Stratos Beer’s concept spider-like MK1 drone delivers canned drinks anywhere and drops them on-site using individual mini parachutes. Comprising a central keg-looking body for storage and a series of foldable propeller arms, the beer delivery drone with parachutes can land on different types of surfaces using the controlled electric motors powered by a rechargeable battery system. Since it is a drone, sensors for navigation and automatic stabilization during flight are included to make sure that users safely receive their cans of beers and drinks.

The beer delivery drone with parachutes works using the dedicated Stratos App, which lets users place orders. It locates them using GPS and sends flight instructions to the drone. Once a location is confirmed, the flying device departs from a distribution point carrying either cans or a mini keg. The app also includes tracking and status updates so the user can see when the drone is approaching, and the navigation is based on autonomous drone mapping systems that calculate flight paths and avoid obstacles. The beer delivery drone with parachutes is made of aerospace-inspired materials and carbon fiber, and its parts are molded and combined with aluminum joints. The internal cooling system inside the storage bay keeps the cans of beer cold during flight.

all images courtesy of Stratos Beer

Autonomous flying device with foldable propeller arms

The MK1 flying device by Stratos Beer can deliver canned drinks in two formats. The first option is for individual cans, with each drone able to carry up to eight cans at once. These containers are held in a custom-built internal compartment that releases them one by one. When the drone reaches the delivery point, the cans are dropped using mini parachutes, slowly coming down to allow the cans to land without damage. The system also includes sensors that calculate height and wind direction before release to make sure each lands near the user. The second delivery format is designed for events or gatherings. In this case, the drone carries a 5-liter mini keg instead of cans.

The barrel is locked into a circular mount that keeps it steady during flight. When it arrives, the device lands instead of dropping the keg, then the folding arms of the beer delivery drone with parachutes adjust to form a stable base so it can rest on uneven surfaces. The keg itself is cylindrical and includes a small internal pump and rotating handles for easy pouring, made from stainless steel with reinforced side brackets for secure attachment during flight. Once on the ground, the keg can be detached and used immediately. After the event, the drone is programmed to collect the empty keg and return it to the distribution point. So far, there’s no news yet on the commercial and prototype production of Stratos’ beer delivery drone with mini parachutes.

the central body follows the shape of a keg

there are four foldable propeller arms installed

surface view of the flying device

the foldable arms double as a stand when the device is not in use

detailed view of the device

the beer delivery drone with parachutes can land on different types of surfaces

there’s a handle on top so users can carry it

the flying device can also deliver a keg for parties

so far, there’s no news yet on the device’s prototype or commercial production

project info:

name: MK1 Drone

design: Stratros Beer | @stratosbeer

designers: Benjamin Miller, Mason Watson, Tyler Bask

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: matthew burgos | designboom

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Naoto Fukasawa uses the simplicity of everyday paper as the starting point for SIWA A4 Light, a limited-edition portable lamp for SIWA, the washi-based brand developed by longtime manufacturer Onao. Limited to 100 units and releasing in late January 2026, the piece turns the familiar geometry of a standard A4 stack into an illuminated object, a play on material perception, scale, and the cultural intimacy of Japanese paper. ‘The appeal of a light object wrapped in paper is that the paper itself is the element,’ Fukasawa describes.

images courtesy of SIWA

SIWA A4 Light: From Desktop Staple to Luminous Companion

Rather than treating paper as a diffuser or covering, product designer Naoto Fukasawa begins with the archetype of 500 sheets of A4 copy paper, then substitutes it with Siwa’s own Naolon, a strong, water-resistant washi-derived material. The form retains the proportions of a ream, transforming what is normally a quotidian desktop item into a luminous, monolithic block. In this translation, the stack becomes a vessel for light rather than ink, suggesting how subtle shifts in material can recast an everyday silhouette as a sculptural domestic object.

A dedicated paper bag accompanies the lamp and is designed specifically to hold and transport it. The gesture nods to the brand’s lineage in soft, foldable paper goods, while also positioning the light as something carried from room to room rather than fixed to a single spot. The lamp’s built-in LED offers up to five hours of illumination at full brightness, or roughly 170 hours at its lowest setting, extending its function as a portable, battery-powered companion. The SIWA A4 Light with bag is priced at ¥55,000 (tax included) and measures H55 × W210 × D297 millimeters, weighing 800 grams.

the piece turns the familiar geometry of a standard A4 stack into an illuminated object

transforming what is normally a quotidian desktop item into a luminous, monolithic block

a dedicated paper bag accompanies the lamp

project info:

name: SIWA A4 Light

designer: Naoto Fukasawa | @naoto_fukasawa_design_ltd

brand: SIWA | @siwacollection

dimensions: H55 × W210 × D297 mm

The post naoto fukasawa turns a ream of A4 paper into limited-edition portable washi lamp appeared first on designboom | architecture & design magazine.

From 20 November to 6 December 2025, Noor Riyadh, the world’s largest light art festival, returned with over 60 installations by 59 artists from 24 countries, presented across six major sites including Qasr Al Hokm District, King Abdulaziz Historical Center, stc Metro Station, KAFD Metro Station, Al Faisaliah Tower, and JAX District. Curated by Mami Kataoka, Sara Almutlaq, and Li Zhenhua, the 2025 theme, ‘In the Blink of an Eye,’ reflected Riyadh’s rapid transformation and positions the festival as a platform for public participation and artistic experimentation. In an exclusive interview with designboom, Noor Riyadh’s director Nouf Almoneef, takes us into a journey of light and art, touching on the festival’s mission to bring art to the people by making it accessible in everyday life and creating meaningful, memorable moments for everyone who engages with it.

‘Noor Riyadh is now in its fifth edition, and what keeps it meaningful is how deeply it belongs to the people of this city. We built it as a platform for creativity – for artists and for audiences who wanted to see themselves reflected in the works. Every year we rethink the locations so that art becomes part of daily life, whether that means placing installations in historic courtyards, public gardens, or metro stations. Our mission is always to bring art closer to the people,’ begins Nouf Almoneef, Director of Noor Riyadh.

Between the lines by Abdelrahman Elshahed | image © designboom

‘making Riyadh one of the world’s most livable cities’

Noor Riyadh’s most defining quality is its accessibility. By distributing artworks across historic zones, cultural districts, and newly launched metro stations, the festival transforms Riyadh into an open-air gallery. The curatorial strategy ensured that encounters with light art happen not only in traditional art venues but within places of everyday movement, commuter corridors, public plazas, pedestrian routes, and family gathering areas. This approach aligns with Riyadh Art’s long-term mission to integrate creativity into the capital’s urban fabric and create ‘everyday moments of joy,’ a principle emphasized across the program’s strategic documents.

‘By choosing different locations each year – parks, heritage sites, gardens, metro stations – we create a network of public spaces that are connected through light; this is how we make the festival accessible. That sense of belonging is essential to our vision of making Riyadh one of the world’s most livable and creatively engaged cities,’ continues Nouf.

Liminal Space Air-Time by Shinji Ohmaki

the six locations create a geographic journey through riyadh

Beyond its large-scale installations, Noor Riyadh sustains a citywide public program that includes workshops, talks, performances, and family activities such as Printed Stories, Dancing Threads, and Stories from the Shadows—all designed to engage audiences of different ages and backgrounds. This community-driven programming complements Riyadh Art’s broader achievements, which include over 6,500 community engagement activities and 9.6 million visitors since launch. By inviting residents not only to observe but to participate, Noor Riyadh positions public art as a shared civic experience rather than a spectacle.

The 2025 theme, ‘In the Blink of an Eye,’ reflected Riyadh’s rapid evolution from heritage sites like Qasr Al Hokm to the sleek infrastructure of the newly launched metro network, showcased in festival documents as symbols of the city’s forward momentum. The artworks amplified this narrative: kinetic sculptures visualize movement, light projections reframe architectural history, and metro-based installations mirror the rhythms of urban life. Together, the festival’s six locations created a geographic journey through Riyadh’s past, present, and future.

‘We chose locations that reveal how the city is expanding – its heritage districts, its cultural centers, its futuristic metro lines. When visitors move between these sites, they experience the story of Riyadh itself: a place honoring its past while building bold new futures. For many people seeing these changes, the artworks help make sense of the transformation by offering moments of reflection within the movement.’

Sliced by Encor Studio | image © designboom

As part of Riyadh Art, one of the four original Vision 2030 mega projects, Noor Riyadh plays a pivotal role in shaping the cultural infrastructure of the capital. Permanent installations, educational programs, and public-realm activations continue to expand the city’s creative footprint. The festival’s long-term legacy lies not only in its scale or global recognition but in how it fosters civic pride, cultural exchange, and everyday access to creativity.

‘I think Noor Riyadh after 2025 has already been recognized internationally and locally, but recognition is not our only goal. What we want is to create meaningful, memorable moments for people, for visitors, for artists, for curators, for residents. As Riyadh continues to evolve, Noor Riyadh will grow with it, building stronger connections between communities and art. This is how we imagine the future: a city where creativity is a shared language, part of daily life, and part of who we are becoming,’ concludes Nouf Almoneef.

Light Float Down Like A Feather by Wang Yuyang

Atmospheric Seeing by Studio Above&Below

Between Light and Stone by Nebras AlJoaib

Center by Ivana Franke | image © designboom

Synthesis by László Zsolt Bordos-Christophe Berthonneau | image © designboom

Troppo Fiso! by Traumnovelle

Luna Somnium by Fuse | image © designboom

event info:

name: Noor Riyadh 2025 | @noorriyadhfestival

organization: Riyadh Art

curation: Mami Kataoka, Li Zhenhua, and Sara Almutlaq

dates: 20 November – 6 December, 2025

location: Riyadh, Saudi Arabia

The post noor riyadh sheds light on how public art can create a more livable, connected city appeared first on designboom | architecture & design magazine.

Eden – Abu Dhabi Edition is a large-scale installation by artist Pamela Tan of Poh Sin Studio that examines the relationship between constructed environments and natural forms. Drawing conceptual reference from the mythical Garden of Eden, the project presents an abstracted landscape composed of organic structures and controlled material language.

The pavilion is conceived as an immersive, all-white environment that emphasizes form, texture, and spatial sequence. Through the enlargement and repetition of natural motifs, the work encourages close observation of subtle details and alters conventional perceptions of scale. The restrained palette and sculptural composition create a calm spatial atmosphere, defined by continuity rather than enclosure.

image by Nada Alkarra

Eden airy installation emerges from the Desert Context

For its Abu Dhabi edition, Eden extends beyond an indoor exhibition context and is situated within the desert landscape. Positioned directly on sand, the installation introduces a contrasting spatial condition, where a garden-like structure emerges within an arid environment. The work appears as a temporary presence, shifting in perception between visibility and disappearance as lighting and atmospheric conditions change from night to day. This juxtaposition between a constructed landscape and its desert setting establishes a dialogue between abundance and scarcity, permanence and impermanence.

The installation by artist Pamela Tan of Poh Sin Studio is experienced outdoors under the open sky. At night, its white structural elements reflect artificial light, forming a luminous field against the surrounding darkness. Organic passages and vine-like arches guide movement through the space, while the overall composition maintains a low, horizontal profile that responds to the stillness of the desert context.

image by Poh Sin Studio

Suspended system constructs a Temporary open canopy

Structurally, Eden is defined by a suspended, cloud-like canopy composed of hanging vine elements. This canopy acts as both the primary architectural feature and the main structural system. The form originated through an intuitive design process and was later refined through engineering analysis, in which its curvature was translated into a truss-based framework. Computational simulations were used to ensure structural stability under desert conditions while maintaining visual lightness. The installation operates as a hybrid between sculpture and architecture, where form and structure are developed simultaneously. Hanging vines, arched elements, and dispersed glass spheres contribute to a spatial environment that responds to light, movement, and viewpoint, producing a variable sensory experience throughout the day and night.

All steel components are designed as a flat-pack system, allowing for efficient transportation, installation, dismantling, and reassembly in different locations. The modular construction employs interlocking joints, slip-lock connections, and bolt-and-nut assemblies, enabling precise on-site assembly while supporting flexibility and reuse. This approach addresses logistical constraints associated with remote sites and reinforces the project’s adaptability as a temporary spatial installation.

image by Nada Alkarra

image by Poh Sin Studio

image by Lancer Gerber, courtesy of Department of Culture and Tourism Abu Dhabi & Public Art Abu Dhabi

image by Lancer Gerber, courtesy of Department of Culture and Tourism Abu Dhabi & Public Art Abu Dhabi

image by Lancer Gerber, courtesy of Department of Culture and Tourism Abu Dhabi & Public Art Abu Dhabi

image by Lancer Gerber, courtesy of Department of Culture and Tourism Abu Dhabi & Public Art Abu Dhabi

image by Lancer Gerber, courtesy of Department of Culture and Tourism Abu Dhabi & Public Art Abu Dhabi

image by Lancer Gerber, courtesy of Department of Culture and Tourism Abu Dhabi & Public Art Abu Dhabi

image by Lancer Gerber, courtesy of Department of Culture and Tourism Abu Dhabi & Public Art Abu Dhabi

image by Lancer Gerber, courtesy of Department of Culture and Tourism Abu Dhabi & Public Art Abu Dhabi

image by Lancer Gerber, courtesy of Department of Culture and Tourism Abu Dhabi & Public Art Abu Dhabi

image by Lancer Gerber, courtesy of Department of Culture and Tourism Abu Dhabi & Public Art Abu Dhabi

image by Lancer Gerber, courtesy of Department of Culture and Tourism Abu Dhabi & Public Art Abu Dhabi

image by Lancer Gerber, courtesy of Department of Culture and Tourism Abu Dhabi & Public Art Abu Dhabi

image by Lancer Gerber, courtesy of Department of Culture and Tourism Abu Dhabi & Public Art Abu Dhabi

image by Lancer Gerber, courtesy of Department of Culture and Tourism Abu Dhabi & Public Art Abu Dhabi

image by Lancer Gerber, courtesy of Department of Culture and Tourism Abu Dhabi & Public Art Abu Dhabi

image by Lancer Gerber, courtesy of Department of Culture and Tourism Abu Dhabi & Public Art Abu Dhabi

project info:

name: Eden – Abu Dhabi Edition (2025)
designer: Pamela Tan – Poh Sin Studio | @pohsin_studio

location: Abu Dhabi, UAE

photographer: Lancer Gerber, Nada Alkarra, Poh Sin Studio

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: christina vergopoulou | designboom

The post cloud-like white canopy of hanging vines emerges from abu dhabi’s arid landscape appeared first on designboom | architecture & design magazine.

Ruko introduces the Ruko U11MINI 4K (RC3) Screen Remote Controller Edition, an ultra-compact drone designed to make aerial photography more accessible for beginners, travelers, and everyday creators seeking a streamlined, phone-free flying experience. Building on the original, the new version arrives with an integrated screen remote controller that connects automatically on startup, removing the need for a smartphone and simplifying setup from the first flight. With AI-assisted takeoff and landing, GPS, and 8K resolution to name a few, the drone is positioned as an easy-to-use yet capable tool for capturing high-quality aerial imagery wherever curiosity leads.

all images courtesy or Roku

the pocket-sized compact drone that weighs under 249 grams

From aerial drones to smart charging, from smart robots to remote-control cars, the mission of the leader in professional drones is to connect families and create joy, delivering refined, high-performance, and premium consumer electronics. Each product is designed to inspire customers to explore the world, ignite imagination, harvest and share happiness, while providing 7 * 24 professional and premium services to customers worldwide. 

Weighing under 249 grams, the Ruko U11MINI 4K (RC3) maintains a compact, travel-ready form factor that fits easily into a backpack or pocket while remaining registration-free in many regions. Its lightweight construction supports spontaneous use, whether carried on city walks, outdoor excursions, or long-distance trips. Despite its small size, the drone retains a refined, solid feel that reflects Ruko’s aim to balance convenience with a sense of reliability and performance.

it is designed to make aerial photography more accessible for beginners, travelers, and everyday creators

ruko’s cinematic 8k photography paired with image stabilization 

At its core, the drone is a professional-grade imaging system that allows users to capture 8K still photographs and 4K video at 30 frames per second. A 48-megapixel CMOS sensor works in tandem with a three-axis brushless gimbal and electronic image stabilization to produce smooth, detailed footage even during movement. This combination enables creators to experiment with cinematic perspectives and high-resolution imagery without requiring advanced piloting skills.

The defining feature of this edition is its all-in-one remote controller with a built-in display, designed to eliminate dependence on smartphones entirely. By integrating the screen and control system into a single device, Ruko avoids common issues such as unstable connections, app crashes, overheating phones, or intrusive notifications. The controller powers on and connects automatically, offering a direct and intuitive interface that lowers the barrier to entry while providing a more focused flying experience.

weighing under 249 grams, a compact and travel-ready form fits easily into a backpack or pocket

An independent processing system and dedicated power supply within the controller contribute to stable signal transmission and smooth live video feedback. The setup supports up to 20,000 feet of image transmission for real-time monitoring, while the drone itself is capable of long-distance control under optimal conditions. Together, these features aim to deliver uninterrupted communication between pilot and aircraft, reinforcing confidence during flight and framing.

To extend time in the air, Ruko U11MINI 4K (RC3) Screen Remote Controller Edition includes two batteries that provide up to 64 minutes of total flight time. AI-assisted takeoff and landing, along with GPS, barometric, optical flow, and TOF positioning systems, help maintain stable hovering and controlled movement. These automated supports are designed to guide new users while still allowing more experienced pilots to explore manual control and creative maneuvering.

the new version arrives with an integrated screen remote controller that connects automatically

the setup supports up to 20,000 feet of image transmission for real-time monitoring

the controller”s dedicated power supply contribute to stable signal transmission and smooth live video feedback

Its lightweight construction supports spontaneous use, whether on city walks, outdoor excursions, or long trips

project info:

name: U11MINI 4K (RC3) Screen Remote Controller Edition

company: Ruko | @rukotoyofficial

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Animator Masanobu Hiraoka presents a new hand-drawn animated film created in response to On Being, a track and album by electronic musician and creative Max Cooper. The album explores personal reflection, inner experience, and the shared nature of human thought. The film approaches these themes through an intimate visual language rooted in drawing, movement, and transformation, allowing sound and image to exist in quiet dialogue.

Masanobu Hiraoka: On Being | all images courtesy of © Masanobu Hiraoka, 2025

On Being: Exploring Perception Through Drawing and Sound

Masanobu Hiraoka is a Tokyo-based animator known for his hand-drawn films. Working primarily with pencil and frame-by-frame animation, his practice foregrounds the physical act of drawing and embraces imperfection as a record of time and thought. His work often moves between figuration and abstraction, using transformation as a way to reflect inner experience rather than narrative structure. The animation unfolds with pencil lines forming figures and abstract structures that shift gradually, as human gestures appear momentarily before dissolving into organic forms, while biological patterns echo bodily systems and natural processes. Throughout the film, the hand of the animator remains present, with visible lines and subtle imperfections reinforcing the physical act of drawing and the passage of time.

Max Cooper is a London-based electronic artist whose work sits at the intersection of music, science, and visual art. With a background in computational biology, his compositions often explore patterns, systems, and emotional states beyond language, frequently extending into collaborative visual projects. His practice treats sound as a tool for inquiry, using music to investigate perception, identity, and what it means to be human.

animator Masanobu Hiraoka presents a new hand-drawn animated film

Hiraoka and Cooper in exploring perception beyond language

Hiraoka’s process is grounded in frame-by-frame hand-drawn animation, favouring spontaneity and intuition over strict planning. Rather than mapping images directly to musical cues, the artist responds to the emotional tone of the composition, allowing imagery to surface from memory and internal sensation. This approach results in a visual rhythm that feels measured and reflective, closely aligned with the pacing of the music without attempting literal translation.

Personal experience plays a central role in the film’s imagery. Scenes suggest childhood, family, and human connection, while remaining intentionally open-ended. Contemplating personal interpretation, these moments are interwoven with abstract sequences that reference growth, decay, and regeneration, creating a visual continuum between individual memory and universal biological patterns. This collaboration reflects a shared interest between Hiraoka and Cooper in exploring perception beyond language. The music itself is rooted in collected human reflections on existence and emotion, while the animation responds through drawn movement rather than symbolic explanation. Together, sound and image operate as parallel investigations into what it means to experience memory and presence. The result is a quietly immersive work that presents being not as a defined state, but as something continuously unfolding.

the film responds to On Being, a track and album by Max Cooper

the film explores themes of reflection and inner experience

the animation is created using pencil and frame-by-frame techniques

figures emerge and dissolve through gradual transformation

the imagery responds to the emotional tone of the composition

biological patterns echo bodily systems and natural processes

human gestures appear briefly before shifting into organic forms

project info:

name: On Being: Masanobu Hiraoka translates memory into hand-drawn motion for Max Cooper
animator: Masanobu Hiraoka

musician: Max Cooper | @maxcoopermax

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: christina vergopoulou | designboom

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A synthesis of traditional woodcraft and silent robotics, Phantom reimagines the chessboard as a self‑playing heirloom. Phantom is the world’s first robotic chessboard crafted from solid wood. A masterful blend of engineering, design, and woodwork has re‑engineered one of the oldest strategic objects: the chessboard. Phantom Chess features a hidden, silent drive system that allows pieces to move autonomously, while its exterior remains pure walnut and maple, eliminating the visible motors and toy‑like aesthetic that have defined automated chess until now. Drawing on precision sensor grids and ultra‑quiet linear actuators, Phantom turns the board itself into an intelligent interface, creating an entirely new category of connected chess experience.

where tradition meets innovation | all images courtesy of Phantom Chessboard

Phantom chessboard introduces patented layered architecture

Unlike conventional electronic boards, Phantom Chessboard uses a patented layered architecture that conceals all technology beneath a veneer of natural wood. The playing surface is a matrix of magnetic sensors that detect piece movement, while an array of sub‑18dB linear actuators provides autonomous motion with no audible mechanical noise. The system requires only a single Bluetooth‑pairing step, after which the board operates as a silent physical terminal for digital chess.

In addition to its mechanical innovation, Phantom integrates seamlessly with the digital chess ecosystem. Through its companion app, the board syncs in real time with Lichess and Chess.com, allowing online matches to be played out physically move‑for‑move. It also hosts adaptive AI opponents, from the tactical precision of Stockfish to the human‑like intuition of the Maia neural network, and features a Sculpture Mode that autonomously replays historic games or personal analyses. Four pending patents cover the sensor‑actuator array, the silent drive mechanism, the magnetic piece‑recognition system, and the software architecture that ties physical play to digital platforms.

a natural wood chessboard where pieces glide autonomously, powered by a completely hidden mechanism

By dissolving the boundary between the tangible tradition of wood and the limitless potential of connected play, Phantom does not replace the chessboard; it completes it. The first production units are shipping now, marking the first time a robotic chess system has been conceived not as a gadget, but as a crafted object meant to last generations.

crafted from solid American Dark Walnut and Maple, each board is a unique piece of natural craftsmanship

Phantom is the result of a philosophy that respects materiality while embracing silent technology

in sculpture mode, the board autonomously replays historic games or personal analyses as a kinetic sculpture

the board syncs in real time with Lichess and Chess.com, allowing online matches to be played out physically

the CNC‑milled pieces come in tournament dimensions, designed for balance and tactile satisfaction

a masterful blend of engineering, design, and woodwork has re‑engineered the chessboard

hidden architecture introduces a magnetic sensor grid and silent linear actuators beneath the wooden surface

project info:

name: Phantom Chess | @phantom_chess
designer: Eduardo Cano, Osmar Martinez

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: christina vergopoulou | designboom

The post crafted in solid walnut and maple, phantom is the world’s first robotic chessboard appeared first on designboom | architecture & design magazine.

For the first time in its eight editions, Tanween (Ithra) introduced creative partners as part of its program, marking a significant step in the platform’s evolution. In this edition, Isola Design Group and Dubai Design Week joined as creative partners, expanding the event’s reach across the Gulf region and beyond. Through exhibitions, dialogue, and shared expertise, both platforms amplified Tanween’s international outlook while reinforcing its community-driven foundation. In conversation with designboom, Isola Design Group’s Creative Director Elif Resitoglu and Dubai Design Week Director Natasha Carella reflect on how this collaboration signals a maturing regional design ecosystem built on cooperation rather than isolation.

Ithra partners with Isola Design Group and Dubai Design Week for Tanween’s 8th edition | all images courtesy of Ithra

the collaborations nurture the country’s creative landscape

For both partners, collaborating with Tanween means tapping into one of Saudi Arabia’s most influential cultural institutions, one that nurtures the country’s rapidly expanding creative landscape and serves as a gateway for regional dialogue. Elif Resitoglu describes the partnership as a meaningful continuation of work that began three years ago and has grown into a deeper cultural exchange, while Natasha Carella views it as recognition of a shared mission across Gulf design platforms: expanding representation and elevating nuanced design voices from the region.

‘Collaborating with Tanween means a lot for us. We first worked with Ithra three years ago in Milan with a small participation, and seeing it grow into something larger is very meaningful. Ithra is opening the door for a real exchange between international designers and the Gulf community, and this collaboration becomes a bridge where both sides learn from each other,’ says Elif Resitoglu, Isola Design Group’s Creative Director.

‘It’s a cornerstone cultural institution in Saudi Arabia, and being invited as Dubai Design Week as a creative partner is such meaningful recognition. We operate at the intersection of design, community, and public engagement, and this collaboration reflects a maturing Gulf ecosystem,’ mentions Dubai Design Week Director Natasha Carella.

expanding representation and elevating nuanced design voices from the region

two partnerships that explore underrepresented stories

Aligned with Tanween’s theme, Design the Unspoken, both partners explore hidden needs and underrepresented stories through their participation. Isola’s exhibition Shared Oasis highlights coexistence between humans, nature, and culture through works that reflect global concerns while rooting solutions in local contexts. Meanwhile, Dubai Design Week’s involvement centers on amplifying underrepresented design languages across the Arab world, ensuring that diverse voices are not flattened or generalized.

‘This year’s theme is interesting because it speaks about design that hasn’t been articulated yet. With Shared Oasis, we wanted to show our relationship with people and nature — pieces that relate to animals, surroundings, and everyday life. Design does not need to be showy; it should also improve quality of life and reflect how different cultures experience the world,‘ says Elif. 

‘I love that the theme speaks about the unspoken because it aligns with our mission. Across the Arab world, design is often flattened into one narrative. These programs let the voices here speak for themselves. It’s essential for a platform like Tanween to exist, because it creates a key moment where makers, designers, and institutions come together to show what’s truly happening in the design scene,’ adds Natasha.

both partners explore hidden needs and underrepresented stories through their participation

Both collaborators emphasize that placing international and regional designers side-by-side at Ithra creates new learning conditions. For Isola, the exhibition allows global designers to discover Saudi culture firsthand, while giving Gulf designers access to diverse design perspectives they don’t often encounter locally. Dubai Design Week sees this exchange as crucial for representing the many nationalities shaping today creative identity.

‘Bringing designers from all over the world to the Gulf region gives local designers a chance to see what’s happening globally and adapt it to their own context. At the same time, international designers discover a culture they don’t yet know. They come here and find new perspectives, new behaviors, and new ways to approach design problems unique to this region,’ continues Elif. 

‘Representing underrepresented voices is central to our work — not only local voices, but also the many nationalities that shape the fabric of Saudi Arabia and the UAE,’ mentions Natasha. ‘Tanween creates a moment where these communities come together to exchange, debate, and learn. I really respect the platform and the team because you can see the thought and passion behind everything they do.’

these partnerships allow global designers to discover Saudi culture firsthand

Isola’s curatorial approach emphasizes shared learning and cultural insight, offering a multilayered exhibition supported by a booklet encouraging visitors to exchange thoughts and spark future collaboration. Dubai Design Week contributes conversations and programming that highlight the collective strength of regional platforms working side-by-side. Both partners see the collaboration as the beginning of broader regional links, from shared exhibitions to traveling installations, knowledge exchange, joint residencies, and co-developed design programs. Their vision aligns with Ithra’s long-term strategy to develop Tanween’s platform into a regional anchor that fosters creativity, innovation, and cross-cultural understanding.

With Tanween evolving into Ithra Design Week in 2026, creative partnerships will become a central pillar of the platform’s growth, enabling shared exhibitions, knowledge exchange, capacity building, and cross-border programming. This evolution preserves Tanween’s core while expanding its scale and reach across the region and internationally.

‘These collaborations bring so much to the Gulf region while also bringing the Gulf outward. As Isola, we aim to introduce communities to one another and create collaborations between emerging, young, and established designers. Doing this at Tanween is exciting, and I believe it will grow into something even larger,’ expresses Elif.

‘This partnership is just the beginning. There is so much we can do together — from capacity building to joint exhibitions and shared knowledge. We want to ensure the region is represented internationally through strong, meaningful work. Tanween creates the platform for that, and I’m excited for what comes next,’ concludes Natasha.

both collaborators expressed that such partnerships signal a maturing design ecosystem where institutions increasingly work together rather than in isolation

aligned with Tanween’s theme, Design the Unspoken, both partners explore hidden needs and underrepresented stories

event info:

name: Tanween | @ithra

dates: 17-22 November, 2025

location: 8386 Ring Rd, Gharb Al Dhahran, Dhahran 34461

The post tanween collaborates with dubai design week & isola design group enriching gulf ecosystem appeared first on designboom | architecture & design magazine.

As Ambiente 2026 sharpens its positioning as a hub for hospitality and contract design, Hall 3 – and in particular the Interior Looks area – emerges as one of the fair’s most telling indicators of where the industry’s aesthetic and functional sensibilities are heading. A dedicated brand area within the Interior Design product segment, Interior Looks can be experienced in Hall 3.1 with strong brands and exciting new additions. Presented like a curated landscape, it brings together craftsmanship, material refinement and the quieter forms of innovation that define much of today’s premium interior world.

Presented like a curated landscape, Interior Looks brings together craftsmanship, material refinement and the quieter forms of innovation

In Hall 3.1, long-established manufacturers such as Bielefelder Werkstätten, Christine Kröncke, JAB Anstoetz Group, Rodam, Scholtissek, Signet and TF fine furniture set the tone with collections that exhibit both continuity and careful evolution. They are joined by newer additions like Acapulco Design, Artanova, Conde House Europe, Coozus, Holtkötter Licht, Müller Möbelfabrikation or Topstar with the brands Wagner and Sitness whose presence expands the design vocabulary and introduces a more international resonance. Taken together, the selection reflects an industry that values longevity but remains open to fresh narratives. all images courtesy of Ambiente

The surrounding constellation of brands – among them Andersen Furniture, Design House Stockholm, Blomus, Ethnicraft, Serax, Hey-Sign, Rohleder, Vario Büromöbel, Jan Kurtz, Luiz, Zieta Studio and traditional houses like Dibbern, Guaxs, or Orrefors Kosta Boda – adds layers of texture and typology. Their interplay highlights the multifaceted nature of contemporary hospitality spaces, where dining, lounging, working and arrival zones increasingly blend. Meanwhile, lifestyle-oriented names such as Designletters, Gardeco Objects, Muubs and Philippi contribute a more expressive, tactile element that appeals to the detail-oriented mindset of architects and interior designers.

In Hall 3.0, exhibitors including Hübsch, Lübech Living and Max Benjamin extend the conversation into decorative and atmospheric design, rounding out a hall that has become a reliable source of project-ready inspiration. Rather than a single aesthetic position, it offers a curated panorama: one that mirrors the layered realities of contemporary hospitality and its blending of lifestyle and long-term performance.

Guest Feature by Claire Brodka / Architonic

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From November 17–22, 2025, the 8th edition of Tanween transformed Ithra into a multidisciplinary laboratory for design, empathy, and experimentation. Across exhibitions, Majlis talks, the Tanween Challenges, and the hands-on Day with an Expert programs, the event examined how design can reveal hidden needs and generate meaningful societal impact. This edition also marked a pivotal moment for the platform: from 2026, Tanween will evolve into Ithra Design Week, expanding its scale while preserving the community-driven core that has shaped the event over eight years. designboom interviews Shahad Alwazani, Tanween Lead, about the philosophy behind the platform and how this transition positions Ithra as a growing anchor for regional and global design exchange. 

‘This year (2025), Tanween designs the unspoken. It could be environmental, social, cultural, or educational — but it always returns design to humanity. We focus on the actual needs of people across many disciplines. That is the real role of Tanween: to experiment, to inspire each other, to support each other, and to develop ideas with ambition. Each edition builds a thematic path in the design process, allowing designers to explore what truly matters,’ says Shahad Alwazani Tanween Lead.

Shahad Alwazani, Tanween Lead | all images courtesy of Ithra

‘we want to highlight empathy in design’

At the heart of Tanween was a deliberate shift toward empathy as a design method. Rather than centering aesthetics alone, the program invited designers to step into the lived realities of users and communities, translating overlooked needs into tangible outcomes. This approach reframed design as a practice of listening, one that responds to social, cultural, and emotional dimensions often absent from conventional briefs, and one that resonates strongly within the region’s rapidly evolving creative landscape.

‘For the 8th edition we wanted to highlight empathy in design: how designers should place themselves in the user’s or community’s position to understand, to empathize, and to feel real needs. Tanween opens this window for designers so their voices can be heard, and so they can tell the stories and challenges of their own people. It is both a showcasing platform and a learning experience for everyone to understand the importance of design,’ continues Shahad.

the program called on designers to inhabit the perspectives of users and communities

a full day with a design expert goes beyond a typical workshop

As Tanween continues to grow, collaboration remains its central engine. Signature formats such as Day with an Expert reflect this ethos by replacing traditional masterclasses with immersive, human-centered learning experiences. Designers spend extended time with global practitioners, engaging in dialogue, observation, and shared exploration. This cross-disciplinary structure mirrors contemporary design practice, where architecture, fashion, interiors, graphics, and research increasingly intersect.

‘One of Tanween’s signature offerings is Day with an Expert. It goes beyond a typical workshop and function as a full experience where designers spend the day with the expert, learning in a more interactive, human way. Designers speak many languages; an architect can be a fashion designer or a graphic designer. Tanween encourages this openness, allowing creators to explore all fields,’ she adds.

as the platform continues to expand its reach, collaboration remains its driving force

The evolution into Ithra Design Week builds directly on foundations laid during this edition. Strategic collaborations with Dubai Design Week and Isola Design Group as creative partners, alongside exhibition partners such as Iwan Maktabi, Bricklab, Rizomasr, and Mujassam Watan, signaled a shift toward a broader, interconnected design ecosystem. Beyond the campus, guided tours developed with the Municipality of Khobar extended Tanween into public space, while outcomes from the Tanween Challenges, including permanent pavilion installations, demonstrated how design can translate into lasting community impact.

With its transition towards Ithra Design Week, its core remains intact: a platform rooted in experimentation, empathy, and community; what changes is scale and reach. Design will be further integrated across Ithra’s museum, library, cinema, publishing programs, and IdeaLab, while expanding beyond its walls to activate public spaces across the Eastern Province. In this next phase, Ithra Design Week aims to strengthen regional dialogue, elevate designers’ visibility, and position Saudi Arabia as an active participant in the global design conversation, without losing the human-centered ethos that has defined Tanween from the start.

‘Tanween is making a shift into something more global and more aligned with the design industry. We are collaborating with platforms like Dubai Design Week and Isola to expand our reach and amplify our message. Tanween is designed for the community and by the community. It responds to their questions and needs, transforming them into something tangible. As long as the community is with us, Tanween will keep evolving,’ concludes Shahad.

Tanween aims to strengthen dialogue across the Gulf region and beyond

Tanween’s cross-disciplinary structure mirrors the fluid nature of contemporary design

‘Tanween is designed for the community and by the community’

event info:

name: Tanween | @ithra

dates: 17-22 November, 2025

location: 8386 Ring Rd, Gharb Al Dhahran, Dhahran 34461

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