Nakhla was an installation we presented at Maraya Art Centre in AlUla, Saudi Arabia, one of the region's most striking cultural venues built entirely from mirrored panels that reflect the surrounding desert landscape. The work took the palm tree, a motif deeply embedded in Palestinian embroidery traditions known as tatreez, and reimagined it through our craft vocabulary of marquetry, colour, and inlay. It was an exploration of how symbols carried within textiles and embroidery can be translated into three-dimensional design objects without losing the cultural weight they carry.

We were invited by The Conran Shop, the iconic British design retailer founded by Sir Terence Conran and known for championing quality design for the home, to give a talk at their Kuwait location. The conversation centred on what it means to take a design practice rooted in Beirut and Arab craft traditions to a global audience, and the responsibility that comes with representing a culture through the objects you make. We spoke about how the line between cultural celebration and cultural commodification is something every designer working with traditional craft has to think about carefully.

We presented a sensory installation at Osaka Expo 2025, the world's largest international exposition bringing together nations and cultures in Japan, in collaboration with Uzbek craftspeople whose making traditions we had first encountered at the Design Doha Biennial. The installation brought together Japanese minimalism and Uzbek craft into a space designed for pause, reflection, and human connection. It was built around the idea that design can create moments of stillness within even the most populated and spectacular of international events.