by the sink where books are stripped of their covers to maintain a muted, worn-out tonal consistency, turning what is usually a hidden functional room into another layer of the house’s visual language.

Read the full feature at scenehome.com

🖊️ Huda Mekkawi
🎥 @SceneHome

@SceneHome #SceneAD: As Cairo continues to expand outward, new neighbourhoods are taking shape around wider roads, lower densities, and larger stretches of open land. In East Cairo, the 6th Settlement has become one of the most active fronts of that shift, drawing a growing number of residential and mixed-use developments planned around long-term investment and everyday living.

Within this context, Sky Abu Dhabi Developments brings forward Vallis, reinforcing its position in Egypt with a strategic focus on selecting distinctive locations, with the 6th Settlement forming part of this wider expansion approach. Vallis is a mixed-use development that brings together residential living, shared outdoor spaces, and everyday amenities within a single connected masterplan, thoughtfully designed to suit different lifestyles across the community.

At the heart of the project, a series of green valleys run through the site, shaping the character of Vallis and connecting its different parts. From there, the development extends outward, landscaped paths, water features, gardens, pools, terraces, and a clubhouse are distributed across the site, with open space defining much of the overall experience rather than filling what is left between buildings.

The residential offering spans a diverse range of typologies, from apartments, duplexes, and penthouses to townhouses and standalone villas, all supported by a curated mix of amenities and commercial spaces integrated within the wider masterplan.

Since entering the Egyptian market in 2021, Sky Abu Dhabi Developments has delivered a growing portfolio of landmark residential and commercial developments. Vallis continues that trajectory, a portfolio built on locations selected for their lifestyle quality.

Read the full feature on scenehome.com.

@SceneHome #SceneAD: As Cairo continues to expand outward, new neighbourhoods are taking shape around wider roads, lower densities, and larger stretches of open land. In East Cairo, the 6th Settlement has become one of the most active fronts of that shift, drawing a growing number of residential and mixed-use developments planned around long-term investment and everyday living.

Within this context, Sky Abu Dhabi Developments brings forward Vallis, reinforcing its position in Egypt with a strategic focus on selecting distinctive locations, with the 6th Settlement forming part of this wider expansion approach. Vallis is a mixed-use development that brings together residential living, shared outdoor spaces, and everyday amenities within a single connected masterplan, thoughtfully designed to suit different lifestyles across the community.

At the heart of the project, a series of green valleys run through the site, shaping the character of Vallis and connecting its different parts. From there, the development extends outward, landscaped paths, water features, gardens, pools, terraces, and a clubhouse are distributed across the site, with open space defining much of the overall experience rather than filling what is left between buildings.

The residential offering spans a diverse range of typologies, from apartments, duplexes, and penthouses to townhouses and standalone villas, all supported by a curated mix of amenities and commercial spaces integrated within the wider masterplan.

Since entering the Egyptian market in 2021, Sky Abu Dhabi Developments has delivered a growing portfolio of landmark residential and commercial developments. Vallis continues that trajectory, a portfolio built on locations selected for their lifestyle quality.

Read the full feature on scenehome.com.

@SceneHome #SceneAD: As Cairo continues to expand outward, new neighbourhoods are taking shape around wider roads, lower densities, and larger stretches of open land. In East Cairo, the 6th Settlement has become one of the most active fronts of that shift, drawing a growing number of residential and mixed-use developments planned around long-term investment and everyday living.

Within this context, Sky Abu Dhabi Developments brings forward Vallis, reinforcing its position in Egypt with a strategic focus on selecting distinctive locations, with the 6th Settlement forming part of this wider expansion approach. Vallis is a mixed-use development that brings together residential living, shared outdoor spaces, and everyday amenities within a single connected masterplan, thoughtfully designed to suit different lifestyles across the community.

At the heart of the project, a series of green valleys run through the site, shaping the character of Vallis and connecting its different parts. From there, the development extends outward, landscaped paths, water features, gardens, pools, terraces, and a clubhouse are distributed across the site, with open space defining much of the overall experience rather than filling what is left between buildings.

The residential offering spans a diverse range of typologies, from apartments, duplexes, and penthouses to townhouses and standalone villas, all supported by a curated mix of amenities and commercial spaces integrated within the wider masterplan.

Since entering the Egyptian market in 2021, Sky Abu Dhabi Developments has delivered a growing portfolio of landmark residential and commercial developments. Vallis continues that trajectory, a portfolio built on locations selected for their lifestyle quality.

Read the full feature on scenehome.com.

@SceneHome #SceneAD: As Cairo continues to expand outward, new neighbourhoods are taking shape around wider roads, lower densities, and larger stretches of open land. In East Cairo, the 6th Settlement has become one of the most active fronts of that shift, drawing a growing number of residential and mixed-use developments planned around long-term investment and everyday living.

Within this context, Sky Abu Dhabi Developments brings forward Vallis, reinforcing its position in Egypt with a strategic focus on selecting distinctive locations, with the 6th Settlement forming part of this wider expansion approach. Vallis is a mixed-use development that brings together residential living, shared outdoor spaces, and everyday amenities within a single connected masterplan, thoughtfully designed to suit different lifestyles across the community.

At the heart of the project, a series of green valleys run through the site, shaping the character of Vallis and connecting its different parts. From there, the development extends outward, landscaped paths, water features, gardens, pools, terraces, and a clubhouse are distributed across the site, with open space defining much of the overall experience rather than filling what is left between buildings.

The residential offering spans a diverse range of typologies, from apartments, duplexes, and penthouses to townhouses and standalone villas, all supported by a curated mix of amenities and commercial spaces integrated within the wider masterplan.

Since entering the Egyptian market in 2021, Sky Abu Dhabi Developments has delivered a growing portfolio of landmark residential and commercial developments. Vallis continues that trajectory, a portfolio built on locations selected for their lifestyle quality.

Read the full feature on scenehome.com.

@SceneHome #SceneAD: As Cairo continues to expand outward, new neighbourhoods are taking shape around wider roads, lower densities, and larger stretches of open land. In East Cairo, the 6th Settlement has become one of the most active fronts of that shift, drawing a growing number of residential and mixed-use developments planned around long-term investment and everyday living.

Within this context, Sky Abu Dhabi Developments brings forward Vallis, reinforcing its position in Egypt with a strategic focus on selecting distinctive locations, with the 6th Settlement forming part of this wider expansion approach. Vallis is a mixed-use development that brings together residential living, shared outdoor spaces, and everyday amenities within a single connected masterplan, thoughtfully designed to suit different lifestyles across the community.

At the heart of the project, a series of green valleys run through the site, shaping the character of Vallis and connecting its different parts. From there, the development extends outward, landscaped paths, water features, gardens, pools, terraces, and a clubhouse are distributed across the site, with open space defining much of the overall experience rather than filling what is left between buildings.

The residential offering spans a diverse range of typologies, from apartments, duplexes, and penthouses to townhouses and standalone villas, all supported by a curated mix of amenities and commercial spaces integrated within the wider masterplan.

Since entering the Egyptian market in 2021, Sky Abu Dhabi Developments has delivered a growing portfolio of landmark residential and commercial developments. Vallis continues that trajectory, a portfolio built on locations selected for their lifestyle quality.

Read the full feature on scenehome.com.

@SceneHome #SceneAD: As Cairo continues to expand outward, new neighbourhoods are taking shape around wider roads, lower densities, and larger stretches of open land. In East Cairo, the 6th Settlement has become one of the most active fronts of that shift, drawing a growing number of residential and mixed-use developments planned around long-term investment and everyday living.

Within this context, Sky Abu Dhabi Developments brings forward Vallis, reinforcing its position in Egypt with a strategic focus on selecting distinctive locations, with the 6th Settlement forming part of this wider expansion approach. Vallis is a mixed-use development that brings together residential living, shared outdoor spaces, and everyday amenities within a single connected masterplan, thoughtfully designed to suit different lifestyles across the community.

At the heart of the project, a series of green valleys run through the site, shaping the character of Vallis and connecting its different parts. From there, the development extends outward, landscaped paths, water features, gardens, pools, terraces, and a clubhouse are distributed across the site, with open space defining much of the overall experience rather than filling what is left between buildings.

The residential offering spans a diverse range of typologies, from apartments, duplexes, and penthouses to townhouses and standalone villas, all supported by a curated mix of amenities and commercial spaces integrated within the wider masterplan.

Since entering the Egyptian market in 2021, Sky Abu Dhabi Developments has delivered a growing portfolio of landmark residential and commercial developments. Vallis continues that trajectory, a portfolio built on locations selected for their lifestyle quality.

Read the full feature on scenehome.com.

@SceneHome #SceneAD: As Cairo continues to expand outward, new neighbourhoods are taking shape around wider roads, lower densities, and larger stretches of open land. In East Cairo, the 6th Settlement has become one of the most active fronts of that shift, drawing a growing number of residential and mixed-use developments planned around long-term investment and everyday living.

Within this context, Sky Abu Dhabi Developments brings forward Vallis, reinforcing its position in Egypt with a strategic focus on selecting distinctive locations, with the 6th Settlement forming part of this wider expansion approach. Vallis is a mixed-use development that brings together residential living, shared outdoor spaces, and everyday amenities within a single connected masterplan, thoughtfully designed to suit different lifestyles across the community.

At the heart of the project, a series of green valleys run through the site, shaping the character of Vallis and connecting its different parts. From there, the development extends outward, landscaped paths, water features, gardens, pools, terraces, and a clubhouse are distributed across the site, with open space defining much of the overall experience rather than filling what is left between buildings.

The residential offering spans a diverse range of typologies, from apartments, duplexes, and penthouses to townhouses and standalone villas, all supported by a curated mix of amenities and commercial spaces integrated within the wider masterplan.

Since entering the Egyptian market in 2021, Sky Abu Dhabi Developments has delivered a growing portfolio of landmark residential and commercial developments. Vallis continues that trajectory, a portfolio built on locations selected for their lifestyle quality.

Read the full feature on scenehome.com.

@SceneHome #SceneAD: As Cairo continues to expand outward, new neighbourhoods are taking shape around wider roads, lower densities, and larger stretches of open land. In East Cairo, the 6th Settlement has become one of the most active fronts of that shift, drawing a growing number of residential and mixed-use developments planned around long-term investment and everyday living.

Within this context, Sky Abu Dhabi Developments brings forward Vallis, reinforcing its position in Egypt with a strategic focus on selecting distinctive locations, with the 6th Settlement forming part of this wider expansion approach. Vallis is a mixed-use development that brings together residential living, shared outdoor spaces, and everyday amenities within a single connected masterplan, thoughtfully designed to suit different lifestyles across the community.

At the heart of the project, a series of green valleys run through the site, shaping the character of Vallis and connecting its different parts. From there, the development extends outward, landscaped paths, water features, gardens, pools, terraces, and a clubhouse are distributed across the site, with open space defining much of the overall experience rather than filling what is left between buildings.

The residential offering spans a diverse range of typologies, from apartments, duplexes, and penthouses to townhouses and standalone villas, all supported by a curated mix of amenities and commercial spaces integrated within the wider masterplan.

Since entering the Egyptian market in 2021, Sky Abu Dhabi Developments has delivered a growing portfolio of landmark residential and commercial developments. Vallis continues that trajectory, a portfolio built on locations selected for their lifestyle quality.

Read the full feature on scenehome.com.

@SceneHome #SceneAD: As Cairo continues to expand outward, new neighbourhoods are taking shape around wider roads, lower densities, and larger stretches of open land. In East Cairo, the 6th Settlement has become one of the most active fronts of that shift, drawing a growing number of residential and mixed-use developments planned around long-term investment and everyday living.

Within this context, Sky Abu Dhabi Developments brings forward Vallis, reinforcing its position in Egypt with a strategic focus on selecting distinctive locations, with the 6th Settlement forming part of this wider expansion approach. Vallis is a mixed-use development that brings together residential living, shared outdoor spaces, and everyday amenities within a single connected masterplan, thoughtfully designed to suit different lifestyles across the community.

At the heart of the project, a series of green valleys run through the site, shaping the character of Vallis and connecting its different parts. From there, the development extends outward, landscaped paths, water features, gardens, pools, terraces, and a clubhouse are distributed across the site, with open space defining much of the overall experience rather than filling what is left between buildings.

The residential offering spans a diverse range of typologies, from apartments, duplexes, and penthouses to townhouses and standalone villas, all supported by a curated mix of amenities and commercial spaces integrated within the wider masterplan.

Since entering the Egyptian market in 2021, Sky Abu Dhabi Developments has delivered a growing portfolio of landmark residential and commercial developments. Vallis continues that trajectory, a portfolio built on locations selected for their lifestyle quality.

Read the full feature on scenehome.com.

@SceneHome #SceneAD: As Cairo continues to expand outward, new neighbourhoods are taking shape around wider roads, lower densities, and larger stretches of open land. In East Cairo, the 6th Settlement has become one of the most active fronts of that shift, drawing a growing number of residential and mixed-use developments planned around long-term investment and everyday living.

Within this context, Sky Abu Dhabi Developments brings forward Vallis, reinforcing its position in Egypt with a strategic focus on selecting distinctive locations, with the 6th Settlement forming part of this wider expansion approach. Vallis is a mixed-use development that brings together residential living, shared outdoor spaces, and everyday amenities within a single connected masterplan, thoughtfully designed to suit different lifestyles across the community.

At the heart of the project, a series of green valleys run through the site, shaping the character of Vallis and connecting its different parts. From there, the development extends outward, landscaped paths, water features, gardens, pools, terraces, and a clubhouse are distributed across the site, with open space defining much of the overall experience rather than filling what is left between buildings.

The residential offering spans a diverse range of typologies, from apartments, duplexes, and penthouses to townhouses and standalone villas, all supported by a curated mix of amenities and commercial spaces integrated within the wider masterplan.

Since entering the Egyptian market in 2021, Sky Abu Dhabi Developments has delivered a growing portfolio of landmark residential and commercial developments. Vallis continues that trajectory, a portfolio built on locations selected for their lifestyle quality.

Read the full feature on scenehome.com.

@SceneHome: To understand the architecture of Palestinian refugee camps, Anas Alkhatib started with an unlikely structure: the toilet.

For many, the word ‘architecture’ may evoke images of complex floorplans, sleek modern homes, and towering skyscrapers. But at its core, architecture is a response to human needs. Architecture is a personal relationship with the built environment that surrounds us. 

Growing up in Bethlehem’s Dheisha Refugee Camp, architect Alkhatib’s built environment was a three-story building that housed three generations. Established in the wake of the Nakba—or mass displacement, dispossession, and ethnic cleansing of Palestinians by Israeli forces during the 1948 Arab-Israeli War—Dheisha is one of three main refugee camps in the West Bank city of Bethlehem, along with Beit Jibrin and Aida. Anas’ home began as a shelter of no larger than 100 square metres that once housed nine people in one room. His father expanded it up and out in the 90s.

“Our house was my first inspiration for Architect in Camps,” Alkhatib says about the architectural research collective he founded in Palestine. “The history of my house is part of a shared history of refugee camps established in 1948 and 49, where people learned from each other how to transform their built environment from tents to shelters to buildings that they expanded horizontally and vertically.”

Read the full feature on scenehome.com (link in bio).

🖊️Laila Shadid

@SceneHome: To understand the architecture of Palestinian refugee camps, Anas Alkhatib started with an unlikely structure: the toilet.

For many, the word ‘architecture’ may evoke images of complex floorplans, sleek modern homes, and towering skyscrapers. But at its core, architecture is a response to human needs. Architecture is a personal relationship with the built environment that surrounds us. 

Growing up in Bethlehem’s Dheisha Refugee Camp, architect Alkhatib’s built environment was a three-story building that housed three generations. Established in the wake of the Nakba—or mass displacement, dispossession, and ethnic cleansing of Palestinians by Israeli forces during the 1948 Arab-Israeli War—Dheisha is one of three main refugee camps in the West Bank city of Bethlehem, along with Beit Jibrin and Aida. Anas’ home began as a shelter of no larger than 100 square metres that once housed nine people in one room. His father expanded it up and out in the 90s.

“Our house was my first inspiration for Architect in Camps,” Alkhatib says about the architectural research collective he founded in Palestine. “The history of my house is part of a shared history of refugee camps established in 1948 and 49, where people learned from each other how to transform their built environment from tents to shelters to buildings that they expanded horizontally and vertically.”

Read the full feature on scenehome.com (link in bio).

🖊️Laila Shadid

@SceneHome: To understand the architecture of Palestinian refugee camps, Anas Alkhatib started with an unlikely structure: the toilet.

For many, the word ‘architecture’ may evoke images of complex floorplans, sleek modern homes, and towering skyscrapers. But at its core, architecture is a response to human needs. Architecture is a personal relationship with the built environment that surrounds us. 

Growing up in Bethlehem’s Dheisha Refugee Camp, architect Alkhatib’s built environment was a three-story building that housed three generations. Established in the wake of the Nakba—or mass displacement, dispossession, and ethnic cleansing of Palestinians by Israeli forces during the 1948 Arab-Israeli War—Dheisha is one of three main refugee camps in the West Bank city of Bethlehem, along with Beit Jibrin and Aida. Anas’ home began as a shelter of no larger than 100 square metres that once housed nine people in one room. His father expanded it up and out in the 90s.

“Our house was my first inspiration for Architect in Camps,” Alkhatib says about the architectural research collective he founded in Palestine. “The history of my house is part of a shared history of refugee camps established in 1948 and 49, where people learned from each other how to transform their built environment from tents to shelters to buildings that they expanded horizontally and vertically.”

Read the full feature on scenehome.com (link in bio).

🖊️Laila Shadid

@SceneHome: To understand the architecture of Palestinian refugee camps, Anas Alkhatib started with an unlikely structure: the toilet.

For many, the word ‘architecture’ may evoke images of complex floorplans, sleek modern homes, and towering skyscrapers. But at its core, architecture is a response to human needs. Architecture is a personal relationship with the built environment that surrounds us. 

Growing up in Bethlehem’s Dheisha Refugee Camp, architect Alkhatib’s built environment was a three-story building that housed three generations. Established in the wake of the Nakba—or mass displacement, dispossession, and ethnic cleansing of Palestinians by Israeli forces during the 1948 Arab-Israeli War—Dheisha is one of three main refugee camps in the West Bank city of Bethlehem, along with Beit Jibrin and Aida. Anas’ home began as a shelter of no larger than 100 square metres that once housed nine people in one room. His father expanded it up and out in the 90s.

“Our house was my first inspiration for Architect in Camps,” Alkhatib says about the architectural research collective he founded in Palestine. “The history of my house is part of a shared history of refugee camps established in 1948 and 49, where people learned from each other how to transform their built environment from tents to shelters to buildings that they expanded horizontally and vertically.”

Read the full feature on scenehome.com (link in bio).

🖊️Laila Shadid

@SceneHome: To understand the architecture of Palestinian refugee camps, Anas Alkhatib started with an unlikely structure: the toilet.

For many, the word ‘architecture’ may evoke images of complex floorplans, sleek modern homes, and towering skyscrapers. But at its core, architecture is a response to human needs. Architecture is a personal relationship with the built environment that surrounds us. 

Growing up in Bethlehem’s Dheisha Refugee Camp, architect Alkhatib’s built environment was a three-story building that housed three generations. Established in the wake of the Nakba—or mass displacement, dispossession, and ethnic cleansing of Palestinians by Israeli forces during the 1948 Arab-Israeli War—Dheisha is one of three main refugee camps in the West Bank city of Bethlehem, along with Beit Jibrin and Aida. Anas’ home began as a shelter of no larger than 100 square metres that once housed nine people in one room. His father expanded it up and out in the 90s.

“Our house was my first inspiration for Architect in Camps,” Alkhatib says about the architectural research collective he founded in Palestine. “The history of my house is part of a shared history of refugee camps established in 1948 and 49, where people learned from each other how to transform their built environment from tents to shelters to buildings that they expanded horizontally and vertically.”

Read the full feature on scenehome.com (link in bio).

🖊️Laila Shadid

@SceneHome: To understand the architecture of Palestinian refugee camps, Anas Alkhatib started with an unlikely structure: the toilet.

For many, the word ‘architecture’ may evoke images of complex floorplans, sleek modern homes, and towering skyscrapers. But at its core, architecture is a response to human needs. Architecture is a personal relationship with the built environment that surrounds us. 

Growing up in Bethlehem’s Dheisha Refugee Camp, architect Alkhatib’s built environment was a three-story building that housed three generations. Established in the wake of the Nakba—or mass displacement, dispossession, and ethnic cleansing of Palestinians by Israeli forces during the 1948 Arab-Israeli War—Dheisha is one of three main refugee camps in the West Bank city of Bethlehem, along with Beit Jibrin and Aida. Anas’ home began as a shelter of no larger than 100 square metres that once housed nine people in one room. His father expanded it up and out in the 90s.

“Our house was my first inspiration for Architect in Camps,” Alkhatib says about the architectural research collective he founded in Palestine. “The history of my house is part of a shared history of refugee camps established in 1948 and 49, where people learned from each other how to transform their built environment from tents to shelters to buildings that they expanded horizontally and vertically.”

Read the full feature on scenehome.com (link in bio).

🖊️Laila Shadid

@SceneHome: To understand the architecture of Palestinian refugee camps, Anas Alkhatib started with an unlikely structure: the toilet.

For many, the word ‘architecture’ may evoke images of complex floorplans, sleek modern homes, and towering skyscrapers. But at its core, architecture is a response to human needs. Architecture is a personal relationship with the built environment that surrounds us. 

Growing up in Bethlehem’s Dheisha Refugee Camp, architect Alkhatib’s built environment was a three-story building that housed three generations. Established in the wake of the Nakba—or mass displacement, dispossession, and ethnic cleansing of Palestinians by Israeli forces during the 1948 Arab-Israeli War—Dheisha is one of three main refugee camps in the West Bank city of Bethlehem, along with Beit Jibrin and Aida. Anas’ home began as a shelter of no larger than 100 square metres that once housed nine people in one room. His father expanded it up and out in the 90s.

“Our house was my first inspiration for Architect in Camps,” Alkhatib says about the architectural research collective he founded in Palestine. “The history of my house is part of a shared history of refugee camps established in 1948 and 49, where people learned from each other how to transform their built environment from tents to shelters to buildings that they expanded horizontally and vertically.”

Read the full feature on scenehome.com (link in bio).

🖊️Laila Shadid

@SceneHome: To understand the architecture of Palestinian refugee camps, Anas Alkhatib started with an unlikely structure: the toilet.

For many, the word ‘architecture’ may evoke images of complex floorplans, sleek modern homes, and towering skyscrapers. But at its core, architecture is a response to human needs. Architecture is a personal relationship with the built environment that surrounds us. 

Growing up in Bethlehem’s Dheisha Refugee Camp, architect Alkhatib’s built environment was a three-story building that housed three generations. Established in the wake of the Nakba—or mass displacement, dispossession, and ethnic cleansing of Palestinians by Israeli forces during the 1948 Arab-Israeli War—Dheisha is one of three main refugee camps in the West Bank city of Bethlehem, along with Beit Jibrin and Aida. Anas’ home began as a shelter of no larger than 100 square metres that once housed nine people in one room. His father expanded it up and out in the 90s.

“Our house was my first inspiration for Architect in Camps,” Alkhatib says about the architectural research collective he founded in Palestine. “The history of my house is part of a shared history of refugee camps established in 1948 and 49, where people learned from each other how to transform their built environment from tents to shelters to buildings that they expanded horizontally and vertically.”

Read the full feature on scenehome.com (link in bio).

🖊️Laila Shadid

@SceneHome: To understand the architecture of Palestinian refugee camps, Anas Alkhatib started with an unlikely structure: the toilet.

For many, the word ‘architecture’ may evoke images of complex floorplans, sleek modern homes, and towering skyscrapers. But at its core, architecture is a response to human needs. Architecture is a personal relationship with the built environment that surrounds us. 

Growing up in Bethlehem’s Dheisha Refugee Camp, architect Alkhatib’s built environment was a three-story building that housed three generations. Established in the wake of the Nakba—or mass displacement, dispossession, and ethnic cleansing of Palestinians by Israeli forces during the 1948 Arab-Israeli War—Dheisha is one of three main refugee camps in the West Bank city of Bethlehem, along with Beit Jibrin and Aida. Anas’ home began as a shelter of no larger than 100 square metres that once housed nine people in one room. His father expanded it up and out in the 90s.

“Our house was my first inspiration for Architect in Camps,” Alkhatib says about the architectural research collective he founded in Palestine. “The history of my house is part of a shared history of refugee camps established in 1948 and 49, where people learned from each other how to transform their built environment from tents to shelters to buildings that they expanded horizontally and vertically.”

Read the full feature on scenehome.com (link in bio).

🖊️Laila Shadid

@SceneHome: To understand the architecture of Palestinian refugee camps, Anas Alkhatib started with an unlikely structure: the toilet.

For many, the word ‘architecture’ may evoke images of complex floorplans, sleek modern homes, and towering skyscrapers. But at its core, architecture is a response to human needs. Architecture is a personal relationship with the built environment that surrounds us. 

Growing up in Bethlehem’s Dheisha Refugee Camp, architect Alkhatib’s built environment was a three-story building that housed three generations. Established in the wake of the Nakba—or mass displacement, dispossession, and ethnic cleansing of Palestinians by Israeli forces during the 1948 Arab-Israeli War—Dheisha is one of three main refugee camps in the West Bank city of Bethlehem, along with Beit Jibrin and Aida. Anas’ home began as a shelter of no larger than 100 square metres that once housed nine people in one room. His father expanded it up and out in the 90s.

“Our house was my first inspiration for Architect in Camps,” Alkhatib says about the architectural research collective he founded in Palestine. “The history of my house is part of a shared history of refugee camps established in 1948 and 49, where people learned from each other how to transform their built environment from tents to shelters to buildings that they expanded horizontally and vertically.”

Read the full feature on scenehome.com (link in bio).

🖊️Laila Shadid

@SceneTraveller #TravelbyDesign: Across the Middle East and North Africa, bridges have rarely just been about getting from one side to another. They have acted, instead, as quiet markers of ambition, survival, and connection, constructed where geography demanded invention. Some were built by Roman engineers trying to bind distant provinces together through stone and symmetry. Others emerged from medieval dynasties navigating floodplains, caravan routes, and contested frontiers. Later came the age of iron, suspension cables, and industrial ambition, when colonial powers and modernising states attempted to redraw movement itself. 

What makes these bridges remarkable is not simply the history compressed into them, but their sheer act of endurance. A train still rattles across steel trusses imagined during Egypt’s Khedival expansion. In Tunisia, a Roman arch continues to quietly carry passage nearly two thousand years after it was first laid into the landscape, while in Algeria, suspension cables stretch above a gorge that has shaped human settlement since antiquity.

Full guide at SceneTraveller.com.

📸 @hadedyy

@SceneTraveller #TravelbyDesign: Across the Middle East and North Africa, bridges have rarely just been about getting from one side to another. They have acted, instead, as quiet markers of ambition, survival, and connection, constructed where geography demanded invention. Some were built by Roman engineers trying to bind distant provinces together through stone and symmetry. Others emerged from medieval dynasties navigating floodplains, caravan routes, and contested frontiers. Later came the age of iron, suspension cables, and industrial ambition, when colonial powers and modernising states attempted to redraw movement itself. 

What makes these bridges remarkable is not simply the history compressed into them, but their sheer act of endurance. A train still rattles across steel trusses imagined during Egypt’s Khedival expansion. In Tunisia, a Roman arch continues to quietly carry passage nearly two thousand years after it was first laid into the landscape, while in Algeria, suspension cables stretch above a gorge that has shaped human settlement since antiquity.

Full guide at SceneTraveller.com.

📸 @hadedyy

@SceneTraveller #TravelbyDesign: Across the Middle East and North Africa, bridges have rarely just been about getting from one side to another. They have acted, instead, as quiet markers of ambition, survival, and connection, constructed where geography demanded invention. Some were built by Roman engineers trying to bind distant provinces together through stone and symmetry. Others emerged from medieval dynasties navigating floodplains, caravan routes, and contested frontiers. Later came the age of iron, suspension cables, and industrial ambition, when colonial powers and modernising states attempted to redraw movement itself. 

What makes these bridges remarkable is not simply the history compressed into them, but their sheer act of endurance. A train still rattles across steel trusses imagined during Egypt’s Khedival expansion. In Tunisia, a Roman arch continues to quietly carry passage nearly two thousand years after it was first laid into the landscape, while in Algeria, suspension cables stretch above a gorge that has shaped human settlement since antiquity.

Full guide at SceneTraveller.com.

📸 @hadedyy

@SceneTraveller #TravelbyDesign: Across the Middle East and North Africa, bridges have rarely just been about getting from one side to another. They have acted, instead, as quiet markers of ambition, survival, and connection, constructed where geography demanded invention. Some were built by Roman engineers trying to bind distant provinces together through stone and symmetry. Others emerged from medieval dynasties navigating floodplains, caravan routes, and contested frontiers. Later came the age of iron, suspension cables, and industrial ambition, when colonial powers and modernising states attempted to redraw movement itself. 

What makes these bridges remarkable is not simply the history compressed into them, but their sheer act of endurance. A train still rattles across steel trusses imagined during Egypt’s Khedival expansion. In Tunisia, a Roman arch continues to quietly carry passage nearly two thousand years after it was first laid into the landscape, while in Algeria, suspension cables stretch above a gorge that has shaped human settlement since antiquity.

Full guide at SceneTraveller.com.

📸 @hadedyy

@SceneTraveller #TravelbyDesign: Across the Middle East and North Africa, bridges have rarely just been about getting from one side to another. They have acted, instead, as quiet markers of ambition, survival, and connection, constructed where geography demanded invention. Some were built by Roman engineers trying to bind distant provinces together through stone and symmetry. Others emerged from medieval dynasties navigating floodplains, caravan routes, and contested frontiers. Later came the age of iron, suspension cables, and industrial ambition, when colonial powers and modernising states attempted to redraw movement itself. 

What makes these bridges remarkable is not simply the history compressed into them, but their sheer act of endurance. A train still rattles across steel trusses imagined during Egypt’s Khedival expansion. In Tunisia, a Roman arch continues to quietly carry passage nearly two thousand years after it was first laid into the landscape, while in Algeria, suspension cables stretch above a gorge that has shaped human settlement since antiquity.

Full guide at SceneTraveller.com.

📸 @hadedyy

@SceneTraveller #TravelbyDesign: Across the Middle East and North Africa, bridges have rarely just been about getting from one side to another. They have acted, instead, as quiet markers of ambition, survival, and connection, constructed where geography demanded invention. Some were built by Roman engineers trying to bind distant provinces together through stone and symmetry. Others emerged from medieval dynasties navigating floodplains, caravan routes, and contested frontiers. Later came the age of iron, suspension cables, and industrial ambition, when colonial powers and modernising states attempted to redraw movement itself. 

What makes these bridges remarkable is not simply the history compressed into them, but their sheer act of endurance. A train still rattles across steel trusses imagined during Egypt’s Khedival expansion. In Tunisia, a Roman arch continues to quietly carry passage nearly two thousand years after it was first laid into the landscape, while in Algeria, suspension cables stretch above a gorge that has shaped human settlement since antiquity.

Full guide at SceneTraveller.com.

📸 @hadedyy

@SceneTraveller #TravelbyDesign: Across the Middle East and North Africa, bridges have rarely just been about getting from one side to another. They have acted, instead, as quiet markers of ambition, survival, and connection, constructed where geography demanded invention. Some were built by Roman engineers trying to bind distant provinces together through stone and symmetry. Others emerged from medieval dynasties navigating floodplains, caravan routes, and contested frontiers. Later came the age of iron, suspension cables, and industrial ambition, when colonial powers and modernising states attempted to redraw movement itself. 

What makes these bridges remarkable is not simply the history compressed into them, but their sheer act of endurance. A train still rattles across steel trusses imagined during Egypt’s Khedival expansion. In Tunisia, a Roman arch continues to quietly carry passage nearly two thousand years after it was first laid into the landscape, while in Algeria, suspension cables stretch above a gorge that has shaped human settlement since antiquity.

Full guide at SceneTraveller.com.

📸 @hadedyy

@SceneTraveller #TravelbyDesign: Across the Middle East and North Africa, bridges have rarely just been about getting from one side to another. They have acted, instead, as quiet markers of ambition, survival, and connection, constructed where geography demanded invention. Some were built by Roman engineers trying to bind distant provinces together through stone and symmetry. Others emerged from medieval dynasties navigating floodplains, caravan routes, and contested frontiers. Later came the age of iron, suspension cables, and industrial ambition, when colonial powers and modernising states attempted to redraw movement itself. 

What makes these bridges remarkable is not simply the history compressed into them, but their sheer act of endurance. A train still rattles across steel trusses imagined during Egypt’s Khedival expansion. In Tunisia, a Roman arch continues to quietly carry passage nearly two thousand years after it was first laid into the landscape, while in Algeria, suspension cables stretch above a gorge that has shaped human settlement since antiquity.

Full guide at SceneTraveller.com.

📸 @hadedyy

@SceneHome #SceneAD: Mawazin, a newly founded outdoor furniture brand aiming to provide a grounded and thoughtful approach to outdoor living, shaped in the same workshops in Alexandria where façades, terraces, and architectural details are made.

Founded by architect Ahmed El Attar, the brand was shaped by his experience working between design and construction across Egypt and the Gulf, with outdoor spaces considered part of everyday living. The concept for Mawazin first developed in 2023 during Attar’s visit to Riva 1920 at Milan Design Week.

Mawazin, meaning “balances” in Arabic, reflects the brand’s focus on material, structure, comfort, and long-term outdoor use. Its first collection, “Namat” (نمط), meaning pattern or order, was unveiled during the latest edition of The Design Show (TDS) in Cairo.

Developed in collaboration with designer Cherif Morsi, the collection drew from regional craft traditions and wood-making techniques through a contemporary eclectic language. Thick timber forms were shaped into softer lines, forming seating, tables, and modular outdoor elements designed for private terraces, hospitality spaces, and commercial environments.

The collection, created by El Attar, used natural massive hard wood in a direct way, with visible construction and structural clarity. Presented within a booth designed by Mahmoud Abdrabboh, “Namat” stood out at The Design Show for its calm, cohesive material language.

@SceneHome #SceneAD: Mawazin, a newly founded outdoor furniture brand aiming to provide a grounded and thoughtful approach to outdoor living, shaped in the same workshops in Alexandria where façades, terraces, and architectural details are made.

Founded by architect Ahmed El Attar, the brand was shaped by his experience working between design and construction across Egypt and the Gulf, with outdoor spaces considered part of everyday living. The concept for Mawazin first developed in 2023 during Attar’s visit to Riva 1920 at Milan Design Week.

Mawazin, meaning “balances” in Arabic, reflects the brand’s focus on material, structure, comfort, and long-term outdoor use. Its first collection, “Namat” (نمط), meaning pattern or order, was unveiled during the latest edition of The Design Show (TDS) in Cairo.

Developed in collaboration with designer Cherif Morsi, the collection drew from regional craft traditions and wood-making techniques through a contemporary eclectic language. Thick timber forms were shaped into softer lines, forming seating, tables, and modular outdoor elements designed for private terraces, hospitality spaces, and commercial environments.

The collection, created by El Attar, used natural massive hard wood in a direct way, with visible construction and structural clarity. Presented within a booth designed by Mahmoud Abdrabboh, “Namat” stood out at The Design Show for its calm, cohesive material language.

@SceneHome #SceneAD: Mawazin, a newly founded outdoor furniture brand aiming to provide a grounded and thoughtful approach to outdoor living, shaped in the same workshops in Alexandria where façades, terraces, and architectural details are made.

Founded by architect Ahmed El Attar, the brand was shaped by his experience working between design and construction across Egypt and the Gulf, with outdoor spaces considered part of everyday living. The concept for Mawazin first developed in 2023 during Attar’s visit to Riva 1920 at Milan Design Week.

Mawazin, meaning “balances” in Arabic, reflects the brand’s focus on material, structure, comfort, and long-term outdoor use. Its first collection, “Namat” (نمط), meaning pattern or order, was unveiled during the latest edition of The Design Show (TDS) in Cairo.

Developed in collaboration with designer Cherif Morsi, the collection drew from regional craft traditions and wood-making techniques through a contemporary eclectic language. Thick timber forms were shaped into softer lines, forming seating, tables, and modular outdoor elements designed for private terraces, hospitality spaces, and commercial environments.

The collection, created by El Attar, used natural massive hard wood in a direct way, with visible construction and structural clarity. Presented within a booth designed by Mahmoud Abdrabboh, “Namat” stood out at The Design Show for its calm, cohesive material language.

@SceneHome #SceneAD: Mawazin, a newly founded outdoor furniture brand aiming to provide a grounded and thoughtful approach to outdoor living, shaped in the same workshops in Alexandria where façades, terraces, and architectural details are made.

Founded by architect Ahmed El Attar, the brand was shaped by his experience working between design and construction across Egypt and the Gulf, with outdoor spaces considered part of everyday living. The concept for Mawazin first developed in 2023 during Attar’s visit to Riva 1920 at Milan Design Week.

Mawazin, meaning “balances” in Arabic, reflects the brand’s focus on material, structure, comfort, and long-term outdoor use. Its first collection, “Namat” (نمط), meaning pattern or order, was unveiled during the latest edition of The Design Show (TDS) in Cairo.

Developed in collaboration with designer Cherif Morsi, the collection drew from regional craft traditions and wood-making techniques through a contemporary eclectic language. Thick timber forms were shaped into softer lines, forming seating, tables, and modular outdoor elements designed for private terraces, hospitality spaces, and commercial environments.

The collection, created by El Attar, used natural massive hard wood in a direct way, with visible construction and structural clarity. Presented within a booth designed by Mahmoud Abdrabboh, “Namat” stood out at The Design Show for its calm, cohesive material language.

@SceneHome #SceneAD: Mawazin, a newly founded outdoor furniture brand aiming to provide a grounded and thoughtful approach to outdoor living, shaped in the same workshops in Alexandria where façades, terraces, and architectural details are made.

Founded by architect Ahmed El Attar, the brand was shaped by his experience working between design and construction across Egypt and the Gulf, with outdoor spaces considered part of everyday living. The concept for Mawazin first developed in 2023 during Attar’s visit to Riva 1920 at Milan Design Week.

Mawazin, meaning “balances” in Arabic, reflects the brand’s focus on material, structure, comfort, and long-term outdoor use. Its first collection, “Namat” (نمط), meaning pattern or order, was unveiled during the latest edition of The Design Show (TDS) in Cairo.

Developed in collaboration with designer Cherif Morsi, the collection drew from regional craft traditions and wood-making techniques through a contemporary eclectic language. Thick timber forms were shaped into softer lines, forming seating, tables, and modular outdoor elements designed for private terraces, hospitality spaces, and commercial environments.

The collection, created by El Attar, used natural massive hard wood in a direct way, with visible construction and structural clarity. Presented within a booth designed by Mahmoud Abdrabboh, “Namat” stood out at The Design Show for its calm, cohesive material language.

@SceneHome #SceneAD: Mawazin, a newly founded outdoor furniture brand aiming to provide a grounded and thoughtful approach to outdoor living, shaped in the same workshops in Alexandria where façades, terraces, and architectural details are made.

Founded by architect Ahmed El Attar, the brand was shaped by his experience working between design and construction across Egypt and the Gulf, with outdoor spaces considered part of everyday living. The concept for Mawazin first developed in 2023 during Attar’s visit to Riva 1920 at Milan Design Week.

Mawazin, meaning “balances” in Arabic, reflects the brand’s focus on material, structure, comfort, and long-term outdoor use. Its first collection, “Namat” (نمط), meaning pattern or order, was unveiled during the latest edition of The Design Show (TDS) in Cairo.

Developed in collaboration with designer Cherif Morsi, the collection drew from regional craft traditions and wood-making techniques through a contemporary eclectic language. Thick timber forms were shaped into softer lines, forming seating, tables, and modular outdoor elements designed for private terraces, hospitality spaces, and commercial environments.

The collection, created by El Attar, used natural massive hard wood in a direct way, with visible construction and structural clarity. Presented within a booth designed by Mahmoud Abdrabboh, “Namat” stood out at The Design Show for its calm, cohesive material language.

@SceneHome #SceneAD: Mawazin, a newly founded outdoor furniture brand aiming to provide a grounded and thoughtful approach to outdoor living, shaped in the same workshops in Alexandria where façades, terraces, and architectural details are made.

Founded by architect Ahmed El Attar, the brand was shaped by his experience working between design and construction across Egypt and the Gulf, with outdoor spaces considered part of everyday living. The concept for Mawazin first developed in 2023 during Attar’s visit to Riva 1920 at Milan Design Week.

Mawazin, meaning “balances” in Arabic, reflects the brand’s focus on material, structure, comfort, and long-term outdoor use. Its first collection, “Namat” (نمط), meaning pattern or order, was unveiled during the latest edition of The Design Show (TDS) in Cairo.

Developed in collaboration with designer Cherif Morsi, the collection drew from regional craft traditions and wood-making techniques through a contemporary eclectic language. Thick timber forms were shaped into softer lines, forming seating, tables, and modular outdoor elements designed for private terraces, hospitality spaces, and commercial environments.

The collection, created by El Attar, used natural massive hard wood in a direct way, with visible construction and structural clarity. Presented within a booth designed by Mahmoud Abdrabboh, “Namat” stood out at The Design Show for its calm, cohesive material language.

@SceneHome #SceneAD: In the late 1980s, Samih Sawiris arrived at a quiet stretch of the Red Sea that inspired him to build a town anchored by a small marina, setting in motion what would become El Gouna. From the outset, architecture was never treated as a backdrop to development, but as the foundation of the town’s identity itself. Rather than expanding through a singular style or rigid masterplan, El Gouna evolved through a collection of authored architectural interventions, each contributing a distinct voice while remaining tied to a shared environmental and spatial logic shaped by climate, landscape, materiality, and the relationship to the sea.

One of the earliest defining layers came through Michael Graves, whose work on the Sheraton Miramar, Golf Villas, and Steigenberger Hotel introduced a postmodern architectural language to the coastline, establishing a monumental hospitality identity connected to the landscape.

Alongside this, Shehab Mazhar shaped White Villas as a foundational residential layer, establishing a coherent domestic identity rooted in scale and openness.

As the town expanded toward the waterfront, Alfredo Freda defined Abu Tig Marina through arcades, shaded promenades, textured façades, and framed pedestrian movement, creating an urban waterfront where architecture and the act of walking the edge between land and water became inseparable.

Elsewhere, Ramy El Dahan and Ahmed Hamd reinterpreted traditional architecture through Nubia, drawing from vernacular spatial principles and climatic responsiveness to produce an environment grounded in cultural reference and performance.

More recent additions expand this language. In North Bay, Víctor Legorreta Hernández and LEGORRETA introduced bold geometric compositions and sculptural sequencing, while Studio Seilern Architects brought refined precision through the Gouna Conference and Concert Centre.

Read the full feature at scenehome.com

@SceneHome #SceneAD: In the late 1980s, Samih Sawiris arrived at a quiet stretch of the Red Sea that inspired him to build a town anchored by a small marina, setting in motion what would become El Gouna. From the outset, architecture was never treated as a backdrop to development, but as the foundation of the town’s identity itself. Rather than expanding through a singular style or rigid masterplan, El Gouna evolved through a collection of authored architectural interventions, each contributing a distinct voice while remaining tied to a shared environmental and spatial logic shaped by climate, landscape, materiality, and the relationship to the sea.

One of the earliest defining layers came through Michael Graves, whose work on the Sheraton Miramar, Golf Villas, and Steigenberger Hotel introduced a postmodern architectural language to the coastline, establishing a monumental hospitality identity connected to the landscape.

Alongside this, Shehab Mazhar shaped White Villas as a foundational residential layer, establishing a coherent domestic identity rooted in scale and openness.

As the town expanded toward the waterfront, Alfredo Freda defined Abu Tig Marina through arcades, shaded promenades, textured façades, and framed pedestrian movement, creating an urban waterfront where architecture and the act of walking the edge between land and water became inseparable.

Elsewhere, Ramy El Dahan and Ahmed Hamd reinterpreted traditional architecture through Nubia, drawing from vernacular spatial principles and climatic responsiveness to produce an environment grounded in cultural reference and performance.

More recent additions expand this language. In North Bay, Víctor Legorreta Hernández and LEGORRETA introduced bold geometric compositions and sculptural sequencing, while Studio Seilern Architects brought refined precision through the Gouna Conference and Concert Centre.

Read the full feature at scenehome.com

@SceneHome #SceneAD: In the late 1980s, Samih Sawiris arrived at a quiet stretch of the Red Sea that inspired him to build a town anchored by a small marina, setting in motion what would become El Gouna. From the outset, architecture was never treated as a backdrop to development, but as the foundation of the town’s identity itself. Rather than expanding through a singular style or rigid masterplan, El Gouna evolved through a collection of authored architectural interventions, each contributing a distinct voice while remaining tied to a shared environmental and spatial logic shaped by climate, landscape, materiality, and the relationship to the sea.

One of the earliest defining layers came through Michael Graves, whose work on the Sheraton Miramar, Golf Villas, and Steigenberger Hotel introduced a postmodern architectural language to the coastline, establishing a monumental hospitality identity connected to the landscape.

Alongside this, Shehab Mazhar shaped White Villas as a foundational residential layer, establishing a coherent domestic identity rooted in scale and openness.

As the town expanded toward the waterfront, Alfredo Freda defined Abu Tig Marina through arcades, shaded promenades, textured façades, and framed pedestrian movement, creating an urban waterfront where architecture and the act of walking the edge between land and water became inseparable.

Elsewhere, Ramy El Dahan and Ahmed Hamd reinterpreted traditional architecture through Nubia, drawing from vernacular spatial principles and climatic responsiveness to produce an environment grounded in cultural reference and performance.

More recent additions expand this language. In North Bay, Víctor Legorreta Hernández and LEGORRETA introduced bold geometric compositions and sculptural sequencing, while Studio Seilern Architects brought refined precision through the Gouna Conference and Concert Centre.

Read the full feature at scenehome.com

@SceneHome #SceneAD: In the late 1980s, Samih Sawiris arrived at a quiet stretch of the Red Sea that inspired him to build a town anchored by a small marina, setting in motion what would become El Gouna. From the outset, architecture was never treated as a backdrop to development, but as the foundation of the town’s identity itself. Rather than expanding through a singular style or rigid masterplan, El Gouna evolved through a collection of authored architectural interventions, each contributing a distinct voice while remaining tied to a shared environmental and spatial logic shaped by climate, landscape, materiality, and the relationship to the sea.

One of the earliest defining layers came through Michael Graves, whose work on the Sheraton Miramar, Golf Villas, and Steigenberger Hotel introduced a postmodern architectural language to the coastline, establishing a monumental hospitality identity connected to the landscape.

Alongside this, Shehab Mazhar shaped White Villas as a foundational residential layer, establishing a coherent domestic identity rooted in scale and openness.

As the town expanded toward the waterfront, Alfredo Freda defined Abu Tig Marina through arcades, shaded promenades, textured façades, and framed pedestrian movement, creating an urban waterfront where architecture and the act of walking the edge between land and water became inseparable.

Elsewhere, Ramy El Dahan and Ahmed Hamd reinterpreted traditional architecture through Nubia, drawing from vernacular spatial principles and climatic responsiveness to produce an environment grounded in cultural reference and performance.

More recent additions expand this language. In North Bay, Víctor Legorreta Hernández and LEGORRETA introduced bold geometric compositions and sculptural sequencing, while Studio Seilern Architects brought refined precision through the Gouna Conference and Concert Centre.

Read the full feature at scenehome.com

@SceneHome #SceneAD: In the late 1980s, Samih Sawiris arrived at a quiet stretch of the Red Sea that inspired him to build a town anchored by a small marina, setting in motion what would become El Gouna. From the outset, architecture was never treated as a backdrop to development, but as the foundation of the town’s identity itself. Rather than expanding through a singular style or rigid masterplan, El Gouna evolved through a collection of authored architectural interventions, each contributing a distinct voice while remaining tied to a shared environmental and spatial logic shaped by climate, landscape, materiality, and the relationship to the sea.

One of the earliest defining layers came through Michael Graves, whose work on the Sheraton Miramar, Golf Villas, and Steigenberger Hotel introduced a postmodern architectural language to the coastline, establishing a monumental hospitality identity connected to the landscape.

Alongside this, Shehab Mazhar shaped White Villas as a foundational residential layer, establishing a coherent domestic identity rooted in scale and openness.

As the town expanded toward the waterfront, Alfredo Freda defined Abu Tig Marina through arcades, shaded promenades, textured façades, and framed pedestrian movement, creating an urban waterfront where architecture and the act of walking the edge between land and water became inseparable.

Elsewhere, Ramy El Dahan and Ahmed Hamd reinterpreted traditional architecture through Nubia, drawing from vernacular spatial principles and climatic responsiveness to produce an environment grounded in cultural reference and performance.

More recent additions expand this language. In North Bay, Víctor Legorreta Hernández and LEGORRETA introduced bold geometric compositions and sculptural sequencing, while Studio Seilern Architects brought refined precision through the Gouna Conference and Concert Centre.

Read the full feature at scenehome.com

@SceneHome #SceneAD: In the late 1980s, Samih Sawiris arrived at a quiet stretch of the Red Sea that inspired him to build a town anchored by a small marina, setting in motion what would become El Gouna. From the outset, architecture was never treated as a backdrop to development, but as the foundation of the town’s identity itself. Rather than expanding through a singular style or rigid masterplan, El Gouna evolved through a collection of authored architectural interventions, each contributing a distinct voice while remaining tied to a shared environmental and spatial logic shaped by climate, landscape, materiality, and the relationship to the sea.

One of the earliest defining layers came through Michael Graves, whose work on the Sheraton Miramar, Golf Villas, and Steigenberger Hotel introduced a postmodern architectural language to the coastline, establishing a monumental hospitality identity connected to the landscape.

Alongside this, Shehab Mazhar shaped White Villas as a foundational residential layer, establishing a coherent domestic identity rooted in scale and openness.

As the town expanded toward the waterfront, Alfredo Freda defined Abu Tig Marina through arcades, shaded promenades, textured façades, and framed pedestrian movement, creating an urban waterfront where architecture and the act of walking the edge between land and water became inseparable.

Elsewhere, Ramy El Dahan and Ahmed Hamd reinterpreted traditional architecture through Nubia, drawing from vernacular spatial principles and climatic responsiveness to produce an environment grounded in cultural reference and performance.

More recent additions expand this language. In North Bay, Víctor Legorreta Hernández and LEGORRETA introduced bold geometric compositions and sculptural sequencing, while Studio Seilern Architects brought refined precision through the Gouna Conference and Concert Centre.

Read the full feature at scenehome.com

@SceneHome #SceneAD: In the late 1980s, Samih Sawiris arrived at a quiet stretch of the Red Sea that inspired him to build a town anchored by a small marina, setting in motion what would become El Gouna. From the outset, architecture was never treated as a backdrop to development, but as the foundation of the town’s identity itself. Rather than expanding through a singular style or rigid masterplan, El Gouna evolved through a collection of authored architectural interventions, each contributing a distinct voice while remaining tied to a shared environmental and spatial logic shaped by climate, landscape, materiality, and the relationship to the sea.

One of the earliest defining layers came through Michael Graves, whose work on the Sheraton Miramar, Golf Villas, and Steigenberger Hotel introduced a postmodern architectural language to the coastline, establishing a monumental hospitality identity connected to the landscape.

Alongside this, Shehab Mazhar shaped White Villas as a foundational residential layer, establishing a coherent domestic identity rooted in scale and openness.

As the town expanded toward the waterfront, Alfredo Freda defined Abu Tig Marina through arcades, shaded promenades, textured façades, and framed pedestrian movement, creating an urban waterfront where architecture and the act of walking the edge between land and water became inseparable.

Elsewhere, Ramy El Dahan and Ahmed Hamd reinterpreted traditional architecture through Nubia, drawing from vernacular spatial principles and climatic responsiveness to produce an environment grounded in cultural reference and performance.

More recent additions expand this language. In North Bay, Víctor Legorreta Hernández and LEGORRETA introduced bold geometric compositions and sculptural sequencing, while Studio Seilern Architects brought refined precision through the Gouna Conference and Concert Centre.

Read the full feature at scenehome.com

@SceneHome #SceneAD: In the late 1980s, Samih Sawiris arrived at a quiet stretch of the Red Sea that inspired him to build a town anchored by a small marina, setting in motion what would become El Gouna. From the outset, architecture was never treated as a backdrop to development, but as the foundation of the town’s identity itself. Rather than expanding through a singular style or rigid masterplan, El Gouna evolved through a collection of authored architectural interventions, each contributing a distinct voice while remaining tied to a shared environmental and spatial logic shaped by climate, landscape, materiality, and the relationship to the sea.

One of the earliest defining layers came through Michael Graves, whose work on the Sheraton Miramar, Golf Villas, and Steigenberger Hotel introduced a postmodern architectural language to the coastline, establishing a monumental hospitality identity connected to the landscape.

Alongside this, Shehab Mazhar shaped White Villas as a foundational residential layer, establishing a coherent domestic identity rooted in scale and openness.

As the town expanded toward the waterfront, Alfredo Freda defined Abu Tig Marina through arcades, shaded promenades, textured façades, and framed pedestrian movement, creating an urban waterfront where architecture and the act of walking the edge between land and water became inseparable.

Elsewhere, Ramy El Dahan and Ahmed Hamd reinterpreted traditional architecture through Nubia, drawing from vernacular spatial principles and climatic responsiveness to produce an environment grounded in cultural reference and performance.

More recent additions expand this language. In North Bay, Víctor Legorreta Hernández and LEGORRETA introduced bold geometric compositions and sculptural sequencing, while Studio Seilern Architects brought refined precision through the Gouna Conference and Concert Centre.

Read the full feature at scenehome.com

@SceneHome: In Saudi Arabia’s Eastern Province, more than two million date palms stand in quiet procession, forming Al Ahsa – the world’s largest self-contained oasis and a UNESCO World Heritage Site. Yet none of these distinctions fully prepares you for arriving within it. The air shifts, the temperature drops, the dense palm canopy begins to erase the openness of the sky that came before, and the landscape settles into a stillness shaped by history, held in its light, its soil, and its silence.

El Ghoneimi International approached the site with that condition already understood. The Cairo-based practice has built its portfolio across some of the region’s most distinctive hospitality environments, guided by a discipline of reading place with enough depth for its underlying logic to become the starting point for design. In Al Ahsa’s Al Ghadeer Ecolodge, that logic belongs to a landscape shaped by a sensitive heritage context and a distinct ecology, balanced with the comfort and restraint of a Dusit Hotels-operated ecolodge.

The concept is built around a single organising idea: the oasis as a hidden gem that reveals itself gradually. “The project is about continuity with nature, creating a cultural and environmental dialogue that results in a timeless escape, both grounded and elevated,” says Shadi El Ghoneimi, Partner and Head of Design at El Ghoneimi International, describing how the project positions Al Ahsa as a refuge where untouched nature meets refined, understated luxury.

Three design pillars structure the project. ‘Nature Continuity’ governs the relationship between interior and exterior, dissolving thresholds through material consistency, framed openings, and uninterrupted sightlines. ‘Oasis Gem’ defines the experiential register: intimate, exclusive, and embodied luxury. ‘Cultural Integration’ embeds Al Ahsa’s heritage into the design language through mashrabiya geometries, textile weaves, and proportions drawn from vernacular architecture.

Read the full feature at scenehome.com

🖊️ Huda Mekkawi

@SceneHome: In Saudi Arabia’s Eastern Province, more than two million date palms stand in quiet procession, forming Al Ahsa – the world’s largest self-contained oasis and a UNESCO World Heritage Site. Yet none of these distinctions fully prepares you for arriving within it. The air shifts, the temperature drops, the dense palm canopy begins to erase the openness of the sky that came before, and the landscape settles into a stillness shaped by history, held in its light, its soil, and its silence.

El Ghoneimi International approached the site with that condition already understood. The Cairo-based practice has built its portfolio across some of the region’s most distinctive hospitality environments, guided by a discipline of reading place with enough depth for its underlying logic to become the starting point for design. In Al Ahsa’s Al Ghadeer Ecolodge, that logic belongs to a landscape shaped by a sensitive heritage context and a distinct ecology, balanced with the comfort and restraint of a Dusit Hotels-operated ecolodge.

The concept is built around a single organising idea: the oasis as a hidden gem that reveals itself gradually. “The project is about continuity with nature, creating a cultural and environmental dialogue that results in a timeless escape, both grounded and elevated,” says Shadi El Ghoneimi, Partner and Head of Design at El Ghoneimi International, describing how the project positions Al Ahsa as a refuge where untouched nature meets refined, understated luxury.

Three design pillars structure the project. ‘Nature Continuity’ governs the relationship between interior and exterior, dissolving thresholds through material consistency, framed openings, and uninterrupted sightlines. ‘Oasis Gem’ defines the experiential register: intimate, exclusive, and embodied luxury. ‘Cultural Integration’ embeds Al Ahsa’s heritage into the design language through mashrabiya geometries, textile weaves, and proportions drawn from vernacular architecture.

Read the full feature at scenehome.com

🖊️ Huda Mekkawi

@SceneHome: In Saudi Arabia’s Eastern Province, more than two million date palms stand in quiet procession, forming Al Ahsa – the world’s largest self-contained oasis and a UNESCO World Heritage Site. Yet none of these distinctions fully prepares you for arriving within it. The air shifts, the temperature drops, the dense palm canopy begins to erase the openness of the sky that came before, and the landscape settles into a stillness shaped by history, held in its light, its soil, and its silence.

El Ghoneimi International approached the site with that condition already understood. The Cairo-based practice has built its portfolio across some of the region’s most distinctive hospitality environments, guided by a discipline of reading place with enough depth for its underlying logic to become the starting point for design. In Al Ahsa’s Al Ghadeer Ecolodge, that logic belongs to a landscape shaped by a sensitive heritage context and a distinct ecology, balanced with the comfort and restraint of a Dusit Hotels-operated ecolodge.

The concept is built around a single organising idea: the oasis as a hidden gem that reveals itself gradually. “The project is about continuity with nature, creating a cultural and environmental dialogue that results in a timeless escape, both grounded and elevated,” says Shadi El Ghoneimi, Partner and Head of Design at El Ghoneimi International, describing how the project positions Al Ahsa as a refuge where untouched nature meets refined, understated luxury.

Three design pillars structure the project. ‘Nature Continuity’ governs the relationship between interior and exterior, dissolving thresholds through material consistency, framed openings, and uninterrupted sightlines. ‘Oasis Gem’ defines the experiential register: intimate, exclusive, and embodied luxury. ‘Cultural Integration’ embeds Al Ahsa’s heritage into the design language through mashrabiya geometries, textile weaves, and proportions drawn from vernacular architecture.

Read the full feature at scenehome.com

🖊️ Huda Mekkawi

@SceneHome: In Saudi Arabia’s Eastern Province, more than two million date palms stand in quiet procession, forming Al Ahsa – the world’s largest self-contained oasis and a UNESCO World Heritage Site. Yet none of these distinctions fully prepares you for arriving within it. The air shifts, the temperature drops, the dense palm canopy begins to erase the openness of the sky that came before, and the landscape settles into a stillness shaped by history, held in its light, its soil, and its silence.

El Ghoneimi International approached the site with that condition already understood. The Cairo-based practice has built its portfolio across some of the region’s most distinctive hospitality environments, guided by a discipline of reading place with enough depth for its underlying logic to become the starting point for design. In Al Ahsa’s Al Ghadeer Ecolodge, that logic belongs to a landscape shaped by a sensitive heritage context and a distinct ecology, balanced with the comfort and restraint of a Dusit Hotels-operated ecolodge.

The concept is built around a single organising idea: the oasis as a hidden gem that reveals itself gradually. “The project is about continuity with nature, creating a cultural and environmental dialogue that results in a timeless escape, both grounded and elevated,” says Shadi El Ghoneimi, Partner and Head of Design at El Ghoneimi International, describing how the project positions Al Ahsa as a refuge where untouched nature meets refined, understated luxury.

Three design pillars structure the project. ‘Nature Continuity’ governs the relationship between interior and exterior, dissolving thresholds through material consistency, framed openings, and uninterrupted sightlines. ‘Oasis Gem’ defines the experiential register: intimate, exclusive, and embodied luxury. ‘Cultural Integration’ embeds Al Ahsa’s heritage into the design language through mashrabiya geometries, textile weaves, and proportions drawn from vernacular architecture.

Read the full feature at scenehome.com

🖊️ Huda Mekkawi

@SceneHome: In Saudi Arabia’s Eastern Province, more than two million date palms stand in quiet procession, forming Al Ahsa – the world’s largest self-contained oasis and a UNESCO World Heritage Site. Yet none of these distinctions fully prepares you for arriving within it. The air shifts, the temperature drops, the dense palm canopy begins to erase the openness of the sky that came before, and the landscape settles into a stillness shaped by history, held in its light, its soil, and its silence.

El Ghoneimi International approached the site with that condition already understood. The Cairo-based practice has built its portfolio across some of the region’s most distinctive hospitality environments, guided by a discipline of reading place with enough depth for its underlying logic to become the starting point for design. In Al Ahsa’s Al Ghadeer Ecolodge, that logic belongs to a landscape shaped by a sensitive heritage context and a distinct ecology, balanced with the comfort and restraint of a Dusit Hotels-operated ecolodge.

The concept is built around a single organising idea: the oasis as a hidden gem that reveals itself gradually. “The project is about continuity with nature, creating a cultural and environmental dialogue that results in a timeless escape, both grounded and elevated,” says Shadi El Ghoneimi, Partner and Head of Design at El Ghoneimi International, describing how the project positions Al Ahsa as a refuge where untouched nature meets refined, understated luxury.

Three design pillars structure the project. ‘Nature Continuity’ governs the relationship between interior and exterior, dissolving thresholds through material consistency, framed openings, and uninterrupted sightlines. ‘Oasis Gem’ defines the experiential register: intimate, exclusive, and embodied luxury. ‘Cultural Integration’ embeds Al Ahsa’s heritage into the design language through mashrabiya geometries, textile weaves, and proportions drawn from vernacular architecture.

Read the full feature at scenehome.com

🖊️ Huda Mekkawi

@SceneHome: In Saudi Arabia’s Eastern Province, more than two million date palms stand in quiet procession, forming Al Ahsa – the world’s largest self-contained oasis and a UNESCO World Heritage Site. Yet none of these distinctions fully prepares you for arriving within it. The air shifts, the temperature drops, the dense palm canopy begins to erase the openness of the sky that came before, and the landscape settles into a stillness shaped by history, held in its light, its soil, and its silence.

El Ghoneimi International approached the site with that condition already understood. The Cairo-based practice has built its portfolio across some of the region’s most distinctive hospitality environments, guided by a discipline of reading place with enough depth for its underlying logic to become the starting point for design. In Al Ahsa’s Al Ghadeer Ecolodge, that logic belongs to a landscape shaped by a sensitive heritage context and a distinct ecology, balanced with the comfort and restraint of a Dusit Hotels-operated ecolodge.

The concept is built around a single organising idea: the oasis as a hidden gem that reveals itself gradually. “The project is about continuity with nature, creating a cultural and environmental dialogue that results in a timeless escape, both grounded and elevated,” says Shadi El Ghoneimi, Partner and Head of Design at El Ghoneimi International, describing how the project positions Al Ahsa as a refuge where untouched nature meets refined, understated luxury.

Three design pillars structure the project. ‘Nature Continuity’ governs the relationship between interior and exterior, dissolving thresholds through material consistency, framed openings, and uninterrupted sightlines. ‘Oasis Gem’ defines the experiential register: intimate, exclusive, and embodied luxury. ‘Cultural Integration’ embeds Al Ahsa’s heritage into the design language through mashrabiya geometries, textile weaves, and proportions drawn from vernacular architecture.

Read the full feature at scenehome.com

🖊️ Huda Mekkawi

@SceneHome: In Saudi Arabia’s Eastern Province, more than two million date palms stand in quiet procession, forming Al Ahsa – the world’s largest self-contained oasis and a UNESCO World Heritage Site. Yet none of these distinctions fully prepares you for arriving within it. The air shifts, the temperature drops, the dense palm canopy begins to erase the openness of the sky that came before, and the landscape settles into a stillness shaped by history, held in its light, its soil, and its silence.

El Ghoneimi International approached the site with that condition already understood. The Cairo-based practice has built its portfolio across some of the region’s most distinctive hospitality environments, guided by a discipline of reading place with enough depth for its underlying logic to become the starting point for design. In Al Ahsa’s Al Ghadeer Ecolodge, that logic belongs to a landscape shaped by a sensitive heritage context and a distinct ecology, balanced with the comfort and restraint of a Dusit Hotels-operated ecolodge.

The concept is built around a single organising idea: the oasis as a hidden gem that reveals itself gradually. “The project is about continuity with nature, creating a cultural and environmental dialogue that results in a timeless escape, both grounded and elevated,” says Shadi El Ghoneimi, Partner and Head of Design at El Ghoneimi International, describing how the project positions Al Ahsa as a refuge where untouched nature meets refined, understated luxury.

Three design pillars structure the project. ‘Nature Continuity’ governs the relationship between interior and exterior, dissolving thresholds through material consistency, framed openings, and uninterrupted sightlines. ‘Oasis Gem’ defines the experiential register: intimate, exclusive, and embodied luxury. ‘Cultural Integration’ embeds Al Ahsa’s heritage into the design language through mashrabiya geometries, textile weaves, and proportions drawn from vernacular architecture.

Read the full feature at scenehome.com

🖊️ Huda Mekkawi

@SceneHome: In Saudi Arabia’s Eastern Province, more than two million date palms stand in quiet procession, forming Al Ahsa – the world’s largest self-contained oasis and a UNESCO World Heritage Site. Yet none of these distinctions fully prepares you for arriving within it. The air shifts, the temperature drops, the dense palm canopy begins to erase the openness of the sky that came before, and the landscape settles into a stillness shaped by history, held in its light, its soil, and its silence.

El Ghoneimi International approached the site with that condition already understood. The Cairo-based practice has built its portfolio across some of the region’s most distinctive hospitality environments, guided by a discipline of reading place with enough depth for its underlying logic to become the starting point for design. In Al Ahsa’s Al Ghadeer Ecolodge, that logic belongs to a landscape shaped by a sensitive heritage context and a distinct ecology, balanced with the comfort and restraint of a Dusit Hotels-operated ecolodge.

The concept is built around a single organising idea: the oasis as a hidden gem that reveals itself gradually. “The project is about continuity with nature, creating a cultural and environmental dialogue that results in a timeless escape, both grounded and elevated,” says Shadi El Ghoneimi, Partner and Head of Design at El Ghoneimi International, describing how the project positions Al Ahsa as a refuge where untouched nature meets refined, understated luxury.

Three design pillars structure the project. ‘Nature Continuity’ governs the relationship between interior and exterior, dissolving thresholds through material consistency, framed openings, and uninterrupted sightlines. ‘Oasis Gem’ defines the experiential register: intimate, exclusive, and embodied luxury. ‘Cultural Integration’ embeds Al Ahsa’s heritage into the design language through mashrabiya geometries, textile weaves, and proportions drawn from vernacular architecture.

Read the full feature at scenehome.com

🖊️ Huda Mekkawi

@SceneHome: In Saudi Arabia’s Eastern Province, more than two million date palms stand in quiet procession, forming Al Ahsa – the world’s largest self-contained oasis and a UNESCO World Heritage Site. Yet none of these distinctions fully prepares you for arriving within it. The air shifts, the temperature drops, the dense palm canopy begins to erase the openness of the sky that came before, and the landscape settles into a stillness shaped by history, held in its light, its soil, and its silence.

El Ghoneimi International approached the site with that condition already understood. The Cairo-based practice has built its portfolio across some of the region’s most distinctive hospitality environments, guided by a discipline of reading place with enough depth for its underlying logic to become the starting point for design. In Al Ahsa’s Al Ghadeer Ecolodge, that logic belongs to a landscape shaped by a sensitive heritage context and a distinct ecology, balanced with the comfort and restraint of a Dusit Hotels-operated ecolodge.

The concept is built around a single organising idea: the oasis as a hidden gem that reveals itself gradually. “The project is about continuity with nature, creating a cultural and environmental dialogue that results in a timeless escape, both grounded and elevated,” says Shadi El Ghoneimi, Partner and Head of Design at El Ghoneimi International, describing how the project positions Al Ahsa as a refuge where untouched nature meets refined, understated luxury.

Three design pillars structure the project. ‘Nature Continuity’ governs the relationship between interior and exterior, dissolving thresholds through material consistency, framed openings, and uninterrupted sightlines. ‘Oasis Gem’ defines the experiential register: intimate, exclusive, and embodied luxury. ‘Cultural Integration’ embeds Al Ahsa’s heritage into the design language through mashrabiya geometries, textile weaves, and proportions drawn from vernacular architecture.

Read the full feature at scenehome.com

🖊️ Huda Mekkawi

@SceneHome: In Saudi Arabia’s Eastern Province, more than two million date palms stand in quiet procession, forming Al Ahsa – the world’s largest self-contained oasis and a UNESCO World Heritage Site. Yet none of these distinctions fully prepares you for arriving within it. The air shifts, the temperature drops, the dense palm canopy begins to erase the openness of the sky that came before, and the landscape settles into a stillness shaped by history, held in its light, its soil, and its silence.

El Ghoneimi International approached the site with that condition already understood. The Cairo-based practice has built its portfolio across some of the region’s most distinctive hospitality environments, guided by a discipline of reading place with enough depth for its underlying logic to become the starting point for design. In Al Ahsa’s Al Ghadeer Ecolodge, that logic belongs to a landscape shaped by a sensitive heritage context and a distinct ecology, balanced with the comfort and restraint of a Dusit Hotels-operated ecolodge.

The concept is built around a single organising idea: the oasis as a hidden gem that reveals itself gradually. “The project is about continuity with nature, creating a cultural and environmental dialogue that results in a timeless escape, both grounded and elevated,” says Shadi El Ghoneimi, Partner and Head of Design at El Ghoneimi International, describing how the project positions Al Ahsa as a refuge where untouched nature meets refined, understated luxury.

Three design pillars structure the project. ‘Nature Continuity’ governs the relationship between interior and exterior, dissolving thresholds through material consistency, framed openings, and uninterrupted sightlines. ‘Oasis Gem’ defines the experiential register: intimate, exclusive, and embodied luxury. ‘Cultural Integration’ embeds Al Ahsa’s heritage into the design language through mashrabiya geometries, textile weaves, and proportions drawn from vernacular architecture.

Read the full feature at scenehome.com

🖊️ Huda Mekkawi

@SceneHome: @taapegypt has opened a new interactive showroom in Maadi, Egypt, centred around “Everything Bathroom and Kitchen,” bringing together mixers, sinks, tiles, and accessories under one roof with collaborations with local brands including Tamia Tiles, Cairo Stone Studio, and Mix Matter.

The idea behind TAAP began while Omar Galal, Founder of TAAP, and his wife were finishing their own home and struggled to find fixtures locally that matched the style they wanted. “We couldn’t find products locally that matched the aesthetic we were looking for while finishing our home,” says Galal. “After importing faucets ourselves, I realized there was space in the market for a more curated approach where design consistency and material integrity are considered together, not separately.”

Their new showroom presents bathrooms and kitchens as complete compositions rather than a display of isolated products, showing how TAAP fixtures fit within different tile compositions, material palettes, and atmospheres. It also features an interactive colour wheel that allows visitors to experiment with combinations of tile colours, faucet finishes, and sink materials, making it easier to understand how different elements work together in a space.

At the opening event, food by The Setup catering was designed by Mariam Hammoud as a composition of textures and materials, while shared bites were served without utensils, encouraging guests to interact with the space and use TAAP faucets as part of the experience.

The event also included ceramic tile colouring with the created tiles later integrated into one of the showroom bathrooms. A “Build Your Own Guest Bathroom” workshop was also hosted using miniature versions of showroom products. TAAP is currently planning bi-monthly community events focused on similar hands-on design activities, continuing its exploration of how bathrooms and kitchens can be experienced through making, interaction, and shared experimentation.

@SceneHome: @taapegypt has opened a new interactive showroom in Maadi, Egypt, centred around “Everything Bathroom and Kitchen,” bringing together mixers, sinks, tiles, and accessories under one roof with collaborations with local brands including Tamia Tiles, Cairo Stone Studio, and Mix Matter.

The idea behind TAAP began while Omar Galal, Founder of TAAP, and his wife were finishing their own home and struggled to find fixtures locally that matched the style they wanted. “We couldn’t find products locally that matched the aesthetic we were looking for while finishing our home,” says Galal. “After importing faucets ourselves, I realized there was space in the market for a more curated approach where design consistency and material integrity are considered together, not separately.”

Their new showroom presents bathrooms and kitchens as complete compositions rather than a display of isolated products, showing how TAAP fixtures fit within different tile compositions, material palettes, and atmospheres. It also features an interactive colour wheel that allows visitors to experiment with combinations of tile colours, faucet finishes, and sink materials, making it easier to understand how different elements work together in a space.

At the opening event, food by The Setup catering was designed by Mariam Hammoud as a composition of textures and materials, while shared bites were served without utensils, encouraging guests to interact with the space and use TAAP faucets as part of the experience.

The event also included ceramic tile colouring with the created tiles later integrated into one of the showroom bathrooms. A “Build Your Own Guest Bathroom” workshop was also hosted using miniature versions of showroom products. TAAP is currently planning bi-monthly community events focused on similar hands-on design activities, continuing its exploration of how bathrooms and kitchens can be experienced through making, interaction, and shared experimentation.

@SceneHome: @taapegypt has opened a new interactive showroom in Maadi, Egypt, centred around “Everything Bathroom and Kitchen,” bringing together mixers, sinks, tiles, and accessories under one roof with collaborations with local brands including Tamia Tiles, Cairo Stone Studio, and Mix Matter.

The idea behind TAAP began while Omar Galal, Founder of TAAP, and his wife were finishing their own home and struggled to find fixtures locally that matched the style they wanted. “We couldn’t find products locally that matched the aesthetic we were looking for while finishing our home,” says Galal. “After importing faucets ourselves, I realized there was space in the market for a more curated approach where design consistency and material integrity are considered together, not separately.”

Their new showroom presents bathrooms and kitchens as complete compositions rather than a display of isolated products, showing how TAAP fixtures fit within different tile compositions, material palettes, and atmospheres. It also features an interactive colour wheel that allows visitors to experiment with combinations of tile colours, faucet finishes, and sink materials, making it easier to understand how different elements work together in a space.

At the opening event, food by The Setup catering was designed by Mariam Hammoud as a composition of textures and materials, while shared bites were served without utensils, encouraging guests to interact with the space and use TAAP faucets as part of the experience.

The event also included ceramic tile colouring with the created tiles later integrated into one of the showroom bathrooms. A “Build Your Own Guest Bathroom” workshop was also hosted using miniature versions of showroom products. TAAP is currently planning bi-monthly community events focused on similar hands-on design activities, continuing its exploration of how bathrooms and kitchens can be experienced through making, interaction, and shared experimentation.

@SceneHome: @taapegypt has opened a new interactive showroom in Maadi, Egypt, centred around “Everything Bathroom and Kitchen,” bringing together mixers, sinks, tiles, and accessories under one roof with collaborations with local brands including Tamia Tiles, Cairo Stone Studio, and Mix Matter.

The idea behind TAAP began while Omar Galal, Founder of TAAP, and his wife were finishing their own home and struggled to find fixtures locally that matched the style they wanted. “We couldn’t find products locally that matched the aesthetic we were looking for while finishing our home,” says Galal. “After importing faucets ourselves, I realized there was space in the market for a more curated approach where design consistency and material integrity are considered together, not separately.”

Their new showroom presents bathrooms and kitchens as complete compositions rather than a display of isolated products, showing how TAAP fixtures fit within different tile compositions, material palettes, and atmospheres. It also features an interactive colour wheel that allows visitors to experiment with combinations of tile colours, faucet finishes, and sink materials, making it easier to understand how different elements work together in a space.

At the opening event, food by The Setup catering was designed by Mariam Hammoud as a composition of textures and materials, while shared bites were served without utensils, encouraging guests to interact with the space and use TAAP faucets as part of the experience.

The event also included ceramic tile colouring with the created tiles later integrated into one of the showroom bathrooms. A “Build Your Own Guest Bathroom” workshop was also hosted using miniature versions of showroom products. TAAP is currently planning bi-monthly community events focused on similar hands-on design activities, continuing its exploration of how bathrooms and kitchens can be experienced through making, interaction, and shared experimentation.

@SceneHome: @taapegypt has opened a new interactive showroom in Maadi, Egypt, centred around “Everything Bathroom and Kitchen,” bringing together mixers, sinks, tiles, and accessories under one roof with collaborations with local brands including Tamia Tiles, Cairo Stone Studio, and Mix Matter.

The idea behind TAAP began while Omar Galal, Founder of TAAP, and his wife were finishing their own home and struggled to find fixtures locally that matched the style they wanted. “We couldn’t find products locally that matched the aesthetic we were looking for while finishing our home,” says Galal. “After importing faucets ourselves, I realized there was space in the market for a more curated approach where design consistency and material integrity are considered together, not separately.”

Their new showroom presents bathrooms and kitchens as complete compositions rather than a display of isolated products, showing how TAAP fixtures fit within different tile compositions, material palettes, and atmospheres. It also features an interactive colour wheel that allows visitors to experiment with combinations of tile colours, faucet finishes, and sink materials, making it easier to understand how different elements work together in a space.

At the opening event, food by The Setup catering was designed by Mariam Hammoud as a composition of textures and materials, while shared bites were served without utensils, encouraging guests to interact with the space and use TAAP faucets as part of the experience.

The event also included ceramic tile colouring with the created tiles later integrated into one of the showroom bathrooms. A “Build Your Own Guest Bathroom” workshop was also hosted using miniature versions of showroom products. TAAP is currently planning bi-monthly community events focused on similar hands-on design activities, continuing its exploration of how bathrooms and kitchens can be experienced through making, interaction, and shared experimentation.

@SceneHome: @taapegypt has opened a new interactive showroom in Maadi, Egypt, centred around “Everything Bathroom and Kitchen,” bringing together mixers, sinks, tiles, and accessories under one roof with collaborations with local brands including Tamia Tiles, Cairo Stone Studio, and Mix Matter.

The idea behind TAAP began while Omar Galal, Founder of TAAP, and his wife were finishing their own home and struggled to find fixtures locally that matched the style they wanted. “We couldn’t find products locally that matched the aesthetic we were looking for while finishing our home,” says Galal. “After importing faucets ourselves, I realized there was space in the market for a more curated approach where design consistency and material integrity are considered together, not separately.”

Their new showroom presents bathrooms and kitchens as complete compositions rather than a display of isolated products, showing how TAAP fixtures fit within different tile compositions, material palettes, and atmospheres. It also features an interactive colour wheel that allows visitors to experiment with combinations of tile colours, faucet finishes, and sink materials, making it easier to understand how different elements work together in a space.

At the opening event, food by The Setup catering was designed by Mariam Hammoud as a composition of textures and materials, while shared bites were served without utensils, encouraging guests to interact with the space and use TAAP faucets as part of the experience.

The event also included ceramic tile colouring with the created tiles later integrated into one of the showroom bathrooms. A “Build Your Own Guest Bathroom” workshop was also hosted using miniature versions of showroom products. TAAP is currently planning bi-monthly community events focused on similar hands-on design activities, continuing its exploration of how bathrooms and kitchens can be experienced through making, interaction, and shared experimentation.

@SceneHome: @taapegypt has opened a new interactive showroom in Maadi, Egypt, centred around “Everything Bathroom and Kitchen,” bringing together mixers, sinks, tiles, and accessories under one roof with collaborations with local brands including Tamia Tiles, Cairo Stone Studio, and Mix Matter.

The idea behind TAAP began while Omar Galal, Founder of TAAP, and his wife were finishing their own home and struggled to find fixtures locally that matched the style they wanted. “We couldn’t find products locally that matched the aesthetic we were looking for while finishing our home,” says Galal. “After importing faucets ourselves, I realized there was space in the market for a more curated approach where design consistency and material integrity are considered together, not separately.”

Their new showroom presents bathrooms and kitchens as complete compositions rather than a display of isolated products, showing how TAAP fixtures fit within different tile compositions, material palettes, and atmospheres. It also features an interactive colour wheel that allows visitors to experiment with combinations of tile colours, faucet finishes, and sink materials, making it easier to understand how different elements work together in a space.

At the opening event, food by The Setup catering was designed by Mariam Hammoud as a composition of textures and materials, while shared bites were served without utensils, encouraging guests to interact with the space and use TAAP faucets as part of the experience.

The event also included ceramic tile colouring with the created tiles later integrated into one of the showroom bathrooms. A “Build Your Own Guest Bathroom” workshop was also hosted using miniature versions of showroom products. TAAP is currently planning bi-monthly community events focused on similar hands-on design activities, continuing its exploration of how bathrooms and kitchens can be experienced through making, interaction, and shared experimentation.