Biography

I didn't learn and practice architecture in one place. I grew up in Dubai, in a city that doesn't hesitate, a place where ambition builds fast, often faster than it reflects. Being surrounded by architects and consultants from all over the world, I learned early that there is no single way to practice architecture. There are only positions you choose to take. I chose not to be impressed by scale alone.

Moving to Milan, and studying at Politecnico di Milano, forced a different kind of discipline. Here, architecture demanded precision, continuity, and accountability to history. It was no longer about how far you could push an idea, but how deeply you could understand it. Between these two extremes, I found my ground.

My work sits in that tension. Between boldness and restraint. Between concept and execution. I'm interested in architecture that doesn't need to shout to be present, but also doesn't disappear into neutrality. Work that holds its position clearly. This approach has been recognized through multiple international student awards and competition distinctions, not as an end in itself, but as a reflection of a consistent way of thinking and working.

My thesis on postwar Damascus was not about reconstruction in the conventional sense. It was about continuity: how to intervene without erasing, and how to design within systems that already exist, even when they are informal, fragmented, or unresolved.

Professionally, I've worked across different scales and contexts, from urban strategies to the detailed execution of hospitality spaces. At Casa Cipriani Milano, I followed the project from drawings to reality, coordinating production, materials, and on-site decisions. That experience grounded something important: ideas only matter if they can hold themselves when built.