Furniture As Family. Interview With Omar Al Gurg

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by Alexandra Mansilla

Furniture As Family. Interview With Omar Al Gurg

8 Mar 2024

The first piece of Modu Method was conceptualised in 2019 when its founder, Omar Al Gurg, was doing his national service and realised he had nowhere to hang his clothes. Two years later, Spike — a hanger shaped like a cactus — was born. Soon after, we met Gene, Shelly, Ned, Chill Pills, Coco, Button, Sprout, Triss, Nu, and little Nunu. They are not just furniture pieces; they are like family members. Each has a name and a soul. And each is deeply woven into our lives.

We had a conversation with Omar Al Gurg, where we delved deeper into the concept behind his Modu Method — it is not just about changing spaces with furniture, but about a way of living.

— First question: Who is this woolly guy?

— There is no name for this character. It is both he and she. So it can be anything! Sometimes, it has a manicure, sometimes not. Actually, it wears a military camouflage suit. And, as you know, I started designing furniture when I was doing my service in the military. So it is just a reminder of how it all began.

— Are you going to name this creature?

— No, I don't think so. It is just some character or monster or thing. I like that it doesn’t have a name. That way it is more of a concept as opposed to a character.

Instagram: @modumethod

— Your family name holds weight in the UAE, and your grandfather was an important diplomat. Could you tell me about it, please?

— My grandfather’s business is called Easa Saleh Al Gurg Group: there are quite a few companies, and I work there in the Real Estate section. Aside from his business, he was also the ambassador of the UAE in London for many years. If you ask me, I would say he was very influential.

— We found an interview you gave 11 years ago for a YouTube channel. There, you mentioned that your role models were your father and sisters. Could you tell me more about them?

— One of my sisters is a jewelry designer, while the other is an artist specialising in Arabic calligraphy, screen printing and graphic design. Both of my other brothers are also part of the family business. My father used to be a doctor, but he was also a hobbyist photographer. We have a small darkroom where he would develop photos in our house. I found it cool and got interested in it, too.

Photography became an outlet for me whenever I wasn't studying. It helped me see the world from different perspectives. Using different lenses allowed me to see things in unique ways. Then, I started to appreciate and learn much from the beauty around me.

— You mentioned that as a photographer, you aimed to capture the unconventional side of the UAE, like discovering hidden gems. Can you recall any?

— There was a beach that I used to visit frequently, which was always completely empty. I often went there alone to contemplate, think, relax, and sometimes read. Occasionally, I would go there with a few friends, but mostly, it was just me. That beach was my little paradise. Nobody else seemed to go there, so it felt like it belonged to me. I could enjoy the silence, unlike the busy and noisy city. I would just sit there, listening to the sound of waves, and nobody else would be around me.

— You had a YouTube channel that you stopped several years ago. There is a piece of work titled “Feet”. What was it?

— It was a university project while studying architecture in Belfast. We had a course on the history of architecture, and one of our assignments was to create a video that represented a quote from an essay or book we had read. The quote discusses staircases and how they retreat into private spaces. When you come downstairs, you expose yourself to the rest of the world because downstairs is usually a public space for entertainment, while upstairs is where you retreat into your bedroom.

So my video was about stairs and how a person, when coming down, reveals more of their body, while going up, only their feet are visible. I felt bad for Katie, my classmate; she had to walk on quite painful surfaces in some parts of the video. She is a trooper, though!

— Spike was conceptualised when you were doing your national service in 2019. Two years later, it became a reality. Please walk us through the entire process and share who assisted you.

— Sketching was more of an exercise for my mind during my military service. I wanted to exercise my brain cells because I didn't want to just sit down and wait the entire time. I also wanted to practice the skills I have learned from University.

With each sketch, I tried to solve a common household inconvenience. One of them was the need to have space to hang your clothes. So, I sketched it. After a while, I looked at my sketchbook and thought, "Maybe I should try making some of these things and see if they actually work." So, I took my sketches to my family's joinery, and we built a prototype. I remember how the first piece looked. It was terrible! I was like, "What am I doing?" But I was adamant to get it to look almost exactly like the sketch.

We worked hard until we got it to a standard I was happy with (which was difficult because I'm a bit of a perfectionist); I took photos and posted them online. People responded positively, and I kept making more things.

— How did you choose the material?

— I thought using wood came naturally to me. Since we have a joinery, it seemed like the obvious material choice. It was a straightforward decision — I used what was easily accessible to me.

— I mean, why walnut?

— It was much cheaper. Still more expensive than other woods, but it was still considered a luxury wood. However, I was able to obtain it at a good price, which allowed me to create my product and sell it at an affordable price. My concept has always been to make design accessible, using as many luxury materials as possible, but showing people that you can still use solid wood affordably. As our brand grew, our prices also went up, and we now cater to a niche market of furniture enthusiasts and those who purchase luxury furniture regularly. Our prices are still relatively accessible, and we have a unique brand that appeals to both markets."

— Did anyone criticise you for what you did? Like saying that everything you did was ugly or something similar?

— I think I was and am very lucky because I have good friends and a supportive family. They always believed in me. People from the design industry who surrounded me then were supportive, too. Of course, there were times when people weren't like this, but that is something everyone faces. Sometimes, when I presented my work, someone might say it was not worth much or that they could make it cheaper elsewhere. Of course, if someone were to criticise my work in a constructive way, I would definitely take it into consideration. However, if they were just saying it is bad without any valuable input, then it is their opinion. I don't get mad or emotional about it because I come from a business background, and I think I know how to separate work from the person.

Everyone is entitled to their own opinion. If someone says they could make it cheaper elsewhere, I invite them to do so if it works for them. If they don't care about the product's quality or story is, that is their choice.

Photo: Nikita Berezhnoy

— You describe Modu as a method, not a company. Why?

— We chose the word “method” because we want to influence a way of living. So it is a modular method, a modular way of living. In a nutshell, this is what our name means. At the end of the day, we want to promote a convenient lifestyle.

We also pride ourselves in saying that we are a studio. We don't want to limit ourselves to a single product or category. We create and curate experiences with our product.

— You describe pieces of furniture like family members. Why?

— Because they are family members! If you include them in your household, you include them in your family, right? Furniture is something that we use the most without realising. We sleep on it, put things on it, and use it to hang our clothes. We should make our furniture as interactive as possible so that it can be included in the family. That is why our pieces are playful, transform and change; you could make them do different things on different days. Furniture pieces are usually passed down from generation to generation, and that is how we approach sustainability.

“Sustainability” is a very trendy word nowadays, so sometimes it is difficult for me to determine what is truly sustainable and what is not. But, you know, what I consider to be sustainable is something that lasts forever, something that you will use, that your friends or children will use, something you won’t throw away.

One day, I hope someone will find Spike covered in dust and think he is cool enough to be included in their family as part of their home.

— How many years do your pieces live?

— Oh, well, we have to find it out! Let's see, it has been three years, and everything seems to be going smoothly so far.

Photo: Nikita Berezhnoy

— So, you always write about your pieces using pronouns — like he or she. You give a soul to objects.

— Yes, because objects have a character. When you look at something, whether it is art or a car, it has a personality. When we give a name or traits to something, people can create a sentimental relationship with it and think of it as part of the family. We want to make it playful, fun, and sentimental because the energy in our homes is influenced by the things we have. If our possessions are dark, timid, and cold, we will feel that way. But if we surround ourselves with fun, outgoing, and playful objects, we will also become that type of person.

— How do you create the names of your pieces?

— Spike reminds me of a cactus. It is spiky. And Spike is also a name… you know, you could call your dog Spike. Actually. I wanted to call it Penny because it reminded me of a cartoon character with that name. But then he eventually ended up becoming Spike. It is just easier to remember, plus conceptually it worked!

Gene was very much inspired by genetics. So, the two things that slide into each other like DNA.

Shelly was more of like a step-by-step process. Shelf, Shelf-y like “My shelf” in Arabeezy, then finally Shelly.

The shortest is Nu. When you place the blocks upright, it is an N, and when you place them upside-down, they make a U. The small blocks became NuNu, which also kind of means small in slang.

The story behind Chill Pills is quite amusing. The inspiration for the carpets came from the octagonal mirrors that were in my grandfather's majlis. We abstracted the shape and created a pattern out of it, which we then made more curvy, reminiscent of the 60s and 70s, and the final result looked like jelly beans and pills. We then recalled the phrase “take a chill pill”, and that is how the name came about.

The next one is Coco. I was in between calling it Coco and Baño. Baño because it kind of looks like a bathtub, but it is too obvious, haha. And, again, I don't want it to be associated with the bathroom and all of that. So I decided to name it Coco! Firstly, because the feeling of being inside Coco really reminded me of how it could feel like to be in a cocoon. When you are in Coco, you feel swaddled. The shape itself is inspired by this scenario: Imagine walking on a beach to find a man selling you coconuts, he chops it up, and chops one part of the shell to make a spoon for you to eat the meat when you are done drinking the water. This shape of the spoon is what inspired the shape of Coco.

Sprout is inspired actually by mushrooms and how they sprout onto trees.

Ned is derived from the Arabic word "Misned". A Misned is a cushion that people lean on. It is a common object that you find in old Arabic homes. We shortened it to Ned, since it is a friendly name, still paying homage to where the name came from.

Triss is also a nice name for a person. This particular name is derived from the game Tetris. When you look at the blocks from above, they could be reminiscent of the building blocks in Tetris, and can be combined in different ways to make different shapes.

— For Button — quite simple because it is a table with buttons?

— Yes, you can change tabletops by unscrewing the buttons on top. This table was the fastest and the easiest product we had ever made. From conception to production, it took a week and a half. It was great!

— And the toughest was Coco?

— Right, Coco took a year and a half. We experimented with ergonomics a lot. Coco is very comfortable now, but even today, there are people who can't figure out how to sit in. And another long thing was Sprout.

— But why?

— Because of the tail, even though we have the tail from the pegs. It was difficult to combine that shape with this tail and to put it into Spike. To make a perfect shape that fits in all of the openings is a little bit of a challenge since we also rely on our articles to be handcrafted to an extent.

Instagram: @modumethod

— Your pieces are influenced by mid-century design. Could you elaborate for those who aren't familiar with it?

— In mid-century, in the 50s and the 60s, a movement was happening where people created functional pieces. Charles and Ray Eames were my biggest inspirations during that time.

They made a wide range of things, from accessories to furniture pieces to architecture to even movies and instruction manuals. They also produced splints for soldiers during World War Two. From a utilitarian, functional, and design perspective, they covered many areas. Not everyone may like their style, but the concept behind what they tried to do is incredible. What I find most inspiring about the mid-century era is that the furniture pieces were built for a specific purpose. For example, a desk that could fold down and turn into something else, with a cup holder and many other practical features.

— Also, you have the open villa. Can you please tell us how it was created?

— I was giving much thought to our brand and decided to create an open villa to showcase our products. Our brand is fun, welcoming and homey, and I wanted people to feel immersed in our world when they entered the villa. I wanted them to be transported to a different era and not know where or when they were. The villa is meant to be like a movie set or a theatre, where visitors can imagine themselves living there and feel completely comfortable. It has great energy and a nice vibe, and I wanted to create an unforgettable experience for anyone who visits.

You can see how all of our pieces are being used in different ways, and you can experience the potential of what our furniture can do by using it yourself. It is immersive and also fosters a sense of community.

— The names of the pieces and the open villa slightly remind me of one big brand.

— Haha, are you talking about Ikea? You are not the first person to say that. If you look at all of the Ikea catalogues from the 1960s and 70s, you will see a completely different type of furniture, very fashionable and very interesting. I would be very happy if they brought back that style!

Honestly, I take this comparison as flattery because I really love some Ikea products. They are great! Our furniture is also movable and can be combined in different ways, although it may be more expensive. But who knows, maybe one day we will be able to make more affordable furniture for everyone.

— Alright, so what is the situation around furniture design in the UAE? Are there any notable names we should be aware of?

— I know of several furniture designers in the UAE, including many Emiratis and other designers from different countries. There is a lot of variety in the market, such as Kameh Space. There is also Doodle and the Gang, two Egyptian women who make furniture here. The design community in the UAE is small, so everyone knows each other and can offer help when needed. I have participated in local and international exhibitions, such as in Milan. However, I don't think we can rank countries or regions for furniture design anymore due to globalisation and accessibility. You can find good factories in the UAE to make great furniture, or you can look elsewhere for handcrafted pieces or textiles. There are beautiful options in many different places.

— So, there is no leader now, right?

— I don't think so. You know, I believe that for a while, people were interested in Italian products. However, with the increase in accessibility, people are now more curious about what is being made in Egypt or other places, for instance.

Photo: Nikita Berezhnoy

— What are your plans for this year? How many pieces are we going to see?

— Well, some collaborations are happening. One of them is with a stoneware brand called Cosentino, and we are making a very exciting piece together. You will get to see it soon. We also have a few other collaborations in the pipeline — we are designing spaces for a certain brand, but I'm not allowed to reveal the name yet. Additionally, we have a few products in our sketchbooks that we plan to produce this year.

— You once mentioned that you enjoyed observing how architecture influences people. Can you provide some examples?

— Alvaro Siza is an amazing architect. Sometimes, when I walk into his buildings, I am impressed by how he plays with light. It is interesting to observe where the light is coming from, what he decides to frame, how people move from one space to another, and how he manages to make these moments poetic. Although people walking is the most mundane thing anyone can do, how spaces are arranged can manipulate your thought process and how you feel in certain spaces. For example, the Tate in Britain is a great building where you can feel the ginormous high ceilings as soon as you enter the space. It used to be a factory and was turned into a museum. The whole essence of the space can really manipulate the way you feel. The industrial side of art is on display in this building, and it is interesting to see how they use it differently. When you first walk into the building, it significantly affects your feelings. Particularly your feelings about art.

Photo: Nikita Berezhnoy

— Now, mount Kilimanjaro? How was it?

— So, two years ago, my friends and I went to Kilimanjaro. It started off great. But before that, we went hiking here in the UAE, and we found it tough. So, just as a joke, we said, "Let's climb Kilimanjaro next". But then we actually booked the trip and went for it. We didn't really know what we were signing up for. I spoke to a couple of people and found out that it is going to be intense. But they were like, "If you like hiking, you will love this". However, I had to buy a lot of equipment I didn't have, so it was quite an eye-opener.

I was searching for Kilimanjaro on Google, hoping to find images and a detailed handbook, but all I could find were text descriptions. So, I made it my mission to document my experience. I took three cameras (four if you count the little one). It was a big mistake actually because they were so heavy.

I took my equipment with me, including various lenses, to capture photos during my journey. However, by day three, I realised it was too difficult to carry all of it and decided to stick with my small camera. The journey started in a lush rainforest with breathtaking scenery. As I climbed higher, the trees became smaller, eventually turning into bushes. By day three, the bushes disappeared, and I found myself in a desert-like area high up in the sky. This part of the journey was called the saddle, which was an eight-hour hike from one peak to another. The saddle was formed by a previous volcanic eruption. As I hiked through the clouds, it felt like walking on a never-ending treadmill. The scenery in front and behind me looked the same, and I couldn't see far due to the clouds. I couldn’t see anything in front of me. It looked exactly the same as I looked behind.

A lot of people became very sick during the hike to that saddle, and they underestimated its length. I remember they vomited (sorry for this information) because they couldn't take it anymore, but they continued. It is very interesting to see how persistent people can be.

We reached the peak of a mountain after a long hike and only got to rest for a few hours. Due to the thinning of oxygen, every task became a process. Even tying your shoes or unzipping your tent requires effort. We were woken up at night and told to hike up to the peak. We hiked up slowly; every three steps felt like one. We were half asleep, and we could barely breathe. I was about to give up but then realised that we hiked for three days and flew all the way to Africa to get to this point. So, of course, I pushed through. I continued hiking in pain, and my water was frozen. At the top of the mountain, we could only breathe 49% oxygen. Imagine you are hiking and walking, and only one of your lungs is working. This is what it feels like. I finally reached the end, and someone took a photo of me. You should see my unimpressed face! After another hour and a half hiking back and a few more hours down the mountain, you finally rest. As you hike down, the plants congratulate you and offer oxygen. The entire hike took six days.

— Would you like to repeat this experience?

— No, honestly. Maybe I won't climb this mountain, but if I find another one with beautiful scenery, then I will go.

by Alexandra Mansilla