Agata Kurzela Studio completes an F1 lounge that blends Emirati hospitality and contemporary design, set against the high-octane drama of Formula 1 in Abu Dhabi
50 G en-Z Forward Design
From tech-forward co-living spaces to wellness-centric work hubs, here’s how Gen Z’s values of flexibility, sustainability and authenticity are reshaping the built environment
54 From Floorplans to Foodscapes
For Ayesha Erkin, architecture was never just about buildings, but about how people live, eat, gather and remember
68 Highlights of the Biennale Architettura 2025
We shine a light on the pavilions from the Arab world at the Venice Architecture Biennale, on display until Sunday 23 November 2025
Surface Solutions, Designed By Nature
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Obaid Humaid Al Tayer
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Ian Fairservice
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Aneesha Rai
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Vibha Monteiro
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Max Tuttle
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Sharmine Khan
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Editor’s Note
This month, our theme of New Generations stems from a desire to explore fresh perspectives in design; particularly, how the spaces we shape today are influencing the wellbeing and experiences of tomorrow's users. How are we designing environments that cater meaningfully to the youth of today? What does Gen Z expect from the modern workplace, their residences and surroundings, and how is contemporary design bridging that gap? How can architecture transcend its traditional role to shape new and unexpected fields? We answer all this and more in this issue.
In our cover story, we speak to Karine Obegi, CEO of OBEGI Home about the brand’s journey from its beginnings in Lebanon to becoming a regional authority in luxury furniture. Karine discusses how curation, creativity and client service drive the company’s enduring success. Now expanding into Saudi Arabia with a series of monobrand showrooms and growing its multi-unit business in the UAE, OBEGI Home continues to lead with entrepreneurial spirit and family-rooted values.
Last month, we hosted a thought-provoking panel discussion with Glaze and several industry experts from awardwinning firms where we discussed how materials influence the context and wellbeing of the space. You can watch the entire panel on our YouTube channel: @identityae. With walls, floors and surfaces as our design focus of this issue, we also showcase innovative material launches and exciting new product offerings.
In Interiors, we discover a bold new design studio that embraces maximalism, visit a home inspired by the owner’s passion for cinema, and dive into projects that blur the lines between narrative and space.
Following the successful debut of Downtown Design Riyadh, where identity was proud to be a headline media partner, we turn our attention to its next exciting landmark: Asaan, the Misk Heritage Museum in Diriyah, designed by Zaha Hadid Architects and now officially under construction.
We also spotlight some of the most compelling pavilions from the Arab world at the Biennale Architettura 2025 in Venice, Italy. A shared thread runs through many of them: deep contextuality, rooted in climate, heritage, identity, sustainability and a profound connection to the earth.
We hope this issue offers inspiration, insight and a sense of optimism for the future of design.
Happy reading!
Aneesha Rai Editor identity
On the cover Kitchen by Poliform at OBEGI Home. Photography by Mark Mathew
Built for the Future
Rqitects has completed a multi-use project with LEED Gold accreditation for Green Coast Real Estate
WORDS – ANEESHA RAI
This page (from left) – Part of the key environmental strategies utilised in the project’s success included live green walls softening the commercial façade and contributing to thermal regulation; The series of warehouses are organised into two distinct strips – one for more adaptive, creative spaces and a back row for more traditional industrial functions
The Green Coast project was born from a brief to create a multi-use development that housed both commercial office spaces and a series of industrial warehouses, while simultaneously achieving LEED Gold accreditation. The company appointed Rqitects to achieve this. “Green Coast Real Estate has grown steadily since their first development in 1993. In 2017, they completed their first energy-efficiency retrofit, positioning themselves as early adopters in sustainable real estate. Their long-term vision is to achieve a net zero energy emissions portfolio, and sustainability has become a central pillar across their projects. LEED certification was therefore a key priority – reflecting their commitment to responsible, future-focused development,” shares Reem Al Qamzi, Founder of Rqitects. “What set this project apart from the start was the client’s strong desire to break away from conventional industrial typologies and pursue a design that combined architectural character with sustainable functionality.”
The site itself was a major driver in the design evolution, the architect shares. Rqitects strategically divided the site into two key zones. The first was a commercial office building situated along a prominent, high-traffic
street, forming the project’s public face. The second zone comprised a series of warehouses, organised into two distinct strips. Al Qamzi and her team designed the front-facing row for smaller, more adaptive, creative spaces. The back row accommodates more traditional industrial functions, and is accessed via a dedicated service entrance. This thoughtful separation supports both functional efficiency and user experience.
Achieving LEED Gold certification was a first for the studio and presented a rewarding challenge, shares Al Qamzi. “This project has been a huge learning leap for us,” she says. “We worked closely with Taka Solutions, a positive zero company, right from the start to align our design with the client’s sustainability ambitions.” Together, the two teams conducted a detailed site and climate study, which informed several key strategies and interventions, including: reducing heat gain in response to the UAE’s arid climate; orienting the main façade northward to allow generous glazing and soft daylight; minimising openings on the rear and west-facing façades to limit solar exposure; incorporating deep shading devices (especially on the west side) to buffer heat; and strategically placing vertical fins and green
walls based on sun path and shadow analysis to optimise performance and aesthetics.
Coordinating with sustainability consultants, MEP teams and the client involved a significant learning curve. “Every design decision was weighed against environmental impact, from material selection to solar performance,” she shares. “The experience ultimately transformed the way we approach sustainability across all our projects.”
Elements of the key environmental strategies utilised in the project’s success included: the live green walls, which soften the commercial façade and contribute to thermal regulation; and the vertical fins, positioned according to solar orientation and view corridors, which significantly reduce heat gain and glare while acting as a defining architectural element. High-performance façade glazing systems were selected in line with LEED standards to optimise daylight while maintaining energy efficiency, while the design team introduced a greywater recycling system to reduce site-wide water consumption. They also designed both interior and exterior lighting schemes to meet LEED requirements for energy efficiency and light pollution control. One of the most impactful sustainability features was the integration
of solar panels on the roofs of the warehouses and parking structure. These systems allowed the development to generate more energy than it consumes, positioning the project as a netpositive contributor in terms of energy use.
Spatially, the project was configured to reflect both hierarchy and accessibility. The commercial office volume anchors the project visually and programmatically, while the warehouse configurations support a range of flexible uses. The juxtaposition of refined commercial spaces with expressive industrial architecture challenges traditional expectations and highlights the client’s commitment to innovative design. The end result is an excellent case study in how sustainability, aesthetics and functionality can coexist when every design move is intentional and context-driven.
This page – Both interior and exterior lighting schemes were designed to meet LEED requirements for energy efficiency and light pollution control
In Tune with Nature
The Al Fanar School designed by Emkaan in Nad Al Sheba, Dubai subconsciously teaches lessons in adaptability
WORDS – ANEESHA RAI
Photography: Rami Mansour
Drawing inspiration from the koi fish, a symbol of perseverance and growth in Japanese culture, and the warmth of a mother’s womb, the masterplan of Al Fanar School unfolds like a spiral, echoing both the koi carp’s path and the nurturing embrace of life’s beginnings.
The design aspires to embrace and accommodate the rich cultural diversity of Dubai. Each curve and space has been crafted to reflect a universal language of inclusivity, ensuring that the architecture resonates with a wide spectrum of cultural backgrounds.
The initial plan was ambitious yet profoundly beautiful: to build the school using the CalEarth technique – a sustainable method utilising sandbags to empower students to take part in building their own school. This approach aimed to weave a deep connection
between the students and their environment, making the act of learning intertwined with the very walls that sheltered them. However, the vision faced a challenge when fire resistance regulations prevented the use of this technique, demanding a shift to concrete.
For many, this would have been a setback; for Emkaan, it became an opportunity. The transition to concrete was not a compromise, but a reimagining of possibilities. It allowed the lead architect to design the iconic dome openings at the top, inviting natural light to dance within the spaces, connecting students to the rhythm of the sun and the universe beyond. This design choice was both practical and poetic, transforming a challenge into a canvas of light and shadow.
“I wanted the children to feel this movement of the sun – to connect them to nature and the universe,” shares Principal Architect
of Emkaan, Muhammad Obaid. “The obstacles we faced became opportunities to create something exceptional, reflecting the very lessons we hope to teach – resilience, adaptability and the courage to pursue one’s vision.”
Al Fanar’s architectural language is both timeless and forward-looking. Its apse-like forms recall ancient pharaonic structures while nodding to modern design interpretations. Each design decision, whether in shadow, curvature or connection, was guided by intention, resulting in a space that tells a story of persistence and purposeful evolution. The school serves as a living lesson for its students as it is a space that not only shelters learning, but inspires it through every curve, light and shadow. In every way, the school embodies the journey it took to build it – one of vision, diversity and the relentless pursuit of a dream.
Above – The iconic dome openings at the top, invites natural light to dance within the space
Craft and Finesse
EMKAY delivers a bold and intricate fit-out by transforming a 1,800 sqm space into SUSHISAMBA Abu Dhabi, a vibrant multilevel dining experience
WORDS – ANEESHA RAI
Located at the Conrad Hotel, SUSHISAMBA Abu Dhabi was initially designed by Lázaro Rosa-Violán Studio, with further development and coordination led by Sunset Hospitality Group’s in-house design team. EMKAY, a Dubai-based award-winning fitout company, received the opportunity to demonstrate its capabilities in delivering high-quality, technically detailed fit-out works. Working closely with Sunset Hospitality Group, the Conrad Hotels engineering team and other stakeholders, EMKAY transformed the existing 1,800-square metre restaurant space through a complete demolition down to shell and core, followed by a full interior rebuild. The company adopted a flexible, solutions-focused approach, supported by regular site meetings, mock-up, and prompt execution. The collaboration across all teams helped ensure the design intent was respected and the project met the expected quality standards. The result is a vibrant, multi-level dining destination delivered within a demanding six-month timeline.
The fit-out included a wide range of custom elements that resulted in delivering the vibrant, immersive atmosphere that SUSHISAMBA is celebrated for. Ceilings were finished with curved bulkheads and special paint finishes, while structural columns were cladded in bamboo strips with subtle metal inlays to add texture and rhythm to the space. Marble flooring on both levels features intricate patterns that were
water jet-cut offsite and carefully assembled onsite. Leather-finished marble at the entrance added a tactile element, while eco-friendly lighting supported the project’s sustainability goals. Custom upholstery and outdoor-grade fabrics helped maintain a consistent look across indoor and outdoor areas. On the upper floor, solid wood panels were carved and used for wall and counter finishes, contributing warmth and character. A notable detail is the leaf-shaped wine display doors – CNC-machined in wood and finished with a metallic coating – positioned near the entrance to create a distinctive visual element.
From the outset, the project posed a series of ongoing challenges, EMKAY shares. Securing authority approvals was particularly complex due to the structural scope of work, which included cutting through the existing slab. As part of this scope, the company created a 4.5-metre circular opening in the slab to accommodate a spiral staircase with a centrally enclosed elevator. Another key challenge was working within the constraints of the existing structure while meeting the design intent. The exterior fire escape, for instance, needed to integrate seamlessly with the overall architecture rather than be retrofitted, which called for thoughtful design and material choices. These issues were addressed through practical problem-solving, effective project management and regular communication with all stakeholders. The result was an exceptional and vibrant dining experience achieved through expert coordination, bespoke detailing and material mastery. www.emkay.ae
This page (from top) – Solid wood panels were carved and used for wall and counter finishes, contributing warmth and character; Marble flooring on both levels featured intricate patterns that were water jet-cut offsite and carefully assembled onsite
Material Matters
identity
hosts a panel with Glaze Granite and Marble on how surfaces shape story, function and identity in design
WORDS – ANEESHA RAI
Identity hosted a panel in collaboration with Glaze Granite and Marble on 15 May 2025 at the brand’s Sheikh Zayed Road showroom, where we brought together leading voices from the design and materials industries to explore how surfaces influence narrative, form and function across residential and commercial settings. The Glaze Granite and Marble showroom provided the perfect setting for the event amongst its extensive material library, with various samples dotted throughout the showroom.
Along with Vivek Singhania, General Manager – Abu Dhabi at Glaze Granite and Marble, the panellists included: Monica Arango, the Founder of C’est Ici Design; Rosaline Tashdjian, Business Development Director at Kristina Zanic Consultants; and Aleksandra Nastic, Associate Principal, Regional Leader – Interior Design at Woods Bagot, with the editor of identity, Aneesha Rai, moderating.
The discussion centred around each panellist’s approach to selecting surfaces. Among the points discussed was the surface selection that is woven into the storytelling and identity
of each project, evolving organically from the client’s brief and the desired project DNA. The importance of understanding branding, location and climate was also highlighted, with the panelists noting that surface choices are integral to both the narrative and the overall strategy of large-scale projects. Singhania echoed these sentiments, explaining that material recommendations must balance the designer’s vision with practical considerations like climate suitability, especially in the Middle East, where extreme conditions can rule out certain stones for exterior use.
A recurring theme was the need to educate clients, particularly in residential projects, about the realities of material performance. While marble remains a client favourite for its beauty, designers often guide clients toward more durable alternatives for high-use areas like kitchens, recommending options such as granite or engineered stones that can better withstand wear and climate. The panel discussion also centered around the emergence of healing stones as a surface of choice for wellness in residences.
The panel demonstrated that the surfaces we choose can be more than just finishes; they can be used to tell a story, solve a problem or even showcase culture. Successful projects arise from a thoughtful balance of narrative, function and context, with designers, suppliers and clients collaborating to create spaces that are as meaningful as they are beautiful.
Living with Masterpieces
The Metropolitan Museum of Art in New York and Sedar Global collaborate on a limited-edition collection offering for summer 2025
WORDS
– ANEESHA RAI
In an inspired continuation of a successful collaboration, Sedar Global and The Metropolitan Museum of Art (The Met) have launched the second chapter of their exclusive partnership: a limited-edition summer 2025 home interiors collection that brings world-famous masterpieces into the heart of modern living.
Available now online and across Sedar Global showrooms throughout the MENA region, the new collection invites customers to customise wallpaper, blinds, curtains, cushions and more with celebrated artworks from The Met’s vast and iconic collection. Designed to infuse everyday interiors with timeless elegance and artistic expression, the range is a curated blend of historic inspiration and contemporary design sensibility.
This latest offering showcases an eclectic mix of global artistic heritage – spanning the bold brushwork of Vincent van Gogh, the dreamlike landscapes of Claude Monet and the expressive abstractions of Vasily Kandinsky. Romantic flourishes by British master J.M.W. Turner sit alongside dramatic scenes by Eugène Delacroix and Arkhip Kuindzhi, while ancient narratives are brought to life through interpretations of Charles K. Wilkinson’s works, which depict vivid scenes from Ancient Egypt.
Each artwork in the collection offers its own visual story. Van Gogh’s ‘The Flowering Orchard’ bursts with colour and vitality, capturing the essence of spring in Provence. Monet’s coastalinspired ‘Palm Trees at Bordighera’ and ‘The Path Through the Irises’ evoke serenity and sundrenched elegance. Kandinsky’s striking abstract compositions offer a bold statement for modern, minimalist homes.
Meanwhile, whimsical landscapes by French artist Albert Tissandier and 16th-century Dutch painter Cornelis van Poelenburgh bring a pastoral charm to interior spaces. Turner’s atmospheric renderings of Venice – reflected across blinds and cushions – immerse rooms in the romance of historic waterways, bridging fine art with function.
“The summer 2025 collection offers a fresh perspective on how interiors can be elevated through art,” says Nahel Selo, Creative Director at Sedar Global. “Bringing together Sedar Global’s longstanding heritage with the historic Met collection, our collaboration allows customers to let their creativity flourish as they create unique living environments with stories to tell.”
Josh Romm, Head of Global Licensing and Partnerships at The Met, echoes the sentiment: “We are thrilled to continue our successful collaboration with Sedar Global and inspire art lovers in the Middle East to bring highlights from The Met collection into their homes. Our collaboration encourages customers to further explore their love of art while creating deeply personal interior design.”
Customers can browse a curated library of licensed artworks in-store or online and tailor each piece to their preferred dimensions and finishes –transforming their homes into living galleries that celebrate art, heritage and self-expression.
Summer Living
HKLIVING’s Summer ’25
Additions are arriving to the Middle East via Urban Nest
This summer, Urban Nest proudly introduces the latest Summer ‘25 collection: a bold and expressive range that captures the essence of travel, creativity, and design evolution. As the exclusive distributor for HKLIVING in the Middle East, Urban Nest offers interior designers and architects first access to this authentic and imaginative collection from the Dutch interior brand. Rooted in the art of exploration, the Additions ’25 line reflects the spontaneous
beauty found in unplanned journeys. With over 80 new pieces, the collection invites designers to embrace imperfection, individuality and storytelling through form and material. Mediterranean-inspired Nomad couches, raw teak wood furniture and textured ceramics come together in a celebration of tactile living and organic beauty.
“We are incredibly proud to bring HKLIVING’s fresh and thoughtful designs to the Middle East,” says Janaika Elders, founder of Urban Nest. “This collection speaks to designers who want to create layered, story-driven spaces. It’s more than just beautiful furniture; it’s an invitation to explore and be inspired.”
The collection distinguishes itself through a sophisticated material palette, juxtaposing organic textures like linen, ceramics, glass and teak with strong geometric lines and industrial finishes to create visual tension and spatial depth. Each item feels deeply personal yet universally welcoming, ideal for creating warm, character-filled spaces that resonate with modern clients.
Urban Nest’s Al Quoz showroom will soon showcase the entire collection, offering designers the opportunity to experience the textures and craftsmanship in person. From handwoven rugs to sculptural glassware and ‘70sinspired ceramics, every piece carries a story, making the collection a perfect match for curated residential, retail or hospitality projects.
Photography: Arjan Benning
Textures at Play
Interior designer Claudia Afshar’s collaboration with Cosentino redefines vertical cladding with natureinspired textures and a timeless aesthetic
WORDS – ANEESHA RAI
In an era where design is as much about emotional resonance as it is about aesthetics, the Japanese concept of ukiyo, which translates to “living in the moment, detached from the bothers of life”, emerges. Capturing this philosophy with a refined, tactile sensibility is the UKIYO collection, a ground-breaking collaboration between Cosentino and internationally renowned interior and product designer Claudia Afshar. The collection interprets natural materials through contemporary craftsmanship, bringing to life textured surfaces that radiate warmth, harmony and quiet luxury.
“Playing with texture is timeless, and it is so important in all materials, not just fabric,” Afshar shares. “I have always been inspired by the materials found in nature and [by] making the spaces I design as comfortable, warm and authentic as possible. UKIYO is calming yet simplistic, and the colourways and fluting are romantic, but also contemporary and masculine to achieve balance.”
One of the first ready-to-install fluted tile offerings in the industry, UKIYO is available in both Dekton and Silestone – two highly durable and design-forward surface solutions. Engineered specifically for vertical applications, the tiles are available in two fluting styles: GV2, with grooves spaced 25mm apart (5mm wide, 3mm deep), and GV3, with tighter grooves spaced 11mm apart (4mm wide and deep). Each tile measures 450mm x 3000mm (17.7" x 118"), offering expansive coverage for large-scale installations.
With a matte finish and versatile design, the UKIYO collection is ideal for a range of vertical applications – from feature walls and fireplace surrounds to bespoke furniture and exterior façades. Its dimensional surface brings visual interest and tactile depth to any setting, whether residential or commercial.
The Fold
Architect Rabih Geha’s collaboration with Iwan Maktabi
WORDS – ANEESHA RAI
In collaboration with Iwan Maktabi LAB, Fold – the second collection by Rabih Geha – draws from his eponymous studio RG/A’s method of recycling old ideas into new ones. Suggesting a crumpled two-dimensional canvas, the design creates an optical illusion of folds through the use of shadows, despite being flat. This colourful series, woven with contrasting yet complementary hues, is intended as a statement piece for interiors.
“Fold is a product of coincidence and instant realisation. It is a description of how design is a subjective matter whereby, even midway through the creative process, you can’t say that you are finished. It was created by trying simple stripe pattern compositions on a paper and crumpling it as a discard, realising the composition had become rich and interesting,” explains Geha.
Drifting into Summer
Perennials unveils the Sun Kissed collection for 2025
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Perennials, the renowned international design leader in luxury performance textiles and wallcoverings, sets the tone for summer 2025 with the launch of its newest collection, Sun Kissed. As the name suggests, the collection channels the gentle serenity of open waters and warm breezes, offering an immersive design experience that celebrates movement, light and calm through refined patterns, textures and tones.
A collection of wallcovering and rug designs that captures the movement and serenity of being on the water and is filled with calming tones and metallic hints, the Sun Kissed wallcoverings offer a variety of styles to compliment any aesthetic. Whilst the Sky Sail style is a Type II Performance design inspired by the billow of sails in the wind, Even Keel features duotone rippling lines that effortlessly traverse the wall. An additional duotone pattern, Starboard, offers vertical movement with crisp flowing lines. Mimicking the appearance of gold and silver
leaf walls, Chock-a-Block is a metallic design featuring an organic grid pattern, and Clean Slate is a woven-inspired design that offers incredible dimension to any space. The interplay of pattern and texture results in a sophisticated wallcovering that is ideal for layering.
Perennials has also designed five new 100% solution-dyed acrylic hand-tufted rugs that evoke summertime bliss. Seaside features a layered foliage design that brings inside a bit of the outdoors. Starboard, meanwhile, features the same linear pattern as the homonymous wallcovering. Matching the rippling effect of the wallcovering, Even Keel is a duotone rug design available in Soapstone and a nautical Vintage Blue. High Seas is a tranquil hand-tufted design reminiscent of the way water plays with light; featuring a free-flowing pattern, High Seas is available in a peaceful Breakers colourway. Sky Sail provides a breath of fresh air to any space with a fluid graphic design.
Woven from fine 100% solution-dyed acrylic yarn, Perennials’ fade-, mildew- and UV-resistant rugs are able to stand up to life’s everyday adventures without sacrificing great design, making them uniquely suited to fit beautifully with any indoor or outdoor aesthetic. Hand-tufted rugs from the Sun Kissed collection are customisable according to size and colour, so you are able to tweak to compliment your spaces.
Photography: Aasiya Jagadeesh
From Floors to Walls
Lobo & Listone introduces Stilart Wall panels to the UAE
WORDS – ANEESHA RAI
Lobo & Listone, renowned across the UAE and the GCC for its curated selection of premium flooring, is expanding its design offerings with the introduction of Stilart Wall – Vertical Wood Design by Stile, a leading Italian brand in high-quality parquet. The new collection, soon to be available in the region brings the same sophistication of wooden flooring to wall surfaces.
“While flooring remains Stile’s core product, the Stilart wall panels are an innovative extension – crafted from the same flooring planks,
adding a unique dimension to their design language. It will be a great addition to interior design options in the UAE/GCC,” shares Lesly Lobo, Managing Director of Lobo & Listone.
Rooted in the artisanal heritage of Umbria, Stilart Wall panels blend technology with craftsmanship, with precise laser engravings used to create intricate designs across wooden surfaces.
The range includes: art-inspired collections such as Tropical, Foresta and Skyline, defined by bold lines and urban motifs; and
Garden, Floreale and Poppies, which express a softer, organic elegance. For more geometric refinement, Palm, Dubai and Deco bring architectural clarity to the mix.
With natural wood as the medium, Stilart Wall panels revive the warmth and texture of timber in a contemporary format – making them perfect for feature walls, headboards, lobbies and more. Their adaptability, combined with design versatility, makes them a powerful tool for designers and architects seeking elevated, art-driven surface solutions.
An Impressive Entrance
The Synua Wall System by Oikos offers modularity and style
WORDS – ANEESHA RAI
The Synua Wall System (SWS) by Oikos merges high-performance security with impeccable visual continuity to redefine how doors and walls coexist in contemporary architecture. Building on the iconic design of the brand’s Synua door, the system leverages the door’s perfect coplanarity, where the door sits flush with the surrounding wall to create modular, customisable wall installations that are both dramatic
and unified in appearance. These architectural compositions are made up of independent sectors, each of which can be clad in a variety of finishes, offering designers and architects unparalleled freedom of expression.
The featured installation includes a doubleleaf Synua door with a net opening of 2880 x 3935 mm, installed flush with the external wall for a streamlined effect. The external cladding features Oxided Yellow Grey Skydoors, while the
interior face is finished in Oxided Yellow Grey aluminium, offering a refined contrast of textures and tones. The door operates with motorised Arckey lock technology, ensuring effortless access control and state-of-the-art security. Engineered for both beauty and resilience, the SWS is suitable for exterior use, making it ideal for luxury residences, commercial flagships or highend hospitality spaces that demand both architectural drama and uncompromising safety.
Crystal Clear
Studio 971 brings Glas Italia’s visionary glass designs to the UAE
WORDS – ANEESHA RAI
At Studio 971, design is more than a functional exercise – it’s an emotive experience shaped by craftsmanship, creativity and innovation. This philosophy is perfectly embodied in the studio’s exclusive partnership with Glas Italia, a brand that has redefined the role of glass in contemporary interiors and architectural spaces.
Originating in Brianza, Italy, a region synonymous with excellence in furniture design, Glas Italia transforms one of the world’s most
fragile materials into bold, expressive works of art. Every piece – whether a glass door system, a partition, a piece of furniture or a sculptural statement – is a triumph of precision and technological mastery. The brand’s collaborations with global design icons such as Piero Lissoni, Patricia Urquiola and Nendo have pushed glass beyond its traditional uses.
What makes Glas Italia truly exceptional is its treatment of glass not just as a surface or structure, but as a living material. By manip-
ulating transparency, reflectivity, thickness and tone, the brand crafts designs that are at once minimalist and theatrical, each piece bringing a sense of lightness and clarity yet carrying the gravitas of high design.
Studio 971 brings this visionary spirit to the UAE, offering direct access to Glas Italia’s full collection. From design consultation to installation, the Studio 971 team works closely with clients to integrate each piece seamlessly into their spaces. Whether one is designing a bold entrance, a minimalist living space or an avant-garde office, Glas Italia offers unmatched elegance and a distinct design language that turns interiors into curated experiences. Through its partnership with Glas Italia, Studio 971 invites architects, interior designers and homeowners alike to discover the poetic potential of glass.
Things to Covet
Elevate your spaces with a pop of colour through these unique pieces
WORDS – ANEESHA RAI
1. Soda by Yiannis Chikas for Miniforms
Weighing 20 kilograms, the Soda side table is blown, drawn out and shaped by three master glassmakers. The result is a single volume of glass with three large petals forming the stem. In Soda, the glass’s tough, hammered surface fragments its transparency to give a primitive aesthetic.
2. Taraxacum by Illulian
Born from its collaboration with the Fondazione Achille Castiglioni, this rug is named after the iconic 1988 lamp and pays homage to the creative brilliance of Achille Castiglioni, one of the most influential figures in 20th-century Italian design. The rug’s floral motif and dynamic play of light translate the lamp’s essence into a textile masterpiece.
3. Saguaro lamp by Qeeboo
Designed by Stefano Giovannoni, the Saguaro now transforms into a floor lamp, bringing its bold character into both indoor and outdoor spaces. Equipped with a cable, this luminous version enhances any environment with its functional elegance.
4. Yellow AGARIC stool by The One Shaped like a mushroom, with a wide, rounded top and a cylindrical base, the AGARIC stool. The pattern
features mustard patterns interspersed with white circular dots, creating a playful, retroinspired geometric design.
5. Lemon Juice vase by Chattels and More
In the spirit of summer, this porcelain vase is a real mood booster. The vase has been glazed and is therefore easy to clean. Each cylinder vase is hand-crafted in great detail. This yellow vase is a beauty – and a must-have for summer table settings.
6. Andrée coffee table by Minotti
Conceived by Hannes Peer and inspired by 1970s Milanese façades, this collection of rectangular and square coffee tables brings personality to both indoor and outdoor spaces. The tables combine rigorous geometry with the artisanal texture of glazed ceramic tiles, which shimmer in the light and add a unique touch to each piece. Each table is elegantly framed with chrome-plated brass trims, highlighting the edges and containing the tile’s thickness, creating a lighter visual effect and a floating appearance, thanks to the recessed wooden feet. Available in a variety of shades that echo the vibrant 1970s colour palette, the collection’s most versatile version is prism-shaped, featuring a chrome-plated brass top and aluminium profiles for a striking, multifunctional design.
The Art of Curation
We interview Karine Obegi, CEO of OBEGI Home, about the brand’s early beginnings, its evolution into a regional design authority, and what lies ahead
WORDS – ANEESHA RAI PHOTOGRAPHY – MARK MATHEW
OBEGI Home is recognised as one of the strongest regional leaders in fine furniture and luxury interiors. With roots in Lebanon, Karine Obegi and her husband Yordan established the business’s headquarters in Dubai in 2006. Recognising that Jumeirah was a neighbourhood that bridged the modernity and heritage of the city, they opened OBEGI Home’s first location there. “We were told we were crazy for not establishing in the existent furniture districts, but our instinct told us Jumeirah was right for us,” shares Karine. Ten years later in 2016,
OBEGI Home launched its now flagship store in a coveted space near Burj Al Arab. “When the opportunity arose to secure a space next to the iconic building, we knew that this would be the ideal backdrop for our new showroom,” she says. “However, at the time, modern architecture was not permitted on Jumeirah Beach Road. It took nine months of negotiation with local authorities to allow us to design something that stepped away from traditional architecture.” What Karine didn’t anticipate was that by opening a showroom in that location, she would start a trend that would change the
Left – Flexform; Right page – Poliform wardrobes
city’s landscape. Fast forward ten years, and Jumeirah Beach Road has transformed into a hub with luxury furniture stores lining the street. Today, it’s even popularly referred to as Dubai’s own ‘furniture district’.
In early 2024, OBEGI Home also opened a monobrand Poliform showroom. Celebrating a 15-year relationship with the contemporary Italian brand, Karine shares that moving the brand into its own dedicated showroom allowed OBEGI Home to express it better and offer an immersive brand experience: “What I think is most special is that while the space showcases Poliform’s identity, it also has a soul of its own that is a blend of both the brand’s elegance and Dubai’s nuances.”
CURATING WITH PURPOSE
We asked Karine about how, after building a reputation as the go-to retailer for luxury furniture for over two decades, she and her team curate OBEGI Home’s selection of brands. “There are four factors we look for when identifying new brands to add to our portfolio: quality, style, vision and team,” she explains. Each potential partnership involves an in-person assessment, including factory visits to ensure the highest standards. Karine also states that, over time, OBEGI Home developed a reputation for being a trend-setting destination for contemporary furniture, which is why another element her team looks at is the vison of the brand. “What is the DNA of the brand? How creative and ambitious is their vision for the future? These are important questions we ask to make sure we are partnering with brands that will evolve with each year so that we can continue to bring new possibilities for our clients that fulfil even their unspoken needs,” she states. The final factor, team, is a reference to the connections between the brands and OBEGI Home itself. “Our business is a people business, and a solid connection with the teams that lead our brands is a key success factor. As a family business, our values and ethics underpin everything we do, and we only work with partners that share those values. This is how we cultivate long-term relationships with our suppliers that are based on mutual respect and trust,” shares Karine.
SERVICE, QUALITY AND RELATIONSHIPS
Over the years, while the business has grown rapidly, it has not been without its challenges.
Maintaining the same standards of service as the business and market change is a key focus. “Our clients are incredibly sophisticated and educated world travellers, and their expectations rise year on year,” notes Karine. “The challenge lies in delivering a totally tailored experience for each client while also applying a systematic approach that is necessary for the smooth operation of a company of our size.”
To do so, OBEGI Home uses defined processes while also preserving flexibility for team members to deliver a customised solution within these processes. “This allows us to be organised, yet personalised,” she explains.
OBEGI Home’s approach towards clients and design professionals is the same: to develop their vision through the team’s deep expertise and a network of brands and artisans that has been built over decades. “We work in collaboration with designers or end users to transform their concept into reality in a homogeneous way that ties everything together aes-
thetically and functionally,” says Karine. “Our team’s extensive knowledge of both the style and technicalities of our furniture enables them to craft the best design solutions for every project, which often go beyond the original brief to deliver an even more appealing result.”
Karine reflects that the end-user experience is typically far more emotional. “There is an element of personal touch that is required along with expertise to help homeowners their vision to life,” she says. “Professionals, on the other hand, have clear concepts in mind but work with us to execute them with speed, precision and the best selections. In both cases, we always strive to alleviate our clients of the burden of bringing their renderings to reality.”
Karine also believes that with each project there is always an exchange of both knowledge and expertise. “When working with home-
owners, we learn how the modern lifestyle is evolving. The spaces they want to create and the problems they want to solve at home are ever-changing, and this helps us refine our offering. With our professional clients, we learn about the trends that are in demand in our local markets and the details that matter today. My favourite meetings are the ones in which designers challenge us to achieve a certain level of detail for their projects. They know what they want for their clients, and we have the resources to make it happen.”
Creativity, Karine emphasises, is the engine of it all: “Clients often ask for the impossible, and the only way we can make that happen is through creativity. This is where twenty years of expertise, network and out-of-the-box thinking converge to connect the dots and make the impossible possible.”
“As a family business, our values and ethics underpin everything we do, and we only work with partners that share those values.”
Karine. “We are excited to be one of the pioneers in the KAFD Design District, which is set to become Riyadh’s leading destination for luxury furniture.”
GEARING FOR GROWTH
As part of the regional growth plan, OBEGI Home is now expanding to Riyadh, Saudi Arabia with a selection of brands, and opening multiple monobrand showrooms for powerhouses such as B&B Italia, Edra, Lualdi, Paola Lenti, Poliform and more – a strategy seemingly different to the one in Dubai, but in fact created with the same comprehensive thinking that led to OBEGI Home’s success. “The combination of the brands we will represent in KSA allows us to furnish a full home in a contemporary style – including doors, kitchens, wardrobes, lighting, indoor and outdoor furniture, entertainment and much more,” explains Karine.
While the brands are housed in distinct monobrand spaces, they’re seamlessly connected through OBEGI Home’s design vision. Located just steps apart, these showrooms offer a unified, multi-brand experience rooted in a singular design narrative. “Saudi Arabia is a fascinating and growing market,” notes
But this isn’t all. After a significant growth in OBEGI’s multi-unit business in the UAE, the company will continue to work with the country’s top developers to bring refined living to residents. “We were among the first to collaborate with developers to introduce branded spaces into residential developments, and we are excited to continue growing together with those partners. Working on large-scale, multiunit projects pushes us to sharpen our offering in order to deliver beautiful, value-accretive solutions on time and on budget.”
Another big project locally is the launch of two new monobrand showrooms for Flexform and Lualdi on Jumeirah Beach Road in 2026.
In terms of its multi-brand offering, Parisian brand BOON_EDITIONS is the latest addition. “Born from a gallery concept, BOON_EDITIONS beautifully captures the collectible furniture trend while creating functional furniture. The true definition of form meets function,” says Karine. “We are excited to see the market’s response to its forward-thinking collections.”
Other projects are in the works, but those are to be revealed in due time. “The industry is rapidly changing, both globally and locally, and we are working hard to ensure we continue to not only respond to those changes, but also forecast what’s to come. Our goal to is to always serve our clients with the strongest 360-degree offering on the market.”
In a competitive landscape, OBEGI Home stands out not just for what it offers, but how it offers it. “You have to trust your instincts, but also know how to listen, understand and interpret the needs of your customers,” Karine says. “As the company grows, one of the most important things I want to preserve is the entrepreneurial spirit. That spirit is what encouraged us to make bold moves over the last two decades, and led us where we are today.” That spirit is grounded in ethics – a core value in a family-run business. “Maintaining an ethical approach to everything we do is also important to me, as the company is a reflection of my family’s personal values. Whenever you make the ethical choice in a hard situation, you will always come out ahead, no matter what,” Karine expresses. It’s a sentiment that reverberates across every aspect of OBEGI Home’s operations.
Left page – Porada and Lualdi; Above (from left) – Poliform monobrand showroom; Antoniolupi sinks
Designing Spaces with Purpose and Passion
We
interview Andrea Savage from A Life By Design –Living & Branding on creating aesthetically beautiful and deeply functional spaces
WORDS – ANEESHA RAI
Leading a transformative venture that challenges conventional design boundaries, Andrea Savage, the founder of A Life By Design (ALBD) – Living & Branding, reshapes spaces and lifestyles to enrich the overall human experience. Savage is known for her ability to blend innovation, emotion and technology into environments that inspire and endure, and her studio is internationally recognised for its award-winning work in delivering holistic, end-to-end solutions that span luxury residences, hospitality destinations and lifestyle brands around the world. ALBD – Living & Branding blends both interior design and branding to realise end-to-end solutions across
the real estate, hospitality and lifestyle sectors, bringing renders to reality. Some of the firm’s significant recent projects include short-term stays with Manaa Properties in Australia, as well as penthouses and villas developed in collaboration with Condor Developers in Dubai. Upcoming projects include a residential complex in Saudi Arabia, and a commercial, retail and residential complex in Bahrain. The firm’s expansion into Dubai is a strategic response to the city’s evolving market. “Dubai has experienced sustained and dynamic market growth over numerous years,” shares Savage. “While not without its complexities, its current state is characterised by an exciting and inspiring dynamism. This burgeoning environment, coupled with a nascent yet discernible maturity, has cultivated an elevated appreciation not merely for design in its general sense, but specifically for considered and high-quality design.”
Born in Kenya to Indian, Portuguese and English heritage, and now based in Singapore for over two decades, Savage considers herself a true global citizen. Her expertise has been recognised by major television networks like HGTV and Star World, and she has often been featured as an anchor judge and host on shows, where her expertise is highly valued.
Savage’s design philosophy is rooted in the belief that spaces should be more than beautiful – they should be deeply personal, functional and intentionally crafted to support the lives of those who inhabit them; she navigates the intersection of functionality and aesthetics with ease, unlocking design’s potential to communicate and resonate across cultures. As Savage puts it, “We believe that a space should be designed for the life you want to live.” The studio’s holistic philosophy embraces layered, intentional and inspiring environments of ‘controlled maximalism’, creating richness and depth.
At ALBD – Living & Branding every project begins with a deep understanding of the client’s psychology. The team brings decades of expertise to the table, opening a world of leadingedge, inspired design. The studio sets out to craft emotive spaces through bespoke solutions that feature custom furniture, hand-selected materials, and layouts tailored to individual needs. A sensory and transformative experience is at the core of every design, with an emphasis on natural light, spatial flow and details that elevate daily life.
With a diverse team spanning the UAE, Singapore, Australia, Bermuda, South Africa, New Zealand, Malaysia and beyond, ALBD’s culture encourages creative risk-taking and the seamless integration of personal and professional identities. Savage and her team pride themselves on meeting clients wherever they are, and then delivering outcomes that are impactful and inspiring.
Left – Andrea Savage. Photography by Sayher Heffernan; Right page – A lobby in Jumeirah Village Circle (JVC) designed by A Life by Design - Living & Branding for Condor Developers
Left – The lounge blends iconic pieces from Moroso, Mattiazzi, and Mogg with regional works, including Omar Al Gurg’s modular designs, Aljoud Lootah’s Takiya series, Latifa Saeed’s Braided armchair, and Hala Al Ani’s salt crystal table. Accents by Tokujin Yoshioka, Alia Hussain Lootah, and Nada Debs add depth and local flair
Design on the Fast Track
Agata Kurzela Studio completes an F1 lounge that blends Emirati hospitality and contemporary design, set against the high-octane drama of Formula 1 in Abu Dhabi
WORDS – ANEESHA RAI
In the narrowing cylinder of Shams Tower, perched at the axis of the Yas Marina Circuit’s finishing line, Agata Kurzela Studio has crafted a space where adrenaline meets artistry in a multisensorial space. A visceral interpretation of the speed, drama and spectacle of Formula 1 is expressed through bold materials, regional design narratives and a curatorial finesse that elevates the guest experience. Creative reuse, regional materials and makers and innovative solutions were paramount to the design process.
Guests are welcomed at the ground floor reception where the sculptural sweep of a blackened steel desk sets the tone. Beside it, the expressive and gravity-defying work of Emirati artist Afra Al Dhaheri introduces a counterpoint – an immediate contrast of texture and form. Nearby, a witty sculptural nod to the race appears in the form of a Carrara marble ‘tyre’
doughnut, bent and bound with a blue steel ribbon, crafted by Shaikha Al Mazrou.
Ascending to the main lounge, guests are met a glistening black console – created from papyrus-based biomaterial by Aya Moug –which sits beneath a suspended installation of recycled car tyres. This leads into a generous majlis, anchored by locally made tumbled stone tables, designed as a formal space for pre-race meetings. To the left of the lounge, ‘Sand Pearls’ by the T Sakhi sisters demarcates the lounge from the dining area. Composed of seven large spheres connected by a twisted silk rope, the piece evokes cultural symbolism from prayer and meditation beads, reimagined as playful, multi-functional sculptures that serve as both seating and table.
The west-facing part of the lounge maximises track views, yet the design resists fixed scenography. The pieces were selected for their interchangeability, allowing spontaneous rearrangement as guests break into smaller or larger groups, following as racing unfolds on different parts of the track. While the design team chose iconic pieces from Moroso, Mattiazzi and Mogg, local and regional makers and artists dominate the space. Collaboration with Emirati product designer Omar al Gurg produced several modular pieces that serve both as seats and side tables.
Interspersed are accent pieces by other celebrated local designers – the Takiya stool and bench by Aljoud Lootah, the Braided armchair by Latifa Saeed and the Liminal table made of salt crystals by Hala Al Ani for Tanween by
Tashkeel. These mix with design icons like Che Pakko, inspired by a stack of paper bound by rope, and cocoon-like pieces by Tokujin Yoshioka for Moroso. Smaller works by Alia Hussain Lootah and Nada Debs for Irthi add further regional touches.
For the bathrooms, the team engaged local metal fabricator Metal Fabrik to create custom bathroom vanities in sleek stainless steel, their intersecting sharp angles contrasted by twisting shiny pipes – another reference to highperformance engineering. The east part of the tower faces the creek. Here, minimalist and customised Mattiazzi pieces with their svelte vertical lines maximise views toward the Ghaf tree grove across the water, a backdrop busy with yachts and occasional helicopters.
As guests circulate the tower’s core, the journey becomes gallery-like. Works by Mohammed Ahmed Ibrahim include a black-andwhite chequered artwork – mirroring the iconic race flag but revealing vivid layers beneath. His ‘Doorknockers’ series brings visitors closer to the Emirati vernacular, while Ruqaya Al Hashmi’s diptych incorporates natural elements through pieces made of palm tree skin, revealing rich textures of intertwined fibres.
The terrace offers access to the race at peak intensity. Between runs, guests relax in woven armchairs paired with artisanal tables, supported by hand-decorated majolica by artist Nicolò Morales for Paola Lenti, surrounded by lemon and orange trees. Vondom’s Lava benches, meanwhile, bring a lighter touch, particularly engaging younger visitors.
Above (from left) – On the terrace, guests can unwind in woven armchairs and artisanal tables, accented with hand-decorated majolica by Nicolò Morales for Paola Lenti; A piece by Emirati artist Afra Al Dhaheri echoes the textures of the race – from the roughness of tarmac and the sleek aerodynamic lines of the race cars
Photography: Agata Kurzela
The north-facing façade presents a clean, geometric composition as a quiet nod to the surrounding cityscape, while the west-facing façade that is oriented toward a neighbouring park adopts a more introspective posture
Cleft House
Designed by TAEP/AAP, this home in Abdullah Al-Salem, Kuwait emerges as a refined architectural response to its surroundings
WORDS – ANEESHA RAI
Emerging as a sculpted response to its environment by gracefully mediating between the built and the natural, this home also toes the line between privacy and openness. Designed with a deep sensitivity both to climate and context, the residence engages the urban scale while crafting a series of layered, luminous spaces that invite light, regulate heat and offer respite.
At the core of the home’s design philosophy is the interplay of voids, volumes and materiality. Far from being mere formal gestures, the voids act as transitional elements that straddle interior and exterior life, light, and curating moments of connection and seclusion. This architectural strategy gives the home its distinctive spatial rhythm, aligning it with the daily and seasonal patterns of life in Kuwait.
The house’s sculptural form is defined by a minimalist white volume set against the sharp contrast of a dark steel perimeter fence. The north-facing façade presents a clean, geometric composition as a quiet nod to the surrounding cityscape, while the west-facing façade that is oriented toward a neighbouring park adopts a more introspective posture. Here, strategically placed openings mediate light and view, balancing transparency with thermal comfort.
The ground floor is conceived as the social heart of the home, with generous living areas unfolding toward the landscape. Expansive glass openings blur the lines between indoors and outdoors, anchored by a broad portico that shades the space while framing the pool. This shaded transition zone is both practical and poetic – modulating heat while fostering a
Right – Translucent boundaries and glass partitions dissolve the limits between inside and outside, allowing the house to breathe with its surroundings
dynamic play of shadow and reflection. The experience here is not just visual but atmospheric, as changing light animates the surfaces throughout the day.
Seasonal adaptability is a key consideration throughout the design. A large west-facing terrace, sheltered for the cooler months, offers outdoor living that embraces Kuwait’s mild winters. This space leads up to a rooftop terrace via a private stairwell, where panoramic views of the city await. Below the ground, the architecture remains purposeful and culturally attuned. The diwaniya, a traditional space for gathering, is granted its own discreet entrance, preserving its ceremonial function. Service and technical zones are carefully integrated on the lower level, maintaining both spatial efficiency and architectural coherence. Private spaces are organised across the upper floors, with bedrooms and family areas arranged to maximise natural light while preserving privacy. Terraces and carefully articulated openings frame curated glimpses of the city, offering quiet moments of contemplation. Recessed volumes and fragmented forms allow sunlight to reach deeper into shaded zones such as the portico and pool, creating gentle contrasts between brightness and calm.
A central vertical void threads through the house, acting as a spine that binds the levels together. This light-filled chasm not only enhances connectivity between spaces but also functions as a passive cooling element, allowing air and light to circulate freely. Translucent boundaries and glass partitions dissolve the limits between inside and outside, allowing the house to breathe with its surroundings, ever responsive to the rhythms of the day and the environment beyond.
Cleft House stands as a meditative exercise in architectural restraint and climatic intelligence. Through a thoughtful choreography of light, form and void, it offers a model for contemporary living that is both rooted in place and expansively poetic.
Photography: Fernando Guerra | FG+SG
Below – Expansive glass openings blur the lines between indoors and outdoors, anchored by a broad portico that shades the space while framing the pool
Like a Fairy Tale
We step inside the Forever Rose Café as the 2D café concept gears up for expansion
WORDS – ANEESHA RAI
Merging floral elegance with whimsical design, Forever Rose Café showcases a 2D dreamscape where romance and reality blend into one another. A brand extension of Forever Rose, the renowned purveyor of the world’s finest long-lasting roses, the café marks the brand’s enchanting leap from luxury floristry to immersive hospitality. What began as a boutique brand known for its preserved blooms has now blossomed into a full sensory experience, where design, dining and romance fuse together.
Launched in January 2020 at The Galleria, Al Maryah Island in Abu Dhabi by entrepreneur and Dubai Bling star Ebraheem Al Samadi, the
first Forever Rose Café set the tone for what would become an iconic aesthetic: a monochrome 2D illustration brought to life. The space feels like it has leapt from the pages of a graphic novel or storybook. Walls, floors, furniture and even cups and plates are designed in black-and-white outlines that create the illusion of hand-drawn illustrations. The only splashes of colour? The guests themselves, alongside the vibrant food and beverages they enjoy. The result is a surreal and ‘Instagrammable’ setting that invites you to be a part of the artwork.
The interiors use clever visual techniques and spatial storytelling to blur the line between fantasy and reality. Monochromatic table set-
tings, faux-sketch crown mouldings and wall scenes drawn in whimsical perspective pull guests into a magical world of make-believe. Yet, despite the fantastical visuals, the experience remains rooted in the real; especially when it comes to the menu that remains on theme with its rose and lavender lemonades, a signature ‘Orchid Latte’ and petal-infused teas.
With cafés running successfully at Box Park Dubai and Yas Mall Abu Dhabi, Al Samadi has revealed there are further rollouts planned in Qatar, Saudi Arabia and London. With its fusion of fantasy-inspired design and delectable offerings, Forever Rose Café invites guests to live inside a fairy tale, even if only for a coffee break.
Bold Moves, Clean Lines
SETE Interiors has completed a curated home at Nikki Beach Residences on Pearl Jumeirah island in Dubai
WORDS – ANEESHA RAI
Previous pages – At the heart of the open-plan layout is a show-stopping, burgundy-tiled kitchen island, designed to appear as if it’s floating; This page – A custom TV wall in matching Nero Arabesco and oak provides visual weight without sacrificing openness
This residence channels bold personal expression while honouring architectural clarity. Renovated with precision and style with the help of Serena Terzian and her team at SETE Interiors, the space reflects the client’s affinity for contrast, mood and curated design.
Executed by Cherwell, with flooring by Nordic Homeworx, the apartment’s visual language is built on balance and material richness. A light-toned herringbone wood floor acts as the foundation, lending natural warmth to an otherwise moody interior palette. Dark oak joinery introduces depth and structure, while mid-toned furniture includes a plush sofa and elegant dining set by The Design House that softens the overall aesthetic.
At the heart of the open-plan layout is a showstopping, burgundy-tiled kitchen island, designed to appear as if it’s floating. This island anchors the space in vibrant form and function. Behind it, tall joinery units in dark oak hide integrated appliances and a concealed bar, which is revealed through sleek pocket doors. The kitchen’s focal point is a central hob set into a Nero Arabesco marble counter with a built-in extractor that merges high-performance functionality with sculptural minimalism. The material story
continues opposite the kitchen, where a custom TV wall in matching Nero Arabesco and oak provides visual weight without sacrificing openness. Design details extend beyond structure and into the artistic. A standout artwork from the client’s collection was reframed in electric blue acrylic, mounted above a long marble console and paired with dramatic blue velvet wall lights by Monde Singulier, transforming the corner into a gallery-like installation. Throughout, lighting plays a quiet but deliberate role. Minimal ceiling track lights and a curated selection of fixtures by Huda Lighting create a sense of rhythm and spatial calm. Anchoring the living room is a vintage leather armchair by Tacchini – an iconic 1970s piece that injects sculptural warmth and tactility into the space. A Nalbandian rug grounds the seating area, offering softness underfoot and visual cohesion. Despite its brooding materiality through marble, burnished steel and rich woods, the apartment feels bright, expansive and refined. Carefully orchestrated symmetry, layered tones and thoughtful contrasts result in a home that is expressive yet architectural, moody yet never heavy. Each element is intentional, contributing to a space that is richly textured, distinctively personal and effortlessly modern.
Photography: Rami Mansour
Building Heritage
Asaan, the Misk Heritage Museum Designed by Zaha Hadid Breaks Ground in Diriyah
WORDS – ANEESHA RAI
Construction has officially begun on Asaan, the Misk Heritage Museum in Diriyah, Saudi Arabia – a landmark cultural institution dedicated to preserving the nation’s rich heritage while fostering a contemporary dialogue around creativity and knowledge-sharing. Meaning ‘inheritance passed down through generations’, Asaan is a project anchored in deep historical roots, named to reflect its core mission.
Located in the UNESCO-listed AtTuraif district, which is considered the birthplace of the Saudi nation; Asaan is a cornerstone of the Diriyah Gate masterplan, an ambitious initiative that aims to create a walkable, climate-resilient city rooted in heritage. The museum is supported by the Misk Foundation, a non-profit organisation devoted to cultivating leadership and creativity among Saudi youth.
Designed by Zaha Hadid Architects, Asaan is the firm’s first project constructed using adobe techniques. It draws heavily from traditional Najdi architecture, utilising locally made clay mud-bricks that are both environmentally responsive and historically authentic. With thick walls offering thermal mass and natural cooling, the structure is tailored to the region’s desert climate so that it is low in embodied carbon, but remains high in cultural significance.
Organised around three shaded courtyards representing the museum’s key pillars – Education, Arts and Administration – Asaan will offer immersive exhibitions, workshops, public programmes and on-site conservation labs for archaeological restoration. Shaded gardens and rooftop promenades further blur the boundary between the built environment and natural landscape.
“Asaan seeks to inspire meaningful engagement through immersive experiences that connect past, present and future,” says Khaled Al-Saqer, CEO of Asaan. “It is a celebration of our heritage and a platform for collective pride, creativity and participation.”
Timeless Elegance Meets Modern Luxury
NABNI introduces the Waldorf Astoria Residences
Dubai Business Bay
Designed by renowned architect Carlos Ott and being brought to life by Emirati developer NABNI, the 65-floor Waldorf Astoria Residences Dubai Business Bay will soon become an iconic addition to Dubai’s skyline. The tower will mark the first international standalone residence project outside the U.S. for the Waldorf Astoria brand and, at 350 metres high, will be the second tallest residential tower in the district upon its planned handover in Q4 2029.
Architectural excellence is at the core of the tower’s identity. The façade features fluid lines, sculptural forms and panoramic floor-toceiling windows that perfectly frame Dubai’s skyline. Ott’s contemporary vision offers a subtle tribute to Waldorf Astoria’s 130-year legacy
of five-star hospitality, while echoing Dubai’s forward-thinking architectural ambition.
The interiors, curated by Hirsch Bedner Associates (HBA), blend the elegance of Art Deco – which is synonymous with the Waldorf Astoria brand – with the ornamental richness of Art Nouveau. Rich wood marquetry, bespoke bronze accents and plush textures come together to express a design language rooted in timeless sophistication.
Each residence features heights of 3.8 metres and a slab-to-slab height of 4.5 metres, surpassing the UAE’s standard and offering an enhanced sense of scale, light and grandeur. Each of the residences optimise Burj Khalifa views and offer the ultimate in luxury living while being effortlessly practical. Premium materials and innovative design come as stand-
This page – The façade features fluid lines and sculptural forms
Right page – A rich palette of colours and textures feature throughout the homes designed by Hirsch Bedner Associates; pictured is the Sky Villa from the Sky collection
ard, with unique features including reserved lift access that takes residents and their guests to their private apartment lobby entrances.
In the lobby, an 18-metre custom light fixture glows beneath a chevron-framed ceiling, while curated art and elegant furnishings establish an atmosphere of understated grandeur. In true Waldorf Astoria fashion, the lobby will feature a bespoke timepiece created exclusively for the property and inspired by the region.
A total of 146 units are available across three distinct collections: the Signature Collection, comprising one- to three-bedroom residences; the Sky Collection of four-bedroom residences, townhouses, multi-level Sky Villas and Sky Mansions; and a singularly exceptional Sky Palace.
The Signature Collection
The Signature Collection residences at The Waldorf Astoria Residences Dubai Business Bay offer a rare balance of contemporary style and traditional elegance. Expansive layouts, high ceilings and sun-drenched interiors define each one-, two-, and three-bedroom home.
The Sky Collection
Comprising four-bedroom residences, townhouses, Sky Villas, and Sky Mansions, The Sky Collection sets itself apart by offering an even more elevated setting for residents. In each Sky Villa, the living room extends into an expansive dining area, anchored by a bespoke marble island kitchen with state-of-the-art features and abundant organisational spaces. Walkthrough spaces with bespoke wardrobes lead into luxurious bathrooms adorned with exquisite marble finishes and contemporary fixtures. Elegant ceiling coffers add a sense of grandeur, complemented by luxurious wall finishes crafted from selected light fabric coverings and juxtaposed against rich warm wood veneers. The bathrooms are adorned with a grand onyx vanity counter, crystal wall pendants flanking a majestic mirrored wall, and a feature stone-carved bathtub, resulting in a sanctuary of refinement that inspires tranquillity and comfort.
Sky Palace
The Sky Palace perched atop the tower is worthy of particular note: it is a quadruplex design marvel with a space that is fully personalisable and provides 360-degree views. One of its kind in the region; it also hosts a separate private entrance of its own, a private concierge, 25 cark parks, and a 2000 sq ft grand master suite on the roof which can be turned into a bedroom or private office. The unit can be customised according to the owner’s needs.
World-class Amenities
The Waldorf Astoria Residences Dubai Business Bay also offers Waldorf Astoria’s worldrenowned amenities and an immersive lifestyle
experience. With indoor and outdoor offerings, residents are enveloped in spaces designed for wellbeing, recreation and more.
Outdoors, one can find adult and children’s pools, a yoga garden, meditation spots, play areas, cabanas, sun loungers and hammocks. Indoors, the experience continues with a Technogym-equipped fitness studio, spa, yoga studio, hydrotherapy pool, golf simulator viewing deck at a staggering height of 270 meters, and the ‘Empire Room’ for private meetings. The Peacock Alley, a hallmark of Waldorf heritage, brings grandeur to everyday gatherings through its multi-functional space. On location is a personal concierge for every resident, 24-hour security, valet parking, reception and
doorman. In addition to this, there are several a la carte lifestyle services available, from a private chef, pet care and personal training services, to a housekeeping service and even secretarial services.
The ground-breaking of Waldorf Astoria Residences Dubai will begin in June 2025. A new 1,000-square-metre Experience Centre in Business Bay offers visitors an immersive 3D interactive tour of the entire project and its units.
NABNI was co-founded by Emirati brothers Abdulrahman Abdulla Alhelo Alsuwaidi, Chairman, and Badr Abdulla Alhelo Alsuwaidi, CEO, whose shared passion for architecture and design continue to drive the company’s vision forward. www.waresidencesdubai.com
Gen-Z Forward Design
From tech-forward co-living spaces to wellness-centric work hubs, here’s how Gen Z’s values of flexibility, sustainability and authenticity are reshaping the built environment
WORDS – ANEESHA RAI
Gen Z are stepping into adulthood with a radically different set of expectations for the spaces they inhabit, expecting them to be marked by fluidity, sustainability and wellness (specifically mental health). Here, we track how their influence is transforming spatial design across residential, professional and communal environments.
Living with Intention and Flexibility
Gen Z appears to be driving a paradigm shift, one that is highly dependent on their sense of identity. “Gen Z clients bring a distinct sense of individuality and purpose to residential design,” notes Ghida Chebab, Co-founder and Design Director of Studio Baab, a progressive, interdisciplinary architectural design studio based in Dubai: “Their spaces are deeply personal, often shaped by their values and lifestyles rather than trends.” This is reflected in everything from layout to material choices, with a strong emphasis on adaptability, emotional resonance and self-expression.
Govind Shepley, Founder and Creative Director of TwentyOne06, an interior design and branding studio based in Dubai, echoes this, explaining that for Gen Z home is “a sanctuary, a statement and a space for self-expression.” Their preference? A hybrid aesthetic that fuses the serenity of minimalism with the boldness of maximalism – personalised, multifunctional and intentional. Whether it’s transforming a living room into a yoga studio or a kitchen into a workspace, flexibility is nonnegotiable. “Gen Z homes are required to be
more flexible to allow for different uses, including working from home as well as entertaining,” says Fadi Sarieddine, who runs his own eponymous multi-disciplinary design studio in Dubai that focuses on human-centric design. Modular furniture, convertible layouts and smart home systems often feature as part of the briefs. “Functionality are at the top of Gen Z’s list,” adds Shepley. He cites multi-use spaces that adapt to a fast, paced lifestyle – think built-in storage, breakfast nooks with hidden compartments, and convertible layouts.
Co-living and Modular Mindsets
With skyrocketing urban density and shifting lifestyle patterns, co-living and modular living are gaining ground. Sarieddine, whose studio has designed spaces like HIVE Coliv – which has seen a burgeoning community – sees this model as a perfect fit. “Co-living works perfectly with the younger generation’s lifestyle. It offers them a platform to interact and build close-knit communities, which in turn allows for professional networking and social interaction.”
Chebab points to a deeper evolution, one that builds meaningful connections, stating: “The growth of co-living is a return to community-centric living – one that prioritises shared experience and connection,” In this context, modularity becomes not just a design tactic but a philosophy: spaces that change with you, without losing meaning or comfort.
Shepley believes that both co-living and modular living resonate strongly with Gen Z’s needs for adaptability and connection.
Above – Fadi Sarieddine, Founder of Fadi Sarieddine Design Studio; Left page and below – Hive JVC
“Co-living is appealing for its community aspect, but success depends on offering private zones within shared environments,” he shares.
A Sustainable Ethos with Material Impact
Gen Z’s eco-conscious values aren’t optional – they’re expected. Chebab describes sustainability as a “baseline,” pointing to innovative materials like Datecrete (made from date pits) as examples of regenerative thinking.
Shepley adds that there’s also an emotional connection to sustainability: “There’s also a growing interest in pieces that tell a story, be it artisan-crafted furniture using reclaimed
wood or statement items that support environmental awareness.” Add to that the integration of smart systems that reduce energy use, and you get a holistic approach to green living. He also notes how now designers are increasingly turning to wood, stone, natural fibres and even reclaimed materials to meet these values.
Work and Life, Seamlessly Blended
Gen Z don’t ‘clock in and out’ of life, and neither do their spaces. “Design, both in working and dwelling spaces, has changed drastically to allow for the blurred boundaries between the two,” notes Sarieddine. Home offices are no longer makeshift corners but integrated zones
of productivity and calm. Meanwhile, traditional workplaces are shedding rigidity in favour of soft boundaries and informal zones. Chebab stresses the need for environments that support emotional balance and well-being. From natural elements to calm lighting and decompression zones, workplace design is being recast through the lens of mental health. “They’re advocating for calm, stress-reducing spaces with natural elements, soft lighting and areas designated just for unwinding,” she shares.
Shepley has also noticed the shift from separation towards integration. “Flexibility is no longer a layout strategy,” adds Shepley. “[Gen Z] are not just looking for a ‘desk and a chair’.
Left – An office designed by Studio Baab, photography by Natelee Cocks; Below – Ghida Chehab, Founder of Studio Baab
They want environments that reflect their values, energy and lifestyle. For them, work happens anywhere – at the kitchen table, in a coworking lounge or while sitting on a beanbag with their dog and a coffee. Design now must support that fluidity without losing intention.”
Wellness as a Design Mandate
“There’s a growing emphasis on mental wellness as a foundational element of design,” shares Chehab. She identifies a growing demand for soft acoustics, reflective zones and intentional pauses in layout to promote clarity and calm. “There’s a clear recognition that mental well-being and spatial design are intrinsically linked,” she says.
“This generation is more self-aware, emotionally intelligent and vocal about their mental health than any before,” says Shepley. “They do not just want supportive environments, they want to feel balanced, seen and safe.” Shepley also raises a concern, one regarding a potentially over-sheltered environment that limits growth. “I do worry that creating a ‘cocoon shelter’ slows down growth; some of my biggest learning curves in life have come at the expense of pushing my boundaries, which helped build more resilience or capacity to take on more,” he
shares. From customisable environments and sustainable materials to the merging of public and private spheres, the future of spatial design is being rewritten by a generation that expects more from their spaces. As Shepley puts it, “Their identity is not one-dimensional, and their lives do not run in straight lines. So why should their environments?”
Choosing alignment above aesthetics seems to be the starting point for designing a Gen Z-focused project. Spaces must now serve as expressions of identity, platforms for growth and sanctuaries for wellness. And in doing so, they’re not just reflecting a new generation’s demands, but rather a focus on creating a more meaningful, human-centric future for all.
Above – Govind Shepley, Founder and Creative Director of TwentyOne06; Below – The Knowledge Academy designed by TwentyOne06, photography by Musthafa Ebrahim Khumanpur
From Floorplans to Foodscapes
For Ayesha Erkin, architecture was never just about buildings, but about how people live, eat, gather and remember
WORDS – ANEESHA
RAI
Raised across continents, Erkin’s early awareness of space grew into a career that fuses architecture, food and cultural storytelling. From her beginnings in residential design and sustainability, to founding the multidisciplinary studio People, Places & Spaces and the community initiative Brown Girls Food Club, Erkin’s work is evocative and community driven. With a portfolio that spans experiential dinners, F&B consulting and sensory installations that embraces architecture as both toolkit and metaphor, inviting people to rethink the ways they inhabit spaces and share culture. In this conversation, she reflects on her non-linear journey, the power of food as design language, and how structure and routine can be a surprising foundation for creativity.
What first drew you to architecture – what disciplines did you study and what stuck and resonated most?
I lived in more houses and countries than I can keep track of, especially before the age of 18. That hop-scotch childhood made me hyperaware of how people script their lives through a floor plan. But the turning moment was when I was 11 on a family trip to Dubai: We visited the Burj Al Arab and I was in absolute awe of an “underwater building”, and asked my parents so many questions about it that they bought me a book to read more about it. Before deciding on architecture school, I wanted to study fashion, food science or psychology - but architecture proved to be the best catch-all for those interests. I minored in historic preservation and sustainability, then trained in vernacular and regional design, and self-studied anthropology and gained interest in neuro-architecture. My first job was at a custom residential studio before joining Lake|Flato as part of their development team in Austin, Texas. You’ve described your work as sitting at the intersection of food, architecture and cultural storytelling. How does architecture influence the other disciplines you now work across?
Architecture is basically advanced problemsolving: programming, planning, empathy. That toolbox transfers everywhere. When I design an experiential dinner I’m still drawing and modeling the design, only now the inhabitants are temporary. The mindset is: observe, prototype, iterate - then wrap it in a narrative that reflects the moment we’re living in.
What inspired you to found People, Places & Spaces (PPS), and what can people expect from the firm?
I couldn’t find a studio that integrated architecture, culinary and cultural strategy in the offline and online world, so I thought - why not build one? PPS is where design research, culinary R&D and storytelling share the same table. We deliver everything from interiors, sourcing and experiences, to F&B consulting, always anchored in rigorous research and a why-does-this-matter litmus test. Think of us as a cross-disciplinary design lab that treats culture as both client and co-designer. What catalysed the creation of Brown Girls Food Club, and how has it evolved?
I had been living in Austin since 2015, but hadn’t found a food and community space where I could see myself. In Ramadan 2019, some friends and I started hosting potluck iftaars and really enjoyed the time (and food!) together, so BGFC started as a pot-luck support group for women of colour who wanted to eat without explanation. After Ramadan, we began meeting at local, family/minority owned restaurants once a month and posting it on social media. Others were curious and wanted to join, and we all fell under the term ‘Brown’
(back then it just meant not fully white), so naturally Brown Girls Food Club was born. Five years later its ten global chapters are now hosting public events, panels and brand collaborations. The goal shifted from “find a seat at the table” to “build the table, set the menu, hand out extra chairs.”
You recently took part in the Dastaangoi Residency at Bayt Al Mamzar. How did that experience inform your practice, and what did you achieve?
Living in a 1940s Emirati courtyard house turned gallery for a month was such a unique experience, and Bayt Al Mamzar now will always feel like a home. The residency let me merge art, food and architecture for the first time - prototype new recipes tied with Dastaangoi scents, host a Dating 101 workshop, cocurate a suhoor with Dubai Collection, and be part of a supper-club with Miza in Abu Dhabi. It cracked open the regional art scene for me and reminded me that play is R&D in disguise.
As someone who moves between cities often, how do you stay creatively grounded? Ironically, through a brutally boring routine: set workout, same breakfast rotation, fixed work blocks. That monotony keeps my nervous system out of fight-or-flight so the creative
brain can wander. I also unpack immediatelyno living out of suitcases - because stillness in a space tells my body, “We’re safe, we can think.” Are there new avenues or mediums you’re currently exploring?
I’ve been collecting soundscapes on every trip, as well as day-to-day life, for years. I’m curious about mapping them with AI into multisensory installations so you can ‘taste’ a place through audio. At the same time I’m itching to return to analogue skills like painting and embroidery, looking for ways to layer the handmade over the hyper-digital.
Given your architectural foundation, do you see yourself returning to architecture in a more traditional form?
I don’t think I really left architecture - I’m still designing experiences that choreograph bodies in space. Traditional practice gave me the toolkit to build, and while that is incredibly valuable, the tools are meant to be taken out of the box. If a classic commission aligns, sure, I’ll dive right in. But my real passion is to show that architecture’s job is to illuminate people, places and spaces - sometimes that means a restaurant interior, sometimes a recipe, sometimes a public installation that makes you question how we inhabit the world.
A New Chapter for Dubai
A.R.M. Holding and BIG unveil visionary masterplan around Jebel Ali Racecourse
WORDS – ANEESHA RAI
In a landmark move set to reshape the fabric of Dubai’s urban future, A.R.M. Holding has announced a dynamic partnership with globally renowned architecture studio BIG-Bjarke Ingels Group. Revealed during a signing ceremony attended by His Excellency Mohammad Saeed Al Shehhi, CEO of A.R.M. Holding, and Bjarke Ingels, Founder and Creative Director of BIG, the collaboration will see the development of a ground-breaking fivesquare-kilometre masterplan surrounding the iconic Jebel Ali Racecourse.
This visionary project, slated to begin construction in early 2026, is anchored in the objectives of the Dubai 2040 Urban Master Plan. The development embraces sustainability, liveability and innovation while honouring the UAE’s rich heritage. The plan is designed to create a vibrant ecosystem that places human connection, cultural identity and wellbeing at its core.
“This partnership with BIG embodies our core values of creativity, integrity and agility,” said H.E. Mohammad Saeed Al Shehhi. “In a diverse community of over 200 nationalities, we believe in creating spaces that connect people on a deeper level. This masterplan will serve as a bridge, fostering communication, under-
standing and principles of empathy that are central to our vision of enabling prosperity.”
At the heart of the development lies the legacy of the Jebel Ali Racecourse – a landmark now poised to evolve into a multi-layered urban area. Envisioned as an “archipelago of urban islands in a sea of green,” the site will be reimagined by BIG as a landscape of interconnected communities, each island increasing in density as it converges around a lush central park. This central space will become not only the social heart of the development but a living landscape that threads through neighbourhoods, blurring the lines between nature and urban life.
“Occupying the grounds of Dubai’s historic Jebel Ali Racecourse, this project is an archipelago of urban islands in a sea of green – reimagining the site not as a collection of objects in isolation, but as a living landscape of interconnected communities,” said Bjarke Ingels. “Each island connects to its surrounding neighbourhood, increasing in density as it converges around a lush central park – a social oasis at the heart of the city. But the park doesn’t stop at the centre – it bleeds between the islands, weaving nature through the urban fabric and extending its reach to the wider community. This is not
just a new neighbourhood; it’s a new chapter for Dubai - where environmental responsibility and social sustainability become the foundation, not the footnote, of urban development.” With the ambition of having 100 per cent of residents within a five-minute walk to green spaces, social services and workplaces, the development will promote walkability, accessibility and interaction. Passive cooling systems, high-density green areas and health-focused infrastructure aim to support the UAE’s lowest obesity and diabetes rates, with aspirations for the highest life expectancy in the GCC.
The vision is underpinned by four guiding pillars that thread through its design: Modern Living, Community & Culture, Wellness & Lifestyle and Sustainability & Environment. This will include places ranging from flexible homes designed for hybrid work and vibrant public realms, to equestrian facilities that honour the site’s history, to urban farms and community markets that foster resilience and connection.
The cultural dimension of the project is equally pronounced. In preserving the equestrian heritage of the area and prioritising Emirati-first housing, the masterplan roots itself in legacy while looking ahead. Art, education and lifelong learning form key community offerings, alongside next-generation wellness centres and public spaces designed for creativity and interaction.
As Dubai continues to evolve as a global city, this new development underscores its commitment to placing people and planet at the heart of progress. It is a space designed not just to house, but to also nurture communities physically, emotionally and socially.
Rooted in the legacy of the Daktylides family, founders of the Myconian Collection of hotels, Deos Mykonos is the newest addition to their portfolio – a luxurious hilltop sanctuary that captures the soul of Mykonos while reimagining island living for the modern traveller. Drawing from a heritage that began in 1979, Deos is named after the Greek word evoking awe and wonder – a fitting tribute to its breath-taking location, nestled above the town of Mykonos with panoramic views stretching across Delos, Syros, Tinos and the Aegean horizon.
Designed by GM Architects, Deos is a masterclass in contemporary Cycladic architecture, where rustic stone walls, local flora and raw textures mirror the natural surroundings. The aesthetic is deliberately understated; allowing the dramatic setting to take centre stage, while interiors offer a tactile story of artisanal craftsmanship, soft minimalism and
WORDS – ANEESHA RAI
Between Sea and Sky
Cycladic heritage, heartfelt hospitality and contemporary design converge on Deos Mykonos, designed by GM Architects
refined elegance. Each room at Deos feels more like a private residence than a hotel suite. Expansive terraces with private pools or Jacuzzis invite quiet moments under the sun or stars, while interiors flow effortlessly from marblelined bathrooms to serene living spaces bathed in natural light. The design strikes a delicate balance between home-like comfort and a complete escape from everyday life.
Despite its elevated seclusion, Deos remains connected to the vibrancy of Chora, just a scenic five-minute walk below via stone steps leading to the old harbour promenade. Guests enjoy the best of both worlds: the stillness of a private retreat with the energy of Mykonos town within easy reach.
At the heart of the experience lies Epico, Deos’s culinary destination, where the soul of Greek cuisine is celebrated with seasonal produce and homegrown ingredients, served both indoors and al fresco. Meanwhile, the hotel’s wellness spaces invite guests to reconnect with body and spirit through treatments rooted in local botanicals and ancient rituals. Deos offers a journey into the essence of Greek island life: elevated, soulful and unforgettable.
A Fresh Take on ’ 70 s Style
Curved shapes and colourful artworks bring vibrancy to this contemporary home with mesmerising nature views
WORDS – KARINE MONIÉPHOTOGRAPHY – EMA PETER
Previous pages – Tactile sofa and Marilyn armchair by Baxter, Soft Corners ottoman by Cassina, Portland Pink silk border rug by The Rug Company, Oda floor lamp by Pulpo, Sergio Asti model 257 wall lamp by Arteluce, Italy, 1966, Obon tables by Moooi, Saarinen side table by Knoll, Lato side table and Tung JA3 side table by &Tradition; Right page – Mon-Cloud sectional by Cassina, Wo-Tum-Bu 2 floor lamp by Ingo Maurer, U Turn chair by Bensen, Echino coffee tables by Zanotta. The art is Collage by Michiel Folkers
Breathe new life into a 1970s-era property by stripping back its structure and opening up spaces: this was the initial brief for this interior design team. “We embraced the soul and history of the house and its incredible panorama by creating an intimate, sensual space for entertaining and shutting off,” says Chad Falkenberg, who cofounded Falken Reynolds with Kelly Reynolds.
Perched on a steep hillside, high above the water in West Vancouver, British Columbia, Canada, the 260-square-metre home was renovated with a responsive approach. For example, windows and skylights were kept high, but mechanical systems were upgraded for healthier air and better efficiency. Several materials were also reused, with the objective of reducing the carbon footprints from new manufacturing and
transportation. “There was an old fireplace that we were trying to save because of the unique onyx cladding, but after demolition the homeowner realised that it was blocking the view and asked how difficult it would be to remove it,” remembers Falkenberg. “We all decided that removing it was worth the investment, but we really wanted to save the honey and amber-hued onyx and reuse it because of how it
This page (below from left) –Light natural hardwood extends throughout, adding warmth; A vertical light in the shower creates a gentle glow for a relaxing spa-like experience
referenced the history of the house. Luckily, we were able to work with a master stonemason, Robert Webb, who understood the nature of the stone and how to work with it, so it could be reinstalled in the new curved design.” This now has become a focal point for the great room.
The redesigned spaces flow effortlessly, and a spirit of relaxed living prevails while the atmosphere reflects a sense of chic. Light natural hardwood extends throughout, adding warmth. Meanwhile, the bronzed glass stair guard defines each of the public spaces while its translucency and reflectivity help to connect all the areas. A wall was removed to open up the kitchen that incorporates discreet appliances by Miele, while a Corian solid surface on the island millwork allowed Falken Reynolds to curve the door fronts facing the water for a softer edge that diffuses the light beautifully.
When it came to colour, the main objective consisted of choosing a foundational palette of warm and soft hues that referenced a sandy beach. This combination also allows the artworks to stand out, especially on the main floor, which acts as an inviting gallery for the owner’s colourful collection of pieces by Carla Tak, Tiko Kerr, David Nazari, Michiel Folkers, Lawrence Paul Yuxweluptun, Madeleine Lamont and Fei Disbrow. With a charming 1970s vibe and beautiful curves (such as in the Baxter Tactile sofa and the 562 Dudet dining chairs by Cassina, among others), the furnishings bring
some glamour and sculptural touches. “They are an extension of the art – both in their eclectic forms and also in their bold tones,” describes Reynolds. In the private spaces, too, every detail was carefully thought out and designed, such as the tub placed under a skylight or the vertical light in the shower that creates a gentle glow for a relaxing spa-like experience.
“Altogether, the layers of materials and textures create a sense of embrace in the house – like getting a warm lasting hug from a favourite friend, we wanted the client’s shoulders to drop as soon as she entered at the end of the long day (or trip),” says Falkenberg.
Right page – Vintage Murano glass chandelier from 1stdibs, 562 Dudet dining chairs by Cassina, NVL table by MDF Italia, Glass vessels by Jemma Van Osch
Into the Woods
Perched among the treetops, this serene home’s permanent connection to nature invites dwellers to unplug and unwind
WORDS – KARINE MONIÉ PHOTOGRAPHY – MATTHEW MILLMAN
Previous pages – The home has a restrained, refined approach to materiality; Below – The home has a weathered Corten steel exterior; The architects used steel, concrete and wood throughout
For the homeowners, living full-time in Miami – a city that’s been booming in recent years – is exciting, yet sometimes exhausting. With a deep appreciation for the outdoors, the young family needed a serene refuge to escape from city life. They found a dream spot in Teton Village, Wyoming, the home state of America’s iconic Yellowstone National Park.
Organised in two simple volumes that make an outdoor space in the back, the 260-square metre house is located on a slope – adjacent to a ski area – surrounded by mountain peaks and forests, with views of the Snake River Valley.
“This house takes a light approach on the land and has a very restrained, refined approach to materiality,” says Eric Logan, partner at CLB.
“The rules and rigour of the house drive the design.” During excavation, a boulder adjacent to the entry could not be moved. As a result, the team reoriented the configuration of the structure, which then became a driving force. Called ‘Caju’ as a nod to one of the owners’ countries of origin, the name of the house refers to a Brazilian fruit with an orange shell, similar to the home’s weathered Corten steel exterior. This material not only provides a backdrop for the natural surroundings but also contrasts beautifully with carved-out sections of larch.
Both outside and inside, the architecture team used only steel, concrete and wood to shape a harmonious and honest palette that is robust, functional and distinct, “in an effort to make something enduring,” explains Logan.
The main communal living areas and four bedrooms were strategically positioned on the upper floor to maximise views. Connected through a floating staircase – with a perforated stainless steel structure that acts both as a functional and a sculptural element – the lower level comprises a mudroom, gym and garage. “The goal for this project was to create something humble that was grounded in the principle of living simply,” says Andy Ankeny, partner at CLB. “It was to be nestled into the mountain environment with a rustic, durable shell.”
In the calming interior spaces where wood prevails on the walls and ceiling, many pieces were built in. “The architecture is the furniture,” the team says. Every element contributes to a unifying experience where simplicity
The main communal living areas and four bedrooms were strategically positioned on the upper floor to maximise views
and character meet, where the home itself almost becomes a piece of art. “It truly feels like a refuge,” says Ankeny.
Embracing the existing site conditions, the house honours the majesty of the landscape through its respectful and poetic design where minimal aesthetics and sustainability features work in concert, in perfect harmony. A member of the owner’s family put it simply: “I never knew that you could feel architecture until stepping foot into this home.”
Highlights of the Biennale Architettura 2025
We shine a light on the pavilions from the Arab world at the Venice Architecture Biennale, on display until Sunday 23 November 2025
WORDS – ANEESHA RAI
Bahrain
The Kingdom of Bahrain’s national pavilion at the Biennale has won the Golden Lion for Best National Participation. Titled ‘Heatwave’, the pavilion was designed by architect Andrea Faraguna and curated by the Bahrain Authority for Culture and Antiquities. Located in the historic Arsenale, the pavilion addresses the urgent architectural challenge of rising global temperatures, presenting an innovative, outdoor passive cooling installation for public spaces.
As extreme heat events become more frequent, the need for architecture that supports environmental resilience and social sustainability grows. Bahrain, a country at the forefront of extreme heat, uses the pavilion to ex-
plore passive cooling and shading strategies that are rooted in local traditions but enhanced with modern technology. The installation proposes adaptable solutions to improve thermal comfort in urban environments increasingly affected by heat.
Oman
Previous pages –
The design draws inspiration from traditional Bahraini cooling methods, such as wind towers, but incorporates contemporary innovations. A key feature is a thermo-hygrometric axis that connects underground conditions with exterior air, creating a compressed elemental space defined by airflow and suspended ceilings. In Venice, where geothermal wells are not feasible, the system uses mechanical ventilation, drawing air from a canal-facing window and distributing it through a network of ducts and nozzles to create a controlled microclimate.The pavilion’s modular design consists of identical units arranged around a central chimney. This flexible structure is suitable for international adaptation, especially in Gulf regions facing similar climate challenges. Structural engineering by Mario Monotti and thermomechanical design by Mario Monotti and Maryia Maroz contribute to the project’s innovative approach.
The Sultanate of Oman made its debut with a pavilion titled ‘Traces’, which explores the concept of the Omani Sabla, a traditional communal space as a model for contemporary and future architecture. Curated by Omani architect Majeda Alhinai, the pavilion blends Omani craftsmanship, spatial storytelling and material innovation, aligning with the Biennale’s theme: ‘Intelligens. Natural. Artificial. Collective’.
The pavilion draws inspiration from the Sabla, a central gathering place in Omani villages used for hosting guests, discussions and daily life matters. By reimagining the Sabla for today, the pavilion demonstrates how architecture can preserve cultural heritage while adapting to modern needs. The Sabla’s role as a space for exchanging ideas and reinforcing social bonds is highlighted, emphasising Omani values of hospitality, dialogue, and community.
‘Traces’ is designed for adaptability and resilience. Rather than being a static or temporary structure, the pavilion uses a modular design that can be easily reassembled and repurposed in various configurations. Its 10-by10-metre structure has no fixed interior or
‘Traces’, the Oman pavilion; This page – The award-winning Bahrain pavilion ‘Heatwave’, photography by Ishaq Madan
exterior, encouraging free movement and allowing visitors to shape their own communal space. Movable seating made from natural, palm-woven materials creates a welcoming and flexible environment, hosting public talks throughout the Biennale.
The pavilion’s design incorporates the earthy tones of Omani pottery clay and sand, reinforcing its connection to local heritage. An elevated platform invites public interaction, turning the pavilion into an active communal hub.
UAE
At the Biennale, the National Pavilion UAE unveils ‘Pressure Cooker’, a timely exploration of how architecture can support food security in the face of climate change. Curated by Emirati architect, academic and co-founder of Holesum Studio, Azza Aboualam, the exhibition transforms the greenhouse into a design tool for arid climates.
Set against the backdrop of the UAE’s rapidly changing environment, ‘Pressure Cooker’ presents a series of experimental greenhouse assemblies developed through archival research, fieldwork and hands-on design. These modular structures can be adapted to different climates and crop needs, offering flexible solutions for decentralised food production. Crops grown in the Venice installation include regionally significant varieties like cucumbers and more unlikely options like blueberries - challenging assumptions about what can thrive in desert conditions.
Blending environmental science with architectural thinking, the exhibition collects and shares live data to explore how inputs such as sunlight, shading and irrigation influence both interior climate and crop yield. It’s
a living lab rooted in local context but open to global adaptation.
The exhibition is accompanied by Pressure Cooker Recipes: An Architectural Cookbook, edited by Aboualam and published by Kaph Books. The publication fuses essays, illustrations and research into a cookbook-style format, offering new perspectives on sustainable design and agrarian practices in arid regions.
As a platform for education and innovation, the Pavilion will continue to foster emerging talent through its Venice Internship Program, reinforcing the UAE’s commitment to design-led climate solutions. With ‘Pressure Cooker’, architecture becomes a medium not just for building, but for cultivating resilience, sustainability and shared responsibility in the age of ecological crisis.
Morocco
Morocco’s pavilion titled ‘Materia(e) Palimpsest’, offers an in-depth exploration of ‘earth architecture’ by merging traditional Moroccan craftsmanship with contemporary digital technologies. Curated by architects Khalil Morad El Ghilaïli and El Mehdi Belyasmine, the exhibition is designed to provide visitors with an immersive experience in earth construction, emphasising its durability, flexibility and intrinsic beauty. By utilising earth as a local and renewable material, the pavilion demonstrates principles of a closed-loop system, aiming to minimise waste and maximise resource utility across various scales. This approach not only highlights the transmission of knowledge but also aligns with the principles of the circular economy.
The exhibition seeks to redefine collective intelligence in architecture by showcasing the resilience and potential of Moroccan architec-
ture in addressing current ecological and social challenges. Drawing inspiration from Morocco’s millennia-old earth architecture, the pavilion features ingenious construction techniques that have evolved to suit local needs. The architects explore how these ancient practices can be adapted for contemporary contexts, celebrating the sustainable potential of earth as a building material. By foregrounding earth architecture as an expression of Moroccan identity, shaped by cultural memory and diversity, the exhibition affirms that built environments can preserve deep-rooted traditions while offering adaptable, sustainable solutions for the future.
‘Materia(e) Palimpsest’ also bridges the gap between local artisans and modern architects. By combining traditional skills with cuttingedge technology, the exhibition proposes new ways to transmit knowledge and realise innovative architectural forms. Visitors are invited to touch and feel the textures of earth materials, experiencing first-hand the artistry of Moroccan construction. This sensory engagement is further enhanced by live demonstrations from artisans, illustrating the gestures and rhythms that define earth architecture.
This page (from left) – The Morocco pavilion, ‘Materiae Palimpsest’, photography by Samuele Cherubini; The UAE pavilion, ‘Pressure Cooker’, photography by Ismail Noor
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Elevate Your Reading Space
Assouline’s new objects and home fragrances collection are an ideal complement to your reading rituals
WORDS – ANEESHA RAI
Assouline has collaborated with French designer Pierre Favresse to create an array of curated items to build the perfect library. These pieces – which include bookends, bookstands, trinket boxes, a tray, a frame, a backgammon set, an hourglass and a magnifying glass – are influenced by the Assouline family’s most cherished items and are crafted from the finest wood, leather and brass. The objects are available in the brand’s signature colours of red, camel and brown.
Called The Library Collection, the collection comprises elegantly designed objects and home fragrances. Ideally paired as a complement to Assouline’s hallmark coffee table books, the assortment embodies the brand’s aesthetic sensibility with pieces that are both beautiful and functional. As with every title published, each object is created with the highest level of craftsmanship and exceptional attention to detail.
A library-inspired home fragrance line completes the experience. Presented in amber
glass vessels, these candles and diffusers evoke the calm atmosphere of chic private spaces –luxurious wood, leather-bound books, lush pages and smoky tobaccos. Peaceful and thoughtprovoking, the fragrances embody the essence of the most aspirational libraries in the world.
Rooted in the idea that a true library is both curated and lived-in, The Library Collection invites design aficionados and bibliophiles alike to create a sanctuary that celebrates knowledge, beauty and ritual.
Kabila coffee table by Terry Aidoo
Born from a desire to explore how design can embody identity, memory and belonging, the Kabila coffee table, which debuted during Milan Design Week this year, is rooted in African traditions where community is not just a value but a way of life. One of its most striking features is the Oware game, intricately carved into a built-in compartment. Though played across the African continent, the name Oware is Ghanaian, and its inclusion is a tribute to Aidoo’s own heritage. Embedded into the table’s surface, it becomes a tactile reminder of cultural continuity and communal interaction. Adjacent to the game lies a recessed space referencing the Eritrean coffee ceremony, which is a time-honoured ritual of hospitality and togetherness. Both elements are housed within a design that draws inspiration from the African courtyard – a central, communal space where families converge to live, resolve, celebrate and remember.
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Now in Riyadh
113 Years of Italian Craftsmanship, Unveiled at Centria Mall.
