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02 · IDENTITY · EDITORIAL · WEB

Noor Studio.

A Marrakech furniture house, built to be read at arm’s length on a phone.

THE BRIEF

A furniture house in Marrakech, drawn from the brief up: six pieces in walnut, palm fibre and terracotta velvet, made to order, twelve weeks out.

A showroom like that sells on light and patience, and a phone offers neither. So the brand had to carry four o’clock in the afternoon around with it, wherever somebody happened to open it.

ROLE
Concept, art direction & layout
ENGAGEMENT
Self-initiated · Concept
BRAND IDENTITYEDITORIALWEB DESIGNCONCEPT

Light changeseverything.

THE DECISION · CATALOGUE VOL. 01

Eight slides that behave like a printed catalogue.

The carousel is the storefront. It opens on a chair in four-o’clock light and closes on an address.

Deep forest green for the collection pages, bone for the pages that make the case. Titles in a high-contrast serif with the italic on the second word, so the eye finishes each line on a lean. Every piece carries a reference: NS-B01, NS-D01. Catalogue numbers imply a catalogue, and a catalogue implies somebody who has been doing this a while.

Two collections. Seating: Bahja, Mernès, Oudia. Storage: Dar, Lalla, Medina. Then the page most furniture brands leave out: eight finishes, named and specified. Walnut is oiled, never lacquered. Say the rule plainly and the rule does the selling for you.

Noor Studio catalogue: Bahja, for the Long Hour. Fauteuil Bahja, Canapé Meknès and Méridienne Ourika in walnut, palm fibre and velvet.
Cover slide. Noor Studio, objects for the long afternoon light, over a walnut chair in raking sun.
Light changes everything. A dark disc of shadow falling across a wooden cabinet.
Fauteuil Bahja specification slide. Oiled walnut, palm fibre seat, terracotta velvet cushion, twelve weeks.
Dar el Noor, quiet storage. Collection two, shown in three vertical crops.
Buffet Dar specification slide. Solid walnut carcass on a blackened steel base.
Materials and finishes. Eight named finishes listed as capsules on forest green.
Closing slide. Come sit in the light, with the Guéliz showroom address.

THE SYSTEM

A reference number is a promise.

Every piece carries a code and a finish: NS-B01, oiled walnut, palm fibre, terracotta velvet, twelve weeks. Eight finishes named and specified on their own page, where most furniture brands leave a blank.

That page is the system. A new chair needs a photograph, a name and a code, and it belongs to the same house as the first six. Walnut is oiled, never lacquered, and the rule does the selling without anybody having to argue it.

Materials and finishes. Eight named finishes listed as capsules on forest green.
Buffet Dar specification slide. Solid walnut carcass on a blackened steel base.

IN USE · THE SITE

One page. One thing to do.

An interior practice needs three things on a landing page: proof, scope, and an easy way to start the conversation. The rest is a brochure.

Serif masthead, an asymmetric cluster of photographs, and one underlined link that reads Create your space. The projects sit below in a numbered column, so the page reads as finished work rather than a menu of ambitions.

Noor Studio landing page hero. Serif masthead beside an asymmetric cluster of interior photographs.
Full Noor Studio landing page: intro, three numbered projects, services and contact.
The Noor Studio site shown on a laptop in hard Moroccan sunlight.

IN USE · PROJECT PAGE

Maison Dar el Noor.

The case-study template, tried on one project first. A headline, a paragraph that commits to a point of view, and photographs given enough room to count as evidence.

Location, style and year sit out in the margin, where a reader checks rather than reads.

Project highlight layout for Maison Dar el Noor, with body copy and two interior photographs.
Project card for Maison Dar el Noor: an arched courtyard entrance beside a short description.
NEXT PROJECT

Editorial · Typography

Posters

Made to Last, poster two. Bauhaus 1919: concentric primary circles over a rule of vertical bars.