Crafting Luxury with ‘More-ish’ Qualities …
157
Studio KO architects operate as eloquent artisanats and their Yves Saint Laurent
Museum imparts to the public an invincible and fortitudinous silence—a tug towards
recrafting Amazigh luxury.
Acknowledgements In Morocco, I thank Faycal Tiaiba from Studio KO Marrakech Office for his
conversation on the Yves Saint Laurent Museum project and The Arts of Fashion Foundation for
the opportunity to work within the YSL Museum’s conference room as well as meeting Noureddine
Amir at his atelier and residence.
References
1. Abu-Shams L, Gonzales-Vazquez A (2014) Juxtaposing time: an anthropology of multiple
temporalities in Morocco. Revue des mondes musulmans et de la Mediterranee 136:33–58
2. Amir N (2018) The sculptural dresses: Noureddine Amir by Hamid Fardjad, Temporary Exhibition Catalogue 23 February – 22 April 2018, Marrakech. Yves Saint Laurent Museum,
Marrakech
3. Aoudjehane HC, Avice G et al (2012) Tissint martian meteorite: a fresh look at the interior,
surface and atmosphere of Mars. Science 338(6108):785–788
4. Baruah P (2011) Tea drinking: origin, perceptions, habits with special reference to Assam, its
tribes, and role of Tocklai. Sci Cult 77(9–10):365–372
5. Becker CJ (2006) Amazigh arts in Morocco: women shaping berber identity. University of
Texas Press, Austin
6. Benali A (2018) Looking at Mars in Marrakech. In: Adnan Y (ed) Marrakech Noir. Akashic
Books, Brooklyn, New York
7. Berney KA, Ring T (eds) (1996) International dictionary of historic places, vol 4. Fitzroy
Dearborn Publishers, Middle East and Africa, London
8. Branzi (2010) “The new handicrafts”, from Hot house in The craft reader, edited by Glenn
Adamson. Berg Publishers, Oxford; New York, pp 557–581
9. Branzi A (1984) “The new handicrafts”, from hot house. In: Adamson G (ed) The craft reader
(2010). Berg, Oxford, New York, pp 577–581
10. Cruickshank D (2015) The first cities. In: Hall W (ed) Brick. Phaidon Press Limited, London
11. Delavan T (2017) Essay in Studio KO, by Karl Fornier and Olivier Marty. Rizzoli International,
New York
12. El Aroussi M (2018) ‘The sculptural dresses: Noureddine Amir’, curated by Hamid Fardjad.
Temporary Exhibition Catalogue, Musee Yves Saint Laurent, Marrakech, 23 Feb–22 Apr
13. El Faiz M, Ruf T (2010) An introduction to the Khettara in Morocco: two contrasting cases.
In: Schneier-Madanes G, Courel M-F (eds) Water and sustainability in arid regions: bridging
the gap between the physical and social sciences. Springer, Dordrecht, Heidelberg, London,
New York
14. El Aroussi M (2015) Visual arts in the Kingdom of Morocco, the Arab League’s Educational
Cultural and Scientific Organization
15. Fardjad H (2018) The sculptural dresses: Noureddine Amir, curated by H. Fardjad, Temporary
exhibition catalogue 23 Feb–22 Apr 2018, Marrakech. Yves Saint Laurent Museum, Marrakech
16. Gardetti MA, Torres AL (2013) Sustainability in fashion and textiles: values, design, production
and consumption. Greenleaf Publishing
17. Hampate Ba A (1976) African art: Where the hand has ears.’ In: Adamson G (ed) The craft
reader (2010). Berg, Oxford, New York, pp 379–385
18. Hansen C (2009) “Colors/ porphyry: blood from a stone”, in Cabinet magazine, Spring, Issue
33
157
Studio KO architects operate as eloquent artisanats and their Yves Saint Laurent
Museum imparts to the public an invincible and fortitudinous silence—a tug towards
recrafting Amazigh luxury.
Acknowledgements In Morocco, I thank Faycal Tiaiba from Studio KO Marrakech Office for his
conversation on the Yves Saint Laurent Museum project and The Arts of Fashion Foundation for
the opportunity to work within the YSL Museum’s conference room as well as meeting Noureddine
Amir at his atelier and residence.
References
1. Abu-Shams L, Gonzales-Vazquez A (2014) Juxtaposing time: an anthropology of multiple
temporalities in Morocco. Revue des mondes musulmans et de la Mediterranee 136:33–58
2. Amir N (2018) The sculptural dresses: Noureddine Amir by Hamid Fardjad, Temporary Exhibition Catalogue 23 February – 22 April 2018, Marrakech. Yves Saint Laurent Museum,
Marrakech
3. Aoudjehane HC, Avice G et al (2012) Tissint martian meteorite: a fresh look at the interior,
surface and atmosphere of Mars. Science 338(6108):785–788
4. Baruah P (2011) Tea drinking: origin, perceptions, habits with special reference to Assam, its
tribes, and role of Tocklai. Sci Cult 77(9–10):365–372
5. Becker CJ (2006) Amazigh arts in Morocco: women shaping berber identity. University of
Texas Press, Austin
6. Benali A (2018) Looking at Mars in Marrakech. In: Adnan Y (ed) Marrakech Noir. Akashic
Books, Brooklyn, New York
7. Berney KA, Ring T (eds) (1996) International dictionary of historic places, vol 4. Fitzroy
Dearborn Publishers, Middle East and Africa, London
8. Branzi (2010) “The new handicrafts”, from Hot house in The craft reader, edited by Glenn
Adamson. Berg Publishers, Oxford; New York, pp 557–581
9. Branzi A (1984) “The new handicrafts”, from hot house. In: Adamson G (ed) The craft reader
(2010). Berg, Oxford, New York, pp 577–581
10. Cruickshank D (2015) The first cities. In: Hall W (ed) Brick. Phaidon Press Limited, London
11. Delavan T (2017) Essay in Studio KO, by Karl Fornier and Olivier Marty. Rizzoli International,
New York
12. El Aroussi M (2018) ‘The sculptural dresses: Noureddine Amir’, curated by Hamid Fardjad.
Temporary Exhibition Catalogue, Musee Yves Saint Laurent, Marrakech, 23 Feb–22 Apr
13. El Faiz M, Ruf T (2010) An introduction to the Khettara in Morocco: two contrasting cases.
In: Schneier-Madanes G, Courel M-F (eds) Water and sustainability in arid regions: bridging
the gap between the physical and social sciences. Springer, Dordrecht, Heidelberg, London,
New York
14. El Aroussi M (2015) Visual arts in the Kingdom of Morocco, the Arab League’s Educational
Cultural and Scientific Organization
15. Fardjad H (2018) The sculptural dresses: Noureddine Amir, curated by H. Fardjad, Temporary
exhibition catalogue 23 Feb–22 Apr 2018, Marrakech. Yves Saint Laurent Museum, Marrakech
16. Gardetti MA, Torres AL (2013) Sustainability in fashion and textiles: values, design, production
and consumption. Greenleaf Publishing
17. Hampate Ba A (1976) African art: Where the hand has ears.’ In: Adamson G (ed) The craft
reader (2010). Berg, Oxford, New York, pp 379–385
18. Hansen C (2009) “Colors/ porphyry: blood from a stone”, in Cabinet magazine, Spring, Issue
33