January 25, 2026 | PEOPLE

NADER GAMMAS

in PURSUIT of LIGHT

words Onur Basturk

photos Courtesy of Nader Gammas (Portrait / Ben Cope)

Trained as an architect, Nader Gammas treats light as an architectural material—one that defines structure, space, and atmosphere.Born in the United States and shaped by his Syrian roots, his practice is informed by an architectural education and a deep sensitivity to how light conditions experience. Since his debut at Art Dubai in 2017, Gammas has developed a restrained yet expressive language in which light operates not as an addition, but as a primary architectural act—shaping space through presence rather than ornament.

FROM ARCHITECTURE TO ILLUMINATION 

Your work often sits between sculpture and function, with light taking on an architectural role. When did lighting become your primary medium?

While working on a private residence, I realized that a single lighting element could both solve the functional need for illumination and act as a sculptural presence within the space. That moment clarified how light could carry both purpose and expression at once.

You’ve described your process as reducing architecture to structure and light. How does this idea continue to shape the way you design today?

Architecture demands discipline, and lighting follows a similar logic. Recently, I’ve been pushing further into organic inspirations, but always within an architectural framework. Structure remains essential—it’s what allows experimentation to stay grounded.

MATERIAL, CRAFT, AND TOTEM 

Totem (2025), commissioned by Bottega Veneta for NOMAD Abu Dhabi, translates the Intrecciato language into light. How did you approach reinterpreting a fashion house’s craft heritage through material and form?

Totem distills the essence of Bottega Veneta’s Intrecciato weave into a sculptural, architectural form. By deconstructing the weave and rebuilding it vertically, the piece reinterprets the house’s language while remaining rooted in its identity. Each hand-cut ceramic block amplifies the Foulard and Bombé variations of the weave. Matte and glossy finishes echo the shifting textures of leather, subtly disorienting the viewer. Structured around a steel spine, the work sits between sculpture and function, revealing layers of craft, material, and light.

Ceramics play a central role in Totem. What draws you to this material, and how do you work with its tactile, imperfect nature at an architectural scale?

I’m deeply fascinated by ceramics at the moment. It’s a material that invites experimentation and allows me to push toward what comes next. I began this exploration with Vessels. With Totem, the aim was to offer immediate visual clarity, while leaving deeper layers of meaning to unfold over time—an encounter shaped equally by instinct and intention.

TIMELESSNESS IS A BELIEF THAT UNDERPINS MY WORK 

Your pieces often feel both ancient and contemporary at once. Is this sense of timelessness something you consciously pursue, or does it emerge naturally through making?

Timelessness is a belief that underpins my work. I try to place myself in the mindset of those who came before us, whose design thinking wasn’t driven by micro-trends but by a broader understanding of life and continuity.

Atmosphere is a defining quality of your work. When beginning a new piece, do you start with a specific mood in mind, or does it develop through experimentation?

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There is always a mood in mind from the start. It’s a conscious decision, because it ultimately defines the piece. My work has often leaned toward darker, heavier atmospheres, but recently I’ve been moving toward something brighter and lighter.

DUBAI’S REGIONAL HISTORY IS RELATIVELY SPARSE 

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You’re currently collaborating with designers such as Kelly Wearstler and Stephen Sills. What makes a collaboration meaningful for you, and how do these exchanges influence your practice?

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I value collaborations, particularly with experienced designers. They often introduce ideas I hadn’t previously considered, opening new ways of thinking. I now see my work as a series of seeds—starting points that others can take further.

Having lived and worked across different geographies, you’re now based in Dubai. How does place—past and present—continue to inform your design language?

Dubai’s regional history is relatively sparse, and that absence is liberating. The lack of a dominant architectural precedent allows for a more open dialogue and a greater freedom to explore new possibilities.