by Alexandra Mansilla
How Design Translates a Personality. Meet the Studio Meshary AlNassar
26 Apr 2024
Studio Meshary AlNassar aims to demonstrate that interior design and architecture go beyond mere aesthetics — they carry meaning and can reveal a lot about their owners. But how exactly? Dive into our conversation with the minds behind the studio, Meshary AlNassar and Mishari AlAwadhi. We also delve into their own homes and what they reveal about them!
— Firstly, Mish, there is limited information about you, so could you please share your journey?
Mish: Okay, so when I joined Studio Meshary AlNassar, it was to help expand our architectural practice. Previously, the studio mainly focused on interior design under Meshary's leadership. He wanted to broaden our scope to include architecture, so we could handle projects from initial design to interior execution, offering comprehensive services. That is my role within the company.
My approach to architecture aligns closely with Meshary's approach to interior design. We are both very focused on the idea that there is a context to the things that we build. And it is important that context is represented. We believe that every project should reflect its surroundings, the local culture, and, most importantly, the people who will inhabit the space. This human-centric approach applies not only to interior design but also to architectural language.
In our region, there is often a tendency to adopt architectural styles from abroad without considering their suitability for our context and culture. We are challenging this trend by reimagining how we design locally. Our goal is to ensure that our designs authentically represent our region while accommodating contemporary lifestyles.
— But how did it all start with architecture?
Mish: In 2003, I started my bachelor's degree in architecture. From the youngest age, my dad asked me, “What do you want to be when you grow up?”. I don’t know why, but I had this obsession with buildings, even though nothing significant happened in Kuwait to spark that interest.
After completing my bachelor's in the UK, I pursued my master's in architecture and urban design there as well. I was curious about what happens beyond the building itself — how communities, infrastructure, and urban zones are designed. I lived in the UK from 2003 to 2015 before moving back to Kuwait, where I worked in a small practice focusing on villa design. Eventually, I joined Kuwait University as a faculty member, teaching for five to six years.
In 2021, I made the conscious decision to move to Dubai and joined “Foster + Partners”. I worked with them for over a year. And then we started working with Meshary!
Photo: Fedya Ro
— How did you meet?
Mish: It was during my time at the university that I met him. We were doing a workshop together. Since then, our friendship blossomed.
When we both moved to Dubai in 2021, we began discussing the idea of starting our own studio. These conversations evolved, and in June of the following year, I left “Foster + Partners”, and we launched our own studio in October. And here we are.
— Meshary, I remember you are a fan of storytelling in design. You once mentioned that you believe design has the power to tell stories. Could you dive deeper into that idea? Maybe provide some examples or elaborate on how your designs achieve this narrative element in detail.
Meshary: So basically, the common thing in most residential designs in the region is that people want pretty things. They want the fantasy, the lifestyle they see in magazines, with bloggers, or on Instagram. They try to pursue that lifestyle by obtaining furniture, art, rugs, or whichever product they like. But then the end result doesn't tell a story about the owner of the residence; it is more like a collection of things they have seen and liked. So, it doesn't translate who they are.
I am a firm believer that a space should reveal something about the owner. When a guest walks in, they should learn a bit about your personal style, the art you like, the books you read, and the topics you are interested in. Everything needs to tell who you are as a brand, as a person. I want to be able to read who you are through your space. Throughout my practice, I have realised that in the GCC, the minority of people who are in the arts or have some sort of education about design are naturally showcasing who they are within their homes. However, the majority of others spend so much money on objects to create a false narrative of who they are or what their design aesthetic is. Those are the people I want to spread awareness with and have a discussion about what design means. Then, I teach them how to allocate their budget, where to spend and why, focusing on things that link to their personality, culture, or family background. That is where storytelling comes in handy.
The design succeeds when you translate someone's personality through a space. I want to walk in, sit on your sofa, look at the coffee table books in front of me, and understand the topics you are into. I want to understand your flower arrangements, the scent, and the entire sensory experience of who you are within a space. That is where storytelling happens. If you walk into an art curator's or an artist's house, the first thing you notice is who they are as a career, as a person, as a creator within the space. And you can immediately catch who you are speaking to. That is where storytelling happens.
Photo: Fedya Ro
— So, since the place you call home often reflects your personality, could you describe your own houses? What are they like?
Mish: That is a good one! My house is a small townhouse, and it is an eclectic collection of little knickknacks that my wife, Hana, and I gather as we travel. She is an artist, and we both love design, so there is a combination of artefacts, plain ceramics, clay, and colours, especially pomegranates.
Meshary: Explain why pomegranates, please!
Mish: Okay, so her name is Hana, she is Kurdish. In Kurdish, “Hanar” means pomegranate, so that was her nickname when she was growing up. It is a cute little collection we have throughout our house with these symbols of pomegranates. It is a cozy and warm space with lots of terracotta and soft colours. Everyone who comes in says it really represents us
Meshary: They have a dining table in the kitchen. So we all gather there: Mish is cooking, Hana is preparing something, and I am sitting. And there is always something happening on the table. Whether we are working, eating, or cooking. It is very communal, and there is always tea brewing. It is intimate and cozy, all about people gathering together at the table.
— Meshary, now it is your turn to describe your place.
Meshary: Honestly, as much as I am very kind of OCD and creative in terms of my office or people's houses when it comes to my house, there is never a strategy. I just allow things to flow. I like to bring things with me when I travel.
I like to surround myself with things that mean something to me, like very symbolic, be it about my family or my friends. In my house, most of the artworks are by my friends. A few of them are by Hana, who is my best friend.
I love ceramics. I love things that are kind of reminiscent of, like, an Italian farmhouse, worn-out pieces. But I also like contemporary lighting and just allowing the space to age, and you layer as you go.
Recently, I moved into a new house that I renovated, and I just got all the furniture with me, and I just keep adding small pieces here and there as I go. I still haven't finished the house, but I think I am enjoying taking my time to find the right pieces. But right now, the focal point of my entire house is my garden. I am focusing so much on the garden and which plants and what lighting and all that stuff.
— Mish, what do you feel when you enter Meshary's house?
Mish: For me, Meshary is the host. If you ever want to go somewhere and feel welcomed, it is Meshary's place. He always ensures there is tea ready, a snack prepared, just something to welcome people into his home.
The dining area of his house feels more formal, like this is where you will be entertained, while the living room is incredibly cozy, with deep, thick couches where you can just collapse. If you are exhausted after a long day, you can crash on the couch. His dog will run in and sit on your lap, and it is almost therapeutic.
His latest project is definitely his garden; it is a reflection of his personality. It is an organised clutter.
Photo: Fedya Ro
— And now, let's try to recall what your rooms looked like when you were children.
Mish: I think the trick for me on that one is I have lived in a lot of houses growing up. Our family moved a lot, and my rooms were different.
I think for me the aspect I prioritise in my bedrooms is organisation. I enjoy having everything in its place. I have had multiple bedrooms over the years, and they have evolved with me as my personality changed. But I have always maintained a high level of organisation. For example, if I have a desk, everything needs to be perfectly aligned. I am still a bit OCD about it, even with my phone and workstation. I prefer everything to be tidy. I don't like my phone tilted at 45 degrees; it has to be neatly placed. This meticulousness extends to my desk space as well.
Meshary: So, first of all, I used to rearrange the furniture in my parents' house every weekend when they went out for dinner or something. We had this huge living room with about 10 sofas, and I would experiment with different seating arrangements. Sometimes, it would be in a rectangular layout, and other times, it would be in a circular or diamond shape. I wanted them to experience the room differently each time and explore its possibilities. This was when I was around 12 to 16 years old.
When I was younger, I would pick flowers from the garden, like jasmine or roses, and scatter the petals around. I wanted everything to be dramatic and create an experience for anyone who walked in. I would place candles and flowers everywhere, play music, and even arrange cakes on plates in a specific way. It was like a celebration, even on an ordinary day.
My parents didn't quite understand why I kept rearranging things. I remember one time, because my dad loved having a big TV, no matter how I rearranged the room, everything had to face the TV as the focal point. Eventually, I wanted to see how the room would look without the TV, so I moved it to another room and waited for my dad's reaction. But he wasn't convinced and asked me to bring it back.
The same approach applied to my bedroom. It was about 4 by 5 metres with one window and one door. I would change the orientation of my bed multiple times, sometimes placing it against the window or against different walls. I styled the room as if it were my personal museum, with picture frames at the entrance and my belongings carefully arranged. I always imagined how people would experience the room in my absence and get a sense of who I am as a person. Sometimes, when I was frustrated with how things were, I would clear everything from the counters and stuff it all in the closet, leaving the space empty.
Photo: Fedya Ro
— Your studio has so many amazing details. I noticed the carpet in one of the rooms. Where did it come from? Could you share its story?
Meshary: This carpet is from a village in the south of Lebanon. One of my colleagues in the office, who is Lebanese and from that area, has travelled with me extensively for work. He knows my personal style well. So, when he went back home for the holidays, he came across this little store selling vintage carpets and sent me a video. He said, "This is just a basic standard carpet shop in my village, but I feel like you would appreciate it." I was immediately drawn to the carpets and ended up choosing one with a brown centre. It was such a great find, and I decided to keep it with me, not knowing what to do with it at the time. But when the time came to adorn the wall here, I knew this was the piece I wanted to hang up.
— And you have a corkboard!
Meshary: The entire wall up to the window, yeah. So, every time I see design studios I admire abroad, they always have these massive mood boards. They are mainly visual boards for them to translate the vision they have in mind. And I am a very visual person because I am not good at sketching or using softwares — those are my weaknesses. So, the only thing I can do is pull out references of images, fabrics, or items and put them together to show you what I have in mind. A mood board is very beneficial for someone like me who is a visual learner. When we were designing this wall, we thought about having it as a full cork wall where we can pin up timelines for clients and track projects, but also for me to display mood boards. Originally, it was segmented into different zones for different projects, like four or five parts. But then I decided to create one big mood board throughout. Anyone who walks in looks at it and says, "Okay, this is amazing. We love what we are seeing." If you look at it right now, you will understand the approach of what we are trying to do.
Photo: Fedya Ro
— Let's play a little game. I will say a word, and you share your associations. First up — architecture.
Mish: Home.
Meshary: For me, when I think of architecture, I think about my dream home. Something that I want to build.
— How does it look like?
Meshary: Honestly, in my mind, it is already there. It exists. It is like a large, aged barn with a contemporary extension. The main area where I would host has high pitched ceilings, multiple zones, an open kitchen, and aged limestone flooring. The contemporary extension would house the bedrooms. There would be gardens everywhere or big open spaces. A place where I can host and have everyone around, with my dog running around as well.
— Next words — interior design. What do you imagine?
Mish: Lighting. I don't think of furniture so much.
Meshary: For me, it is the kitchen.
— Can you both name three or more distinctive traits that define your work, helping us recognise it as yours?
Meshary: You know, people often send me photos online saying, "This is so you, this is so your studio, so your brand," and people understand it. It was actually just two days ago when a random Saudi lady working in Abu Dhabi sent me a photo of a hotel in Provence, France, and she said, "This hotel is so you." I opened the link, saw the hotel, and was completely amazed by its interiors and every detail. People on Instagram are starting to understand what our brand is all about, starting to understand our aesthetic.
I think when you see our style, you see something that is clean and minimal but also eclectic and a bit maximalist at the same time. It is a mix of different things, but it has that kind of desaturated, earthy, layered softness.
Mish: I would have to agree. It has got softness, there is layering, texture, and curation. When people come to the office, they are like, "I see this, and I get you," and exactly, and that is what we want. People don't ask, "So, what is your style?" They are not confused. They walk in and immediately understand our aesthetic.
— What projects are you working on now?
Meshary: So, right now, there has been a significant shift. Since our opening in Dubai in October, we have been approached by a whole new set of clients that we are not accustomed to. In Kuwait, our focus was mainly on residential, commercial, and F&B projects. However, we are now seeing a surge in hospitality projects. Developers are approaching us for residential housing projects, villa renovations, and new architectural designs for residential spaces. We are also receiving inquiries for F&B ventures, and cultural projects have also become a part of the mix. Manoeuvring between these different approaches has been a challenge, especially considering we are a small studio with a growing team. However, we are working on managing these diverse requests to the best of our ability.
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