On December 11, the Guggenheim Abu Dhabi will finally open its doors after two decades of delays, redesigns, a global recession, and a pandemic. Frank Gehry, who died before seeing the project through, designed a striking building that the New York Times has called “a graceful tumble of giant plaster building blocks and translucent blue cones.”
Few things survive translation across a world this scattered. And yet here it is, holding its place at every table that matters: pooled in the bread basket of an Italian trattoria, dressing a Horiatiki salad on a Santorini rooftop, threading through a plate of Spanish tapas, warming a bowl of Egyptian ful medames, sweetening a slice of Lebanese sfouf. Olive oil, somehow, is the one thing these tables have in common and the reason why starts long before anyone thought to bottle it.
Under the golden sun of the ancient world, a woman dips her fingers into a bowl of crushed leaves, transforming nature’s gift into art. The scent is earthy, rich with history. As the paste glides over her skin, patterns emerge—delicate, intricate, mesmerizing. It is not just adornment; it is a story. A tradition. A blessing.
It’s all natural and non-invasive. It’s safe and plant-based. And it’s only temporary, so there is no long-term commitment necessary. But it’s also so much more than that. Above all, it’s a culturally significant nod in recognition of the way Middle Eastern culture has shaped modern artistry and individual self-expression.
Desert Modernism was launched when Swiss-born architect Albert Frey placed three simple boxes on the desert floor in Palm Springs, California, in 1935. It was Frey’s first residential design, utilizing cement floors and corrugated metal to mitigate the intense desert heat. Two years later, Richard Neutra introduced broad overhangs, clean geometry, and seamless indoor-outdoor continuity.
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When Ancient Scripts Go Digital
San Antonio’s ‘Silk Road’ Cultural Heritage District
Arabic Influence on Interior Design