BD Barcelona teams up with four GCC-based designers for exhibition during Dubai Design Week

BD Barcelona teams up with four GCC-based designers for exhibition during Dubai Design Week

Alriwaq Art Space, Bahrain, BD Barcelona, Contemporary Art Platform, Design, Design exhibition, Design in the Gulf, Dubai, Dubai Design Week, Gazzaz Brothers, GCC, Kuwait, Loula Al Radwan, PostCraft Collection, Samer Yamani, Saudi Arabia, Sheikha Hind bint Majed Al Qassimi, The Odd Piece

Design brand BD Barcelona is celebrating creativity in the Arab world through a selection of works entitled the PostCraft Collection, bringing together designers from four countries in the Gulf, including the UAE, Kuwait, Saudi Arabia and Bahrain.

Each designer will be represented by a gallery in their respective countries, with a launch date set during Dubai Design Week on 14 November at The ODD Piece , the gallery supporting UAE-based designer, Her Highness Sheikha Hind bint Majed Al Qassimi.

Other galleries and designers include Alriwaq Art Space in Bahrain, which will be presenting Maysan Al Nasser; CAP- Contemporary Art Platform in Kuwait alongside designer Loula Al Radwan; and the Gazzaz Brothers from Jeddah, who will be presented by the Athar Gallery in Jeddah. The galleries will each support the designers in developing and producing their pieces, based on a curatorial brief.

The exhibition is curated by Samer Yamani, a Syrian-Spanish designer based in Barcelona, andwill feature works by the four designers, alongside five pieces from Barcelona Design’s permanent collection including designs by Salvador Dali, Antonio Gaudi and Jaime Hayon.

Following the launch during Dubai Design Week, the PostCraft Collection exhibition will tour the GCC, including BD Barcelona Design establishments in Dubai, Jeddah, Kuwait and Bahrain.

Read more about each designer’s work below: 

Her Highness Sheikha Hind bint Majed Al Qassimi – Dubai, UAE

Sheikha Hind’s collection of vases are called ‘IS-DHER’. The UAE-based entrepreneur is the founder of ‘Designed by Hind’, which focuses on producing collections of bespoke crockery that has become one of the UAE’s leading brands of porcelain.

Her collection is an interpretation of pre, during and post-oil eras that have defined the Middle East, creating a bridge between the three historical periods.

Each era’s impact on the other is expressed through the fluidity and transitional qualities of the vases, where each period is represented through the distinct textures of the vase.

A raw and earthy coral effect symbolises the time before oil was discovered; a luxurious gold foil façade bears testimony to the wealth and prosperity that came with its; discover; and the post-oil world, driven by technology and sustainability, is shown through a glossy metallic finish.

Maysam Al Nasser – Bahrain

The Manana-based architect has created ‘Cabinet Talisam’, a piece inspired by Friedrich Nietzche’s quote, “There are no beautiful surfaces without terrible depth.” It embodies a minimal, all-white cabinet that is drawn back like fabric.

“The details of its history is represented at its core, pealing layers of time to reveal inevitable roots,” according to the designer.

Fascinated by the dialogue between space and culture, Maysam founded her design studio 1:1, dedicated to conceptual architecture, interiors and furniture design in 2012.

Loulwa Al Radwan- Kuwait

Kuwait-based Loulwa Al Rawan is an interior designer and founder of design studio INTERIA. Her installation for the PostCraft Collection is called ‘Lunar Tale’, inspired by the moon.

The installation features interlaced mirrors and brass which are locked into a unique pattern, depicting the different phases of the moon.

Loulwa has recently been involved in an exhibition during London Design Week, organised by the Dubai Design District, called Middle East: Design Now! 

Gazzaz Brothers- Jeddah, Saudi Arabia

The siblings, Abdulrahman and Turki Gazzaz, are young architects from Jeddah, Saudi Arabia. Their installation is called ‘Tawlah’, reflecting their innovative approach to design through a sensitivity in weaving historic and contemporary references.

Tawlah draws inspiration from the traditional joinery of the Hejaz region and weaving patterns from Asir, in conjunction with Japanese woodworking techniques. The table is a product of the cultural narrative of pilgrimage, which assimilates different crafts, ideologies, and backgrounds into a cohesive artifact that attests to a shared humanity.


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