Baay Xaaly Sene creates colorful, shapely pieces of furniture by cutting, hammering and soldering unconventional metallic materials like barrels, train tracks and wheels together in a unique manner. He transforms these mundane objects into beautiful items that combine and almost elegant aesthetic with a rugged history.

Sene was trained and later taught at the school his father founded, the Technical Professional and Manual Training Centre at Rufisque (Senegal). He also collaborated with the collaborated with the Gerrit Rietveld Art Academy and the Art and Design University in Helsinki.


When he was left an immense warehouse of Rufisque (Senegal) he followed in his father’s footsteps. He helped create a center which now instructs over one hundred 12 to 18 year olds. “ WE created this center to assist the young people of the city and to open a weaving lane to them. It is exceptional because there is not other vocational training.” The pupils of the school are taught skills of industrial design by reproducing the work of the instructor.

“I am very happy to carry out an object and to transmit that technique. It is something that is in me. Work is my principle of life and faith.” The Centre is entirely financed by the sales of the work.

Baay Xaaly Sene: deceased October 2004. His brother began again since the follow-up of the workshop.

Moscow Summit

Designer and architect Dmitry Velikovsky took and energetic, eclectic approach when crafting his Moscow duplex. The main living room combines a colorful armchair by Sene, a vintage Eames stool, an antique gilt-wood sofa, and an 18th century sumurai chair. The painting above the mantle is by Viktor Pivovarov, and a Picasso etching is displayed against the bookcase. The curtains are made of a Holland & Sherry wool.

An armchair by Christian Grisinger joins an antique commode and a framed work by André Derain in the hall.




The facing sofa in the living room is covered in a J.Robert Scott fabric; the painting is by Balinese aerist Salim Fakhruddin, the lion sculpture is from the 16th century, and the metal-plated armchair is by Kallemo. The kitchen’s turn-of-the-century French chandelier is suspended above a vintage table purchased in Provence; the decorative panels, executed by Balinese artisans, were inspired by an Aboriginal work, and the sideboard was custom made.



In the master bedroom, the ornate piece atop the headboard was originally the back of a 19th-century Burmese monk’s chair; the lamp is by IKEA. The Indonesian mask on the side table is surmounted by a small landscape painting by Nikolay Dubovskoy and a photograph by Nikolai Kulebiakin; the walls are sheathed in faux suede. The painting in a guest room is by Igor Makarevich.



In the master bath, a 19th-century console has been repurposed as a vanity with Lefroy Brooks sink fittings; the mirror is an antique. In the same room, the bath’s tub fittings are by Lefroy Brooks; the horse sculpture is by Fernando Botero.