by Alexandra Mansilla
The Story Through Spheres Of Sand. Meet ‘Karim + Elias’ Studio
14 Jun 2024
To be honest, we first heard about Karim + Elias studio when we saw their "From This Earth" installation in Diriyah. It immediately grabbed our attention with its 1,400 perfectly round sand spheres, stacked to form several walls. We were intrigued and started exploring their work, getting drawn into the incredible world of their sand art. That is when we decided to talk to Karim Tamerji and Elias El Hage about their creative process, how they tell stories with sand, and what ultimately happens to their creations (this part might upset you!).
— Karim, Elias, how did you start working together?
Elias: So, Karim and I actually graduated from architecture school together back in 2016. He was doing his own artwork, and I was doing mine separately. To make a long story short, in 2022, Karim reached out to me, and we decided to collaborate on our debut work, which was the IOTA installation. And from there, we took it further.
Individually, Karim and I both have very artistic natures. We are driven by narrative and story. We are multidisciplinary designers, putting our talents and skills into the studio. I think that the strength was we could bridge these two aspects and push the work forward.
— So, the pieces you both create in the studio are spheres. Why did you choose this shape?
Elias: Well, honestly, the main reason we pushed the idea of spheres was because the material we work with is quite heavy. We wanted to give it a perception of appearing weightless, light, and somewhat soft. Earth is a heavy, ancient material, so we decided to explore spheres as a continuation of that design approach in a modular way.
From IOTA, with grand-scale spheres stacked above each other, this was a huge challenge. Our most recent installation was a continuum of that idea, featuring smaller spheres and the concept of a "mashrabiya."
The intention was to tie a narrative and story back to the Arabesque patterns and sunscreens of the desert. We decided to explore the sphere one last time to really push the idea, and beyond that, there is now so much more.
Karim: Adding to what Elias said, the sphere is a pure and timeless shape that everyone can relate to. Different age groups perceive it differently — some find it playful, while others see it as geometric and architecturally inspiring. This was part of our design thinking.
From a technical perspective, because we were working with sand, creating corners would make the structure fragile. So we started with the most basic shape — a round one — and are now pushing it into more organic forms.
IOTA. Photo: courtesy of ‘Karim + Elias’ Studio
— It is hard to imagine how these sand spheres don't fall apart.
Elias: It was a challenge of its own. It is still the most difficult geometry we have explored. Stacking it was particularly challenging, especially since the installations were never connected to the floor. The process was very difficult throughout. Our research and development (R&D) efforts were extensive, focusing on creating ecological mixes using earth and natural materials. Developing a mix that could hold together and not fall apart took months and months of work. Despite the difficulties, it is something we are very proud of.
— By the way, why did you choose sand as a material?
Karim: The opportunity that came to us really shaped our path. Initially, we were doing our own thing. We studied together and always wanted to work together. With our different backgrounds in architecture, interior design, and art, we explored many possibilities. Then, an opportunity arose from Downtown Design to pitch for an entrance installation for the Design Fair 2022. They emphasised using local materials, sustainability, and relative concepts. Spontaneously and effortlessly, we bridged a synergy and decided to explore something made of sand.
We thought it would be a one-off project, but after the event, it grew and grew, eventually becoming our studio.
Elias: Sand is the most abundant natural material in the Arab region. Why not celebrate something that truly defines the history, culture, and identity of this place? On a primal level, those that interact with our pieces feel a connection when they touch the material, be it sand on a beach or earth from their garden. Our pieces are charged with this narrative, often winning the hearts of locals in the UAE, Qatar, Saudi Arabia, and beyond; because the story is genuine. Our mission is to celebrate and showcase sand as something special.
We also aim to preserve the artistry and craftsmanship of rammed earth or building with sand, much like how people have sculpted marble and carved wood for thousands of years. In a region where sand is the most abundant resource, we are proud to focus on sand as both an art and design culture. This region may not export stone or wood in abundance, but with sand, we are working to revive this culture.
IOTA. Photo: courtesy of ‘Karim + Elias’ Studio
— How much time did you spend on creating IOTA — that piece that you presented on Downtown Design?
Elias: Between the research, development and progress, IOTA took around seven months. With the amazing support of NGO ‘House Of Today’, we were able to bring it all to life. This included developing the design, setting up a workshop here, sourcing all the materials, exploring the moulds, and figuring out how it was going to hold together. Production took about two months. We had it installed as a temporary installation for four days, and then it was dismantled and returned to the earth.
— “Return back to the Earth” — you mean, it was destroyed?
Elias: Yes! We completely demolished it.
— What?!
Elias: It was a very valuable lesson of letting go and appreciating the ephemeral aspect of art. It was up for just four days, and then it was gone. It was very intense.
Okay. And how much time did it take to create “From This Earth”?
Karim: A lot less because the challenges of making smaller objects that we were able to produce, transport, and install were much easier. It took around three months in total between design conception, production, and installation. We installed it over the New Year's break in Saudi Arabia. We handled the installation ourselves, so we were very hands-on from production to installation, including lighting design and landscaping design. So that was up for three months, and they recently dismantled it as well.
Return back to the Earth. Photo: courtesy of ‘Karim + Elias’ Studio
— “From This Earth” consists of 1,400 spheres. Why so?
Elias: It was just the scope we defined. So, we worked the design around it, and it happened to be that number.
— Could you please tell us the story behind “From This Earth”?
Elias: When we were assigned the project, it was significant to address the backstory of our context. The project was in Diriyah, the original Kingdom of Saudi Arabia, a city built entirely out of mud and earth. Today, Diriyah is marketed as the "City of Earth", being revived under that design criteria, and any new construction there must adhere to ecological principles, using earth.
Our studio’s narrative aligned perfectly with this vision. We wanted to celebrate this, so we used natural materials throughout; including gravel on the floor, sand, and palm trees.
Karim: We paid homage to the traditional craft and the people who originally built Diriyah using these materials.
Elias: The architecture of Diriyah, referred to as Najdi architecture, features triangular or diamond-shaped perforations in the facades. These are Arabesque details that have existed for hundreds of years, filtering wind, sun, and light into interiors.
We thought if we are introducing an open-air installation, why not turn these modules into mashrabiya, a screen that filters sun and light, creating diamond patterns? We used the geometry of a sphere, something that hadn’t been done before, as a breeze screen.
The story is straightforward. When you see the piece in its context, it feels timeless. Visitors are unsure if it has been there since the city’s inception or not. Equally, it evokes a contemporary impression. We don’t often like to introduce something harsh; it blends into its surroundings in a seamless way.
Return back to the Earth. Photo: courtesy of ‘Karim + Elias’ Studio
— Have you ever heard from visitors about the impact your work had on them?
Karim: What is nice about working with this material is that each age group relates to it differently, and it impacts them in various ways. For example, kids see it as playful. Architects look at it and wonder about the technical aspects and the material mix. Any other visitor might appreciate the aesthetics of it. So, it achieves various impacts, and it is hard to highlight just one particular aspect.
When someone is an architect, the conversation takes a different route, inspiring them to work with this material and consider new ways to build. Other people, especially locals, take pride in it when they learn that it is made out of sand. They feel proud of their heritage and the evolution from sand to these structures. So, impacts are different.
— What sand do you use?
Elias: It is actually desert sand, sourced from the entire Arab region. From a legal standpoint, we are not allowed to dig or take sand from public areas, so we source our sand from very specific locations. We always ensure that the sand is locally sourced, along with all other materials.
— What was the most challenging aspect of working with sand?
Elias: We always had a clear vision of our design approach and how we wanted to do things. The narrative was very clear from the start, as it is core to our studio. We decided we would be a team that creatively and exclusively explores sands of the region.
So, the challenges we faced were primarily technical. With each new project, a new challenge arises, and we try to figure out how to make it work.
Karim: When we had the Downtown Design opportunity, we pitched for it without even having a sample or having done it before. It was a challenge — would it work or not?
This was a huge challenge because we created a lot of samples that fell apart, didn't have structural integrity, or had poor finishes. We faced many challenges because it was the first time we attempted this.
IOTA. Photo: courtesy of ‘Karim + Elias’ Studio
— What are you working on now?
Karim: We decided to push our sand technique into the architectural realm of design. So now, we do wall art pieces on existing surfaces or from scratch. A lot of our upcoming work will feature wall installations in both commercial and private spaces.
At our core, we love doing art installations, and we have many exciting projects lined up for the next few months, possibly towards the end of the year. These will include different forms, from more organic geometries to more linear geometries. We still strive to balance architecture, which is our primary practice, with the field of art.
Additionally, we are developing a product design line, launching soon, that will make our work more accessible for people to place in their homes. This includes sculptures, tables, and possibly floor lamps. These three areas — art, architecture, and product design — are where we aim to focus our efforts.
— That is interesting! Could you name some specific works you are currently working on?
Elias: Of course, we can give you some words, because sometimes the title of our work can give an idea. So, we are launching a series of earthen tones and colors beyond beige. These include concepts like “cactus” or “palm” green, “dune” beige, and red “earth”. These colours revolve around the narrative of the desert.
A very exciting art proposal we have in development conceptualises a “desert drop”. This concept explores where water meets sand. The shape of a desert drop or a water droplet is expressed through an object made of sand. We have taken the sphere and turned it into something more fluid and organic. Our forms are always inspired by nature, whether it is a drop of water, the shape of a palm tree stem, or waves of the desert. We continually draw inspiration from the landscapes of the Arab region.
So, let’s go back to when you first started exploring sand. You began and continued working with it because it awakened certain feelings in you. Could you describe what you feel when you touch it?
Elias: That is an interesting question. Sand is very tactile, and its texture, as we feel, catches people's attention. It is that universal aspect of the material. It takes you back to being a child. Everybody often asks, "Can we touch it?".
Sand taps into a person's primal intuition, which is to be in contact with earth. From both our childhoods, we have had different experiences. I grew up in a forest, playing with mud and earth quite a lot. So, it stimulates childlike memories. People who spend a lot of time next to the beach experience that feeling as well. At the end of the day, it is earth, and wherever the sand is from, it is still earth; so it sparks that sense in people. More than anything, that has helped us truly connect with people beyond the art form.
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