Fascinated by the ability of an environment or a singular piece to completely alter one’s inner state, Christelle Bassila has always had an eye on the design world. But it was only after leaving a 15-year career in Portfolio Management that her passion would take root when she launched The A/P Room last November. A curatorial platform — and the first of its kind in the region — with a physical hub in Dubai’s Alserkal Avenue, it operates at the intersect of collectible design, art and historical references, with a commitment to not only represent international artists in the Middle East, but to elevate regional artists on an international level. It’s a cultural bridge between Dubai and the rest of the world designed to elevate and give more meaning to interiors — and life.
You launched The A/P Room at NOMAD Abu Dhabi last November and opened in Alserkal in February. Why is the Middle East such a focus point?
The Middle East is an evolving market and it has a strong appetite for art, luxury and collecting. Yet it’s still evolving on the collectible design level. So what we’re trying to do is show how collectible design can be a cultural statement. To do that, we had to be physically present. Launching at NOMAD Abu Dhabi was intentional, to position us within a global design conversation, while grounding us in the Middle East. And to show that this region is not only a consumer, but that it will have a role to play in the design ecosystem on an international level, too.
In your opinion, is the need for a physical space integral to that collectible experience?
Yes, because it’s a way to let people experience what collectible design is, and how we live with a tangible, physical piece. The more you educate your eye, the better it becomes. But when we educate our eye, we need to see, to touch, to feel the material, the presence of a piece. We can’t do that online with just nice images. But beyond that, the collector has to experience the material of the piece, the narrative. It’s a whole process.
Having moved from a corporate role into a creative field, how would you describe the impact design can have on people and society?
Design is the most intimate art form, because we inhabit it. Art and design, I see them as a bridge to different generations. A mid-century piece could sit beside a contemporary cultural work and still converse. A piece from the 1950s from Jorge Zalszupin could sit easily next to a nice contemporary piece. So, yes, art and design bridge generations, as material language is universal. It also bridges cultures and people, too. And in a world increasingly divided, cultural dialogue through aesthetics feels more important than ever.
So art and design can be very powerful?
Yes. I mean, when we experience living with art and design, we just cannot imagine our life without it. Personally, I live with the pieces, and I love the dialogue, the vibes, the energy they project. It’s just incredible how they can elevate a space and change your inner state.
Talking generational divides, are you finding more collectors wanting to blend both past and present?
Coming from Europe, I wanted to show the energy that can be brought to a space when you bring mid-century into dialogue with contemporary works. Through our launch in Abu Dhabi, the response for that kind of curation was extremely positive. I feel like the audience here is ready to explore, to cultivate and educate themselves on what is essentially our DNA.
Would you say you can’t truly understand contemporary work without an appreciation of the past?
Absolutely. We cannot understand today’s artists without understanding, historically, the story of design and where we come from. Because this is the source of inspiration for a lot of contemporary artists today.
Today’s artists are pushing myriad boundaries, but so too did artists many years ago, right?
Yes, today they are going beyond in material experimentation and the technologies used, but if you look at a piece 75 years ago, it can look as if it was done yesterday. That’s how avant-garde Jorge Zalszupin was back in the 1950s, and Gio Ponti in the 1960s. We need to understand the history of design to be able to appreciate and understand it in today’s world.
In what ways are designers in the Middle East managing to push those same boundaries?
What we’re seeing is emerging artists pushing the boundaries through materials, experimentation and craftsmanship. Such as when you see Roham Shamekh using a very basic material, like clay or resin. They are not the most noble materials, but he’s using them to create something emotionally very powerful.
What would be your advice for someone looking to start or build their collection?
Collecting for me is not only to acquire, or simply to buy things, it’s about learning how to look at an object and understanding the material and its narrative. So my advice for collecting is to buy with conviction, not speculation with the idea to sell, and to trust your intuition. In collectible design, you will never get bored of a piece, because it’s about an evolving language.
Photographed ahead of the opening of The A/P Room’s new space in Alserkal Avenue, Dubai,
Christelle wears a black dress by Max Mara with heels by Valentino.
As a woman in the design world, would you say it is a predominantly male-driven industry?
No, I honestly don’t see it this way. Because even historically, if we go back to post-modernism, the list of women that influenced design is long. From Charlotte Perriand and Lina Bo Bardi to Eileen Gray, women have been incredibly influential.
What have been your greatest obstacles since entering this industry?
While collection has always been my passion, I come from a finance background with 15 years in Portfolio Management. So when we came up with the idea [of The A/P Room], the greatest challenge was approaching artists and convincing them to come to work with me. I still remember the calls I had to make, and having to prove that while I came from finance, now as a gallerist, we could do something great together.
And what about the opportunities?
Honestly, it’s coming into a fresh, emerging market. Today, the most important collectible design market is the US, then Europe, France, UK. So I see this as an opportunity, being the first gallery in the Middle East, to bring a dialogue between contemporary and historical collectibles. The eyes are on the region now, and people are very interested to come here, and we’re seeing a lot of requests from international galleries to collaborate with them. It’s an exciting opportunity.
What were your first memories of art and design?
My relationship began emotionally, not academically; I remember being drawn to spaces before I understood why. I was fascinated by atmosphere, by how an environment could change your inner state, and how living with beauty could really elevate your whole life. So today The A/P Room is a continuation of that childhood sensitivity. Again, it was refined through global exposure, travel and years immersed in the design ecosystem. I also followed the Christie’s Education programme for a few years, and I’ve educated myself about design too, so it’s a passion supported by academics, to confirm that my intuition was going in the right direction.
Do you have a favourite design memory?
One of the very first collectible design pieces that I bought was a George Nakashima cabinet made of wood, and I still remember how I had goosebumps when I saw it.
Who have been some of the female guiding lights in your life?
I’ll go back to my Christie’s experience, as one particularly influential figure in my journey has been [design historian] Daniella Ohad. Working together has deepened my understanding of design, not simply as an aesthetic, but as a historical and intellectual field. It confirmed that intuition must be supported by research and that taste gains authority when it is informed.
Where do you draw your own inspiration?
I’m mostly inspired by cities, by travel and by architecture. Visiting a nice historical museum and travelling to cities like Paris and Tokyo. are my greatest sources of inspiration.
What advice would you give someone in your field?
Build and study taste through exposure, exposure, exposure. Shape and hone your eye through visiting museums and exhibitions. This is how you’ll learn how to trust your first intuition and help you decide if you can live with a piece.
Photographed by Ausra Osi | Styled by Lindsay Judge
Originally published in the March 2026 issue of MOJEH Magazine. Subscribe here
