Faye Toogood has been named Designer of the Year 2025 by Maison&Objet, an accolade that celebrates her groundbreaking career and polymathic approach to creativity
50 Design Hotels
From contemporary hotels influenced by Dadaism to Dubai’s first hotel with self-contained living typologies, here are the spots to stay and be inspired
58 Design Forecast 2025
Gensler’s Design Forecast Report 2025 identifies the top global design trends that will impact the real estate and built environment this year
60 Staying Ahead of the Cur ve
identity interviews members of the A+D industry on the latest technological innovations driving their practices into the future
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Editor’s Note
With each new year comes a renewed sense of promise and renewal. For architects and designers, however, the future holds an even greater challenge: envisioning and creating the next space. How does one design for the future? In this issue, we explore this concept and what lies ahead for the visionaries shaping our environments.
On the cover is the remarkable Pallavi Dean, founder of Dubai-based Roar, which has made a significant contribution to the industry for more than 12 years. Born and raised in Sharjah, UAE, Pallavi has recently expanded her studio’s presence to Saudi Arabia. For the cover shoot, we knew we wanted to pay homage to Pallavi’s connection with Sharjah. Dean suggested Mleiha, reflecting her love for the desert. Inspired by themes of flow and reflections, we sought to capture the designer’s dynamic essence. In our feature on page 22, she opens up about her journey, sharing insights into how financial acumen fuels creative freedom and revealing her cleverly coined ‘10 C’s’ of success.
identity is also thrilled to be a media partner at this year’s highly anticipated Maison&Objet in Paris, France. With its theme of Surrealism/Reality, the event promises new design innovation and discoveries. From 16 to 20 January 2025, we’ll bring you highlights from the fair, sharing stories that connect the Middle East’s design narrative with a global audience, and vice versa. Follow our social media on @identityae for updates.
In this issue we also explore what’s new in home décor and spotlight the technological innovations shaping the industry, with Gensler’s insightful design forecast offering a fascinating glimpse into the latest trends and innovations.
Here’s to designing a future full of possibilities.
Aneesha Rai Editor identity
On the cover Pallavi Dean, Founder of ROAR photographed by Imran George at Mleiha Archaeological Center
Less is More
We speak to experts about curating a minimalist aesthetic with home décor
WORDS – ANEESHA
RAI
Creamy whites and beige tones, and boucle and textural fabrics in neutral colours all contribute to a minimalist aesthetic while designing a home. But what’s the science of getting the balance right while ensuring the space doesn’t feel overly pared-back? identity speaks to interior design and home décor experts about how to bring personality to a minimalist space.
“Minimalism isn’t about emptiness; it’s about precision and purpose,” says Monica Arango, Founder of C’est Ici Interior Design. For Arango, accessories in minimalist spaces should serve multiple functions – providing utility, offering texture and adding character. “Sculptural lighting or adaptable furniture can anchor a room while enhancing its functionality,” she explains.
Bani Singh, Founder & Head of Design at Grounded Design, emphasises the importance of purpose, balance and authenticity when curating minimalist homes. “I look for timeless and unique objects with organic lines, and natural finishes that exude understated luxury,” she notes. By weaving in the client’s style, personality and heritage, she crafts spaces that
feel authentic and bespoke. To strike the right balance, Singh suggests incorporating natural materials like stone, matte ceramics, linen and wood. These elements introduce subtle warmth and a welcoming touch without overwhelming the room. Organic shapes and forms are also a key consideration, adding softness and visual intrigue. “Designers often feel the need to address every single space, but I advise resisting the urge to fill every surface or corner. Leaving room for objects to breathe creates a sense of calm and intentionality,” she notes. “Stone, wood and natural fibres create warmth and texture, grounding the home while keeping the aesthetic fresh,” adds Arango.
To inject warmth and personality, Janaika Elders, Founder of Urban Nest suggests blending organic shapes, warm tones and natural greenery. “A statement piece, such as a sculptural lamp or handmade pottery, can add character without overwhelming the simplicity of the design,” she says. Singh recommends focusing on meaningful items, such as a favourite artwork, cherished heirlooms or objects with sentimental value. Arango emphasises the role of storytelling in minimalist spaces. “Accessories should tell a story, reflect the homeowner’s taste and be crafted with intention. Think handmade ceramics, vintage pieces or meaningful art,” she adds. Elders recommends layering textures and adding subtle pops of colour through curated books or unique vases to keep the space inviting yet minimal. She also highlights the importance of timeless designs with clean lines and functional beauty, advising: “Each piece should bring balance and purpose to a space without over-accessorising it.”
The key to accessorising a minimalist home lies in restraint and intentionality. Carefully selected pieces – whether timeless or sentimental – can transform a stark space into one that feels warm and personal.
Top right – A bench by the stairway at a project ‘Golf Estate Views’ in Jumeirah Golf Estates, Dubai,UAE. Interiors by Grounded Design; Above – Hubsch table lamp, available at Urban Nest
‘Cadiz’ villa in Jumeirah, Dubai, UAE designed by C’est Ici
Immersive Experience: Transforming Ambiences with AV Innovations
How GadgEon Middle East elevated the
dining atmosphere at Doors Restaurant with cutting-edge audio-visual solutions
In the UAE, GadgEon’s offerings have found a natural home where luxury and innovations intersperse. Offering comprehensive solutions from design to installation, GadgEon meshes innovation with functionality, setting new standards in the smart home and audio-visual industry.
The company’s latest project to showcase its audio-visual (AV) technology is at the Doors Restaurant at Dubai Mall. To elevate the dining experience, GadgEon was tasked with a project that would synchronise the sensory experiences of sound and sight with taste, enhancing the overall atmosphere without overpowering the essence of the restaurant. Maintaining the aesthetic essence of the restaurant was of paramount importance.
The vision for an immersive sound stage, envisioned by Head Chef Kemal Ceylan, called for a system that delivered unparalleled audio excellence while maintaining an uncluttered and distinguished interior. To bring this vision
to life, GadgEon employed advanced acoustic principles to ensure optimal speaker positioning and sound coverage. Extensive configurations were meticulously tested, and sophisticated simulation tools were employed to refine every detail. Elevating the design process, the Doors team contributed by crafting an elegant pre-build mock-up using Styrofoam modelling. This meticulous representation of the space allowed GadgEon to fine-tune speaker placements and coverage angles, achieving a system design that flawlessly synchronises precision with luxury. GadgEon meticulously selected speakers that beautifully blend in and enhance the ambience of the restaurant without comprising on the audio quality. GadgEon installed the acoustically tuned sound system within the restaurant, integrating high-quality designer speakers and subwoofers from Architettura Sonora and bespoke amplifiers from Pulz. Supported by dedicated Pulz signal processors that handle all the speakers separate-
ly, this setup ensures that the sound is both immersive and unobtrusive, enriching the gastronomic experience without overwhelming conversations or intimate dining moments.
The project also encompassed a sophisticated automation and lighting system powered by RTI matrix switches and processors. This allows for dynamic adjustments in lighting, essential for creating the right mood for every occasion, from a serene dinner to a vibrant, festive celebration. The Master Automation System integrates these elements, granting seamless control over lighting, sound and even security through a simple, intuitive interface.
This transformation at Doors Restaurant not only highlights GadgEon Middle East’s technical acumen but also underscores the company’s ability to harmonise technology with stylish commercial and residential environments. As the company continues to evolve and expand its footprint across the home automation, home cinema and audio-visual sectors in the UAE, its projects exemplify how technology can seamlessly integrate into an engaging and enjoyable setting.
About
GadgEon Middle East
GadgEon Middle East has positioned itself as a pioneer in the UAE’s fine living landscape, offering expertise in luxury home automation, high-end home cinema systems and advanced audio-visual solutions. GadgEon Middle East caters to the elite residential and commercial sectors, delivering tailor-made systems that elevate convenience and elegance. It is the company’s fourth international expansion following its success in India, the USA and Europe. www.gadgeon.ae
Interweaving Modernity, Finesse and Whimsy
Hermès’ new Tressages Equestres tableware is an ode to the Maison’s heritage
The intertwined threads of cotton and leather in Tressages Equestres echo the essence of Hermès craftsmanship – not only in the artisan’s hand but also in the horse, the rider and the bonds that unite them.
Inspired by the intricate passementerie and braiding used in the harness-making that lies at the heart of the Maison’s heritage, this exquisite dinner service reflects Hermès’ storied origins. Designed under the artistic direction of Benoît-Pierre Emery, Creative Director of La Table Hermès, and brought to life by Virginie Jamin’s meticulous illustrations, the collection is both a tribute to tradition and an exploration of contemporary design.
Comprising 27 pieces – including 10 newly designed hollow-ware items – the collection seamlessly complements cuisines from around the world. The omnipresent kaolin white porcelain forms the perfect canvas for Jamin’s intricate patterns. Her precise lines, alternating between fine and dense, create a striking sense of volume and texture.
A vibrant palette of zesty lemon, mint and petrol blue contrasts beautifully with the natural tones of fibres and leather, evoking the earthy elegance of Hermès’ equestrian roots. Playing with scale and motifs, each piece tells its own story and every arrangement creates a unique narrative.
WORDS – ANEESHA RAI
Photography: Matthieu Lavanchy
An Interview with Marion Tardan
We interview the founder of Maison Aimée, a partner to interior designers in the UAE, with a truly distinctive offering
What made you start Maison Aimée?
What was the gap in the market that you identified?
Maison Aimée was born from my passion for thoughtfully designed and well-made home items. And progressively I acquired the conviction that the UAE market would have room for a curated approach that blends the elegance of renowned French brands with the authenticity of craftsmanship. Dubai’s growing appreciation for unique, high-quality pieces drove me to launch a brand where home aficionados and designers could find distinctive, artisanal products that add warmth and personality to any interior.
What’s your curation process like while selecting brands?
Our curation process is guided by a commitment to artisanal chic. We partner with French brands known for their premium fabrics and wallpapers, collaborate with talented
local artisans in Dubai for bespoke upholstery, and source handmade rugs and artisanal pieces from traditional craftsmen across Asia. Every item is carefully chosen to reflect Maison Aimée’s aesthetic and to bring texture, warmth and character to a space.
What are some of your favourite pieces that you would like to highlight?
I’m particularly proud of our collaborations with local artisans in Dubai, where we transform stunning fabrics from Élitis, Maison Thevenon, and CMO Paris into unique, bespoke furniture, ranging from upholstered benches to headboards. Some of my favourite pieces also include our vintage finds, which add a sense of history and charm to modern spaces, as well as our handmade rugs from India, which beautifully blend craftsmanship with timeless design.
What would you call your in-house style? Maison Aimée’s style places authentic yet
highly innovative French fabrics at its core. We are captivated by the richness of their textures, the beauty of their patterns, and how seamlessly they pair with vintage pieces and locally crafted artisanal works. The best way to experience the Maison Aimée atmosphere is by visiting our showroom in Al Quoz. You’ll be welcomed by our French tribe, eager to help you find the perfect addition for your home or project. Why the name Maison Aimée?
The name ‘Maison Aimée’ is an homage to my great-grandmother Aimée, a remarkable woman whose grace and strength left a lasting impression on me. In French, ‘Aimée’ translates to ‘beloved,’ reflecting the essence of love and care. With Maison Aimée, I wanted to create a brand and a space imbued with these qualities – warmth, comfort and an inviting atmosphere that feels like home.
In partnership with www.maisonaimee.com; Follow the brand on Instagram @maison_aimee_
Concrete Pixels
Abu
Dhabi’s latest socially driven housing, Pixel by MVRDV Studios, chooses community over luxury
WORDS – ANEESHA RAI
On Abu Dhabi’s Reem island, a creative community is rising. Located close to the cultural hub of Saadiyat Island, Pixel’s design within the Maker’s District is an offering that gives rise to socially conscious living. Developed by IMKAN, Pixel anchors the district as the heart of Abu Dhabi’s creative scene. Seven compact towers are strategically positioned along the site’s edges. This placement maximises shade, encourages natural ventilation and opens vistas to the waterfront surrounding the development on three sides. Between the towers, a vibrant central plaza serves as the community’s social nucleus. Ground-level restaurants, cafés and shops enliven the space, while upper levels house essential amenities such as a gym, medical clinic, early learning centre and start-up offices, ensuring the area remains active throughout the day.
The exterior façades are crafted from concrete panels featuring a graphic pattern inspired by oyster shells, designed by artist Nicole Martens. This textured outer layer provides a striking visual identity while paying homage to the region’s cultural roots. The towers’ bases dissolve into ‘pixels’ that spill into the plaza, forming terraces and bay windows. This design extends private living spaces into the public realm, fostering an environment where residents can enjoy outdoor life and connect with neighbours during cooler months. The addition of water features, greenery and planned green roofs further enhances the microclimate, creating a comfortable, sustainable outdoor setting. Glimpses of the central plaza between the towers reveal a burst of colour, reminiscent of a pearl hidden within the oyster. Shading screens, clad in tiles of fourteen pastel hues, lend the plaza an uplifting and joyful character. This interplay of muted exteriors and vivid interiors underscores the project’s harmonious balance between heritage and modernity.
The thoughtful material palette extends into the interiors, where each tower adopts a distinct colour profile. This not only enhances the individuality of each structure but also aids wayfinding, seamlessly guiding residents from the underground car park to their destinations. This modest yet expressive approach to materials enriches the project’s aesthetic while fostering a sense of belonging and identity. Life in the apartments flows seamlessly into the lively plaza below, cultivating a sense of belonging and identity that distinguishes Pixel from conventional developments. “With Pixel, we challenged the typical residential typologies of the UAE,” explains MVRDV founding partner Jacob van Rijs. “Instead of isolated towers cloaked in luxury, Pixel fosters outdoor living, neighbourly connections and shared experiences. This approach not only enhances the quality of life but also promotes environmental and social sustainability.” Pixel represents a bold vision for the future of urban living – one that harmonises architecture, community and the environment in a way rarely seen in the UAE.
Photography: Jon Wallis
Embracing Unity in Diversity
identity interviews Sou Fujimoto about his design philosophy rooted in relationships and nature
WORDS – ANEESHA RAI
How would you describe the evolution of your architectural philosophy since you started your practice?
What do you consider to be the core values or principles?
Fujimoto: I believe that architecture is something that creates diverse relationships. It is the relationship between people and people, people and nature, and private and public. I want these relationships to be diverse and flexible, not limited. It is not just about architectural style but [it] influences deeper thinking about the relationship between nature and artifact, individual and society, and people and people. Furthermore, it will certainly influence more philosophical thoughts such as simplicity and complexity, change and eternity, and the moment and eternity.
How do you envision the role of architecture in shaping modern living spaces, particularly in densely populated urban environments?
Incorporating more nature into urban environments is not just a trend but will become a basic prerequisite for architectural and urban
design in the future. This is because it brings diversity to residential environments that cannot be achieved by architecture and man-made objects alone. In a world where respect for diverse lifestyles and consideration for the global environment has become commonplace, it will become increasingly necessary to consider new forms of fusion between nature and man-made objects (architecture) when thinking about how to make our urban environments diverse and connected to the entire planet. I believe that in the future, architecture will become something that blends with cities and landscapes. It feels like the boundaries between architecture and cities, landscapes, roads, parks, etc. are melting together. This will create an environment that is more diverse, more interactive and richer both for the individual person and the small societies as a community. How have your thoughts about ‘primitive future’ evolved since your book came out in 2008?
In recent years, I have had the opportunity to work in many different countries, and I believe that one of the major characteristics of my archi-
tecture is that it transcends cultural differences, returns to the roots of the physical, sensory and social aspects inherent to human beings, and from there reconstructs the relationship between space and people in a new way. Even when the proposal seems at first glance to be outlandish, it touches on the essence of human nature at a fundamental level. I believe these primitive aspects of my architecture are culturally balanced and understood across cultures.
Please share some insights into any recent or ongoing projects – anything you are particularly excited about?
We are currently working on several projects, including the Expo project, which will open in April 2025, which is particularly symbolic and exciting. I am reminded once again that an Expo is the sum total of a wide variety of people, events and communications. In this day and age of information technology, it is precious that countries can physically come together in one place for six months to interact with each other. We designed the ring with the hope that visitors will experience a place where this wonderful diversity is connected as one. The roof ring is the symbol of the Expo site; assembly ring began in June 2023, construction has been underway, and in August 2024, the two-kilometre circumference of the ring was connected as one. The building is constructed by adding modern construction methods to the traditional Nuki joints used in the construction of Japanese shrines and temples. With a building area (horizontal projected area) of approximately 60,000 square metres, a height of 12m (20 m outside the roof), an inner diameter of 615m and a width of 30m, it is the largest wooden structure of its kind in the world. We hope that it will be a memorable site for everyone, not only because of its architectural form, but also because of its strong and positive message about the future of our global community – ‘Unity in Diversity’.
Could you share any sources of inspiration that have been particularly meaningful to your work recently?
My creativity comes from everything, from going to different countries and cities to wandering around and looking at the scenery, spending time with my family, reading books and hearing from our staff. I think it's important to keep the circuits in my brain open at all times. Quite often, I happen to get inspiration when I am in a relaxed mode.
What is the advice you would like to give to emerging architects who look up to your work?
I believe that the essence of architecture is to listen sincerely to the amazing diversity of this world, and to listen intently to everything that that surrounds it.
In Education and Learning, Space is the Third Teacher
Ana Mombiedro, Neuroarchitect in Residence at Kidzink discusses how the discipline can evoke creativity in young minds
Most of us can recall the schools we attended during our childhood. We can recall the teachers who inspired us – and those who didn’t. We vivid remember the friendships, the lessons and the experiences that shaped us. For many of us, the classrooms themselves stand out as uninspiring spaces: stark, functional and far from engaging. These environments reflected austerity rather than creativity – a missed opportunity in the learning journey.
In education, the focus has traditionally been on teachers and peers as the primary forces shaping learning experiences. Yet, there is another powerful, often overlooked participant: the space itself. As a neuroarchitect specialising in education design, I focus on ad-
dressing this gap by championing the concept of space as the third teacher. This approach, grounded in science and design, elevates the environment’s role, transforming classrooms into dynamic, interactive spaces that actively enhance students’ well-being, creativity and engagement. Far from being passive backdrops, environments are extensions of our bodies and minds. Neuroscience tells us that learning thrives on interaction, and brain plasticity shows how habits and routines rewire our brains. When spaces are designed to support these interactions, they evolve into catalysts for personal and collective transformation. So how can spaces become third teachers? To create environments that teach, design should embody these principles:
Support Autonomy and Active Participation
Flexible seating arrangements, adaptable layouts and spaces that encourage movement foster a sense of ownership and promote selfdirected learning. Environments that empower students by offering choices cultivate confidence and independence.
Encourage Collaboration and Real-World Engagement
Classrooms designed for group projects, social interaction and teamwork prepare students for real-world scenarios. These spaces nurture essential skills such as communication and collaboration, laying the foundation for lifelong learning. Ito and Yokoyama’s research demonstrates how open-plan classrooms improve focus compared to traditional layouts. An open-plan classroom acts as a versatile canvas, adapting to the evolving needs of educators and learners.
Stimulate Curiosity and Creativity
Visually engaging, organised spaces spark curiosity and inspire creative thinking. Displaying materials in an inviting way fosters a culture of exploration and innovation.
Prioritise Holistic Well-Being
Natural light, ergonomic furniture, good air quality and optimised acoustics reduce stress and improve focus. When these elements come together, they create a nurturing environment that supports students’ emotional, mental and physical health.
Incorporate Curves and Natural Views
Research by Vartanian et al. highlights the calming effects of curved forms in interior design, while views of nature – whether greenery, water or open skies – enhance mental health and provide a sense of place. Roger Ulrich’s landmark ‘View from a Window’ study underscores the restorative power of natural elements in improving well-being.
The Future of Learning Spaces
As education evolves, the role of the environment as the third teacher is becoming increasingly evident. Thoughtfully designed spaces are no longer passive settings; they are active participants in the learning process. When classrooms are crafted with intention, they unlock boundless potential for students to engage, explore and grow. By placing equal emphasis on teaching method, people and place, we can reimagine learning environments as transformative tools – not just for education but for shaping the individuals within them, and the communities they form.
Connecting Riyadh
and architectural
The King Abdullah Financial District (KAFD) Metro Station designed by Zaha Hadid Architects (ZHA) connects the city and delights the senses with its signature sculptural shapes WORDS – ANEESHA RAIPHOTOGRAPHY – HUFTON + CROW
ZHA’s design for the KAFD Metro Station centres on connectivity, both functional
On 1 December 2024, Riyadh Metro officially opened its Blue, Yellow and Purple Lines (Lines 1, 4 and 6), marking a transformative moment for Saudi Arabia’s capital. As the world’s longest driverless transit system, spanning over 176 kilometres across six lines and 85 stations, Riyadh Metro introduces unparalleled levels of efficiency and innovation in urban transportation. Designed to accommodate 3.6 million daily passengers, this state-of-the-art system is set to significantly reduce car journeys, alleviate traffic congestion and enhance sustainable mobility in Riyadh. At the heart of this ambitious network is the King Abdullah Financial District (KAFD) Metro Station, a design marvel by Zaha Hadid Architects (ZHA). Positioned as the key interchange hub, the station
connects the financial district, King Khalid International Airport and the KAFD monorail via its skybridge. Spanning four levels with six rail platforms, the station integrates seamlessly with bus services and park-and-ride facilities, creating a vital multi-modal transport nexus for the city.
ZHA’s design for the KAFD Metro Station centres on connectivity, both functional and architectural. The station’s internal circulation patterns were meticulously modelled to manage the predicted influxes of rail, car and pedestrian traffic. This mapping process gave rise to a dynamic three-dimensional lattice structure, defined by opposing sinewaves that mirror the ebb and flow of daily transit activity.
Externally, this lattice is expressed through ultra-high-performance concrete panels, which
form a visually striking and functional façade. The geometric perforations of the façade not only reinterpret the environmental shielding found within the region’s vernacular architecture but also reduce solar gain, enhancing the station's energy efficiency. These patterns evoke the natural formations created by desert winds, with their fluid, repetitive rhythms echoing the interplay of nature and innovation.
The KAFD Metro Station exemplifies ZHA’s commitment to marrying aesthetic brilliance with engineering precision. The station’s external envelope is a self-supporting structure, meticulously aligned with internal framework that supports platforms and viaducts. The design underwent rigorous optimisation to improve structural efficiency, environmental performance and ease of construction without
Below – The station's internal circulation patterns were meticulously modelled to manage the predicted influxes of rail, car and pedestrian traffic
sacrificing spatial quality. A high-efficiency cooling system, powered by renewable energy, works in tandem with passive design features such as the station's façade. This system automatically adjusts to fluctuating passenger levels throughout the day, while sliding door panels on platforms help retain cool air. These innovations ensure optimal comfort with minimal energy consumption.
The KAFD Metro Station embodies sustainable design and has achieved LEED Gold certification. From its renewable energy integration to its environmentally responsive architecture,
the station sets a benchmark for future urban infrastructure in the region. Beyond its functionality, the station’s design creates a series of indoor and outdoor public plazas, enriching the social and cultural fabric of the King Abdullah Financial District. Riyadh Metro and the KAFD Metro Station collectively signal a new chapter for Riyadh – a city embracing cutting-edge transit solutions while honouring its heritage and environment. This remarkable integration of innovation, sustainability and architectural excellence positions Riyadh as a global model for urban transformation.
Above (top left)– Externally, this lattice is expressed through ultrahigh-performance concrete panels, which form a visually striking and functional façade; (bottom right)–Beyond its functionality, the station’s design creates a series of indoor and outdoor public plazas, enriching the social and cultural fabric of the King Abdullah Financial District
Creativity, Culture and Cash
How Pallavi Dean grew Roar into a Middle Eastern interior design powerhouse
WORDS – ANEESHA RAI
People often view money as a dirty word in the creative world, but Pallavi Dean rejects the ‘starving artist’ myth. The idea that creatives care only about their work – and money is a dirty word – is anathema to her. “Look, we do awesome creative work at Roar,” the founder of the award-winning interior design studio tells identity. “But you’ve got to pay for that. Profit and purpose are not enemies. They’re two sides of the same coin.” To understand Pallavi Dean – and why to her cash is as important as creativity – you have to understand her back story. “When I was 16, my
dad’s paint supply business in Dubai went bust. We went from being a comfortable middle-class family to being broke. I will be eternally grateful to American University of Sharjah (AUS) that I got a 90% scholarship, and I had to beg, borrow and steal the other 10%. That shapes you as a person.”
Born and raised in the UAE, Dean’s Indian parents moved to the country in the 1970s and she grew up between Dubai and Sharjah. She earned her degree in architecture at the American University of Sharjah (AUS) in the second cohort when the university opened in the late
Left – DMCC office headquarters; Right page – Ajman Rulers’ Court – winner of the 2024 identity Design Awards for Interior Design: Office
1990s. “There are a lot of second-generation Indian kids of my age in the UAE with successful businesses – but it’s family money. I’m not gonna lie; I’m proud of the fact that every dirham I have, I’ve earned myself,” Dean says.
When I recently met Dean while moderating a panel, it was made clear to me that she loves to learn. Two years ago, she topped up her architecture degree and master’s in interior design theory with an MBA from INSEAD, one of the world’s top business schools. Her approach is driven by an innate curiosity that radiates vitality and is manifested into an almost electric energy. Twenty-five years on from her graduation, Dean’s company Roar is one of the most successful interior design firms in the Middle East, as evidenced by the many accolades in the boardroom, including multiple wins at the identity Design Awards. This year, Roar won the best Interior Design - Office award for its work on the Ajman Rulers’ Court.
Dean breaks down her approach down into the “Ten C’s of Creativity,” which she shares with identity:
Bridging the Gap Between Creativity and Entrepreneurship: The 10
C’s
of Balance
Walk into any bookstore, and you’ll find shelves brimming with titles on leadership, strategy, operations and logistics. But there’s a glaring gap for resources that bridge creativity and entrepreneurship – two forces often seen as opposites. For instance, architects – some of the most creative professionals – frequently struggle with the business side of their craft. In the UK, nearly a third (32%) of architectural practices are at risk of failure – a stark reminder of how challenging it can be to balance creative chaos with the practical demands of finance and operations.
This begs the question: can you strike a perfect balance between the right and left sides of the brain? Can you craft iconic masterpieces that meet budgets and functional requirements, or are these goals mutually exclusive?
Having worked at the intersection of creativity and entrepreneurship for 20 years – 11 of those dedicated to refining my understanding – I’ve distilled my learnings into what I call ‘The 10 C’s of Balance’. These principles have guided my practice and may offer a roadmap for others navigating this challenging yet rewarding terrain.
1. Consistency
Anyone can create one standout project, but consistency is the hallmark of a truly great creative business. Think of musicians like Savage Garden, who dazzled with hits but vanished within a few years. Compare that with Madonna, who’s delivered decade after decade of culturally resonant work. In business, delivering one-off excellence is not enough – you need to balance quality w ith quantity. Consistent delivery builds trust, reputation and financial stability.
2. Customer Service
In many industries, people often reduce customer service to a transactional concept, but in a creative business, it forms a cornerstone of long-term success. At Roar, 80% of our work comes from repeat clients and referrals, a statistic we’re immensely proud of. This level of trust isn’t built overnight; it’s the result of consistently delivering value, maintaining transparency and knowing when to go above and beyond. Every project is an opportunity to over-deliver – not in a way that undermines your profitability, but in ways that create memorable experiences for your clients. Sometimes, it’s the thoughtful details, like solving
a problem before they notice it or suggesting an idea they hadn’t considered, that leave the strongest impressions. This ethos – what I call the Extra Mile Club – is about exceeding expectations while maintaining the integrity of the process. When customer service is executed well, you transcend the role of a consultant and become a trusted partner. You’re no longer just a supplier, but someone whose insights and expertise are integral to the client’s success.
3. Criticism
Opinions are cheap, but expertise is priceless. In a creative business, critiques will come at you from all directions – friends, clients, peers, even strangers online. Some of these critiques will offer valuable insights, while others will be ill-
informed, superficial or simply a matter of personal preference. Design and creativity often spark strong opinions because they’re deeply personal. People may disagree with your choice of colour, layout or style because it doesn’t align with their taste. But taste is not the same as expertise. The success of your work should be judged against professional benchmarks – like meeting programmatic requirements, staying within budget or addressing the client’s brief – not individual preferences. Constructive feedback is a gift, but it only holds value when it comes from someone with a meaningful perspective. Whether it’s a mentor, a client with deep industry knowledge or a peer whose work you admire, seek critiques from those who can help you grow. The rest is just noise.
“In business, delivering one-off excellence is not enough – you need to balance quality with quantity. Consistent delivery builds trust, reputation and financial stability.”
4. Competitors
Competition is inevitable – but it doesn’t have to breed animosity. The notion that competitors are villains to outmanoeuvre, or adversaries to conquer, is counterproductive. The ‘villain mentality’ in competition creates unnecessary hostility and damages the industry as a whole. Toxic rivalries lead to underbidding, poaching clients or spreading negativity to gain an edge. This creates distracted focus – don’t waste energy on tearing others down. Instead, focus on improving your own work.
5. Conscious
Human-centric design is at the heart of everything we do. It’s not just about aesthetics or functionality; it’s about creating spaces that resonate with users on a deeper level. A well-designed space should feel intuitive and comforting, and even calm the nervous system. To truly
understand the needs of users, we must step into their shoes – considering their daily routines, emotional triggers and unspoken expectations. Empathy doesn’t stop at the design process; it’s also reflected in how we treat everyone we work with – colleagues, clients and consultants. Design schools emphasise technical skills and conceptual thinking, but often overlook emotional intelligence (EQ) – this must change!
6. Creative
Creative businesses thrive on the ability to disrupt and question norms. True innovation doesn’t always require starting from scratch; sometimes, it’s about studying tried-and-tested practices and finding opportunities to tweak and refine. Our team’s diversity – spanning nationalities, cultures, and professional backgrounds – is the cornerstone of our process. Creativity is rarely a linear path. We prioritise
experimentation as a means of discovery, valuing the process as much as the outcome. Iterations allow us to refine our ideas, ensuring that every project reaches its full potential. In an age of over-reliance on tools like Pinterest for creative inspiration, we intentionally look elsewhere. We believe that drawing from the same sources as everyone else leads to derivative results. Instead, we turn to unexpected places: poetry, jewellery design, Generative AI. For us, creativity is not a chaotic spark of genius but a disciplined, intentional process.
Below – Oliver Wyman’s new Riyadh headquarters ; Right page –(from left) The courtyard for females at SENSASIA spa; Ellington Properties’ lobby
Portrait
ROAR
Founded: 2013
Staff: 40
Offices: Dubai, Riyadh
Projects: 250 built projects
Clients: McKinsey, Boston Consulting Group, UAE government
7. Cash
Profitability matters. The romanticised image of the ‘starving artist’ is not only outdated but actively harmful to creative industries. It perpetuates the myth that passion and creativity should outweigh financial stability, undermining the value of creative labour. The reality is that running a sustainable creative business requires prioritising the bottom line just as much as the work itself. Free work – or even underpaid work – is a slippery slope. It devalues expertise and sets a precedent that creative labour is less deserving of fair compensa-
tion. While it’s tempting to say “yes” to unpaid projects for exposure or to please a high-profile client, the truth is that exposure doesn’t pay the bills, nor does it sustain your team. A significant pain point for creative businesses is late payments. The time and energy spent chasing overdue invoices can feel like a second full-time job; one that drains the creative spark. Standardising fair payment terms, such as deposits before project commencement and milestone-based payments, can reduce cash flow pressures and mitigate risks. Holding clients accountable for delays is non-negotiable. Late fees and penalties should become standard practice to encourage timely payments.
8. Culture
At the heart of any great creative practice is culture. While competitors may try to replicate our processes or poach talent, they can’t duplicate our ethos. Culture is the invisible glue that holds a business together, fostering loyalty and driving unique results. We built our culture on a foundation of play, creativity and collaboration, celebrating and nurturing individual aspirations. We encourage each person to bring their whole self to the work, empowering them to grow, experiment and contribute in ways that reflect their passions and strengths. This
sense of belonging and personal growth is what makes our team truly exceptional.
9. Colleagues
A business is nothing without its people. At Roar, over 10 former employees have gone on to start their own practices. While I joke about wishing them “all the timesheets they never submitted to me,” I’m immensely proud of fostering a culture that encourages entrepreneurship. Exposing employees to every aspect of the business – from pitching to execution – creates a dynamic workplace. Yes, people will leave, and some departures will sting, but leadership is not a popularity contest.
10. Crystal (Awards and Recognition)
Third-party validation, such as awards, lends credibility to your work and can help build trust with clients and peers. However, not all awards are created equal: their value depends on the integrity of the judging process and the prestige of the recognition. Focus on meaningful accolades that celebrate your unique contributions, rather than chasing trophies for the sake of appearances. At their best, awards should reflect your commitment to excellence and act as milestones in your professional journey, not as the sole measure of success.
Maison&Objet’s Designer of the Year 2025
Faye Toogood, a luminary in British design, has been named Designer of the Year 2025 by Maison&Objet
WORDS – ANEESHA RAI
Faye Toogood has been named Designer of the Year 2025 by Maison&Objet, an accolade that celebrates her groundbreaking career and polymathic approach to creativity. Revered for her ability to seamlessly navigate the realms of design, fashion, sculpture and interiors, Toogood’s work continues to inspire the global design community, setting benchmarks for ingenuity and representation.
Toogood’s journey is one of boundless exploration. Her creative spectrum spans experimental collectible designs, refined public editions and multidisciplinary collaborations that defy categorisation. Unconstrained by conventions, she balances bold experimentation with functionality, producing works that resonate in both private residences and grand hospitality projects.
The designer embodies the spirit of extraordinary encounters and avant-garde movements. Her creations bridge art and utility, celebrating materiality and form while challenging traditional boundaries. With a distinct ability to weave fashion into lifestyle and interiors, she invites audiences into a world that is as diverse as it is cohesive.
Toogood stands out not only for her creativity but also for her commitment to championing women in design. Her recognition aligns with Maison&Objet’s Women&Design initiative, further solidifying her role as a trailblaz-
er and as an advocate for inclusivity in the creative arts. Raised in the English countryside without the distraction of television, Toogood cultivated her imagination while surrounded by nature. This formative experience laid the groundwork for her design ethos, which prioritises raw materials, simplicity and the power of the mind. Her debut collection, Assemblage 1, exemplified these values through its focus on honest materials and traditional English craftsmanship.
The Roly Poly Chair, introduced in 2014, remains one of Toogood’s most iconic designs. Characterised by its curved seat and sturdy legs, the chair encapsulates her ability to sculpt raw materials into evocative, tactile forms. Available in both mass-produced and handcrafted versions, the Roly Poly Chair has become a symbol of her approach to blending artisanal methods with commercial accessibility. Through her limited-edition works, Toogood continues to experiment, pushing the
boundaries of design. Represented by New York’s Friedman Benda gallery, her pieces are part of permanent collections in renowned museums worldwide. Her collaborative portfolio includes partnerships with prestigious brands such as cc-tapis, Maison Matisse, Calico, Tacchini and Poltrona Frau, and each project showcases her versatility and creative range.
For Faye Toogood, design is more than aesthetics – it’s an exploration of identity, potential and connection. “Creativity is at the heart of who we all are, where we come from and who we could be one day,” she muses. This philosophy has not only shaped her prolific career but also cemented her status as a beacon of inspiration in the design world. As Maison&Objet honours Faye Toogood in 2025, her innovative spirit and commitment to pushing boundaries underscore the transformative power of design. Through her work, she continues to chart new territories, leaving an indelible mark on the global creative landscape.
Left page – Puffy chair designed by Toogood, courtesy of Hem; Below – Roly-poly chair by Toogood, courtesy of D.R.; Right – Solar daybed designed by Toogood, courtesy of Andrea Ferrari
WORDS – ANEESHA RAI
PHOTOGRAPHY – NATELEE COCKS
Maison Lagom
Neeshay Nouman from The Niche Corner has transformed a home in Arabian Ranches that carries the charm of a French countryside home, but with a contemporary twist
The project involved a complete renovation of the ground floor, with significant structural changes
Right – The living and dining areas were extended into the backyard, enhancing the home’s built-up area and creating a harmonious indooroutdoor connection; A highlight of the home is the gorgeous green onyx study table
With a minimalist ethos and touches of French countryside charm, this residence nestled in Arabian Ranches 2 in Dubai, UAE provides a tranquil retreat the minute one sets foot in it. “The client wanted an uncluttered space where small design touches and fixtures made all the difference. The kitchen was a slightly different brief whereby they wanted to feel like they’re not in the UAE at all, requesting French country vibes,” says Neeshay Nouman, Founder of The Niche Corner and the lead designer on the project.
The project involved a complete renovation of the ground floor, with significant structural changes, as Nouman explains: “We knocked down walls to create an open-plan flow, incorporating an open kitchen and closing off a section of the dining space to design a focused, beautiful study room.”
Fixed joinery, designed to appear integrated rather than as standalone pieces, became a hallmark of the project, ensuring seamless functionality and aesthetic appeal. “We focused on doing a lot of bespoke design for joinery and loose furniture items – from the sofas to the green onyx study table and the round oak small dining table, and from the limestone main dining table to the fitted benches in the small seating area, the kitchen and the arch wall cabinetry with floating shelves,” shares Nouman.
The living and dining areas were extended into the backyard, enhancing the home’s builtup area and creating a harmonious indoor-outdoor connection. The absence of unnecessary doors and walls ensures ease of movement, aligning perfectly with the client’s desire for simplicity and openness.
Drawing inspiration from the picturesque homes of Saint-Cirq-Lapopie, the design avoids period aesthetics, instead weaving rustic elements into a modern look. Neutral tones, natural materials and bespoke craftsmanship define the home’s character, blending functionality with understated beauty.
Nouman and her team focused on custom creations, making every element of the home unique. A highlight of the home is the gorgeous green onyx study table. “The beautiful study
desk is a pleasure to work on, being curated with natural quartzite in sage green and overlooking the arch window,” says Nouman.
The kitchen is another favourite space with the beautiful harlequin flooring, bespoke joinery and the statement Lofra stove and oven. Through thoughtful renovations and meticulous attention to detail, Maison Lagom has become more than a home – it is a lifestyle. Its
open layout, handcrafted pieces and calming aesthetic reflect the homeowner’s desire for a sanctuary where every moment and space can be cherished. The home exemplifies how minimalism, when fused with heritage-inspired design, can create a space that is both functional and emotionally resonant. As Nouman puts it, “This house is all about balance – a minimalist haven with a soul.”
The design avoids period aesthetics, instead weaving rustic elements into a modern look
Brutalism Beauty
Designed by Shell+Core, KONCRETE Space in Jumeirah carries character and rawness in its forms, creating carte blanche for coffee, conversations and curations
WORDS – ANEESHA RAI
The space is intentionally minimalist, serving as a blank canvas for curated retail displays, coffee culture and social interactions
Nestled within a dramatic, standalone concrete structure, KONCRETE Space redefines the intersection of form, function, and adaptability. Spanning 215 square metres, this innovative multi-concept venue serves as a hub for quality coffee, exclusive retail and gatherings – a hidden gem in the UAE and the first of its kind. Designed by Shell+Core, KONCRETE Space is a meticulously crafted environment that transforms the raw beauty of concrete into an upscale, versatile experience.
The design brief called for a space that embraced its architectural presence while offering flexibility for different functions. The result is a minimalist haven where concrete’s raw
textures and the interplay of light take centre stage. With dramatic, black-framed windows and unfinished walls and floors, the interior reflects a brutalist aesthetic that celebrates the natural imperfections of the material. “The structure itself was our starting point,” explain the founders of Shell+Core, Jade and Ghalia. “Its statuesque presence inspired us to extend its elegance into the interiors with a balance of exposed finishes and contemporary design.”
The space is intentionally minimalist, serving as a blank canvas for curated retail displays, coffee culture and social interactions. Long slit windows and an atrium allow natural light to flood the interiors, casting shadows that dance across the concrete surfaces.
Integrated lighting details amplify this effect, using reflective materials to create dramatic interactions between light and objects.
This emphasis on light enhances the indoor-outdoor connection, seamlessly blending the structure with its surroundings. The result is an environment that feels both monumental and intimate, offering moments of solitude and community. Adapting the open-plan layout to cater to diverse functions presented a creative challenge, which Shell+Core met with thoughtful design interventions that seamlessly balance functionality and artistry. Central to this vision is the conversation pit, a recessed seating area beneath a striking skylight that fosters connection while accentuating the vertical
Above – Metallic finishes reflect a brutalist aesthetic that celebrates the natural imperfections of the material
grandeur of the high ceilings. Complementing this is a stepped stage tucked into a corner recess, which serves both as a display platform and flexible seating area, featuring modular benches that can be rearranged to accommodate different layouts. Throughout the space, sculptural statement pieces harmonise with practical furniture, blending style with utility to create a setting that feels both dynamic and purposeful. “We wanted to create a space where every corner offers something unique,” say the designers. “The conversation pit, for instance, naturally encourages dialogue, while the stepped stage adds a dynamic layer to the functionality.”
The project was completed with the collaboration of key suppliers like Designitch, Huda Lighting and The Line Concept. Execution partners Exotic Interiors and Exceptional Interiors brought Shell+Core’s vision to life, ensuring that every detail upheld the high standards of craftsmanship. KONCRETE Space’s brutalist aesthetic, combined with thoughtful spatial planning, makes it more than just a café or retail destination (the hub is currently collaborating with Jordan and Margo Castro to present their Pinkum Collection to the public, featuring works from Bibi Lei, Felix Treadwell and Ryu Ju Young.
With its understated elegance and innovative approach, KONCRETE Space is not only a functional venue but a work of art, setting a new benchmark for multi-concept spaces in the region. It’s a place that visitors will not only remember but return to, time and again.
Left page – Shell+Core have transformed the raw beauty of concrete into an upscale, versatile experience; Below –The conversation pit beneath the skylight gives the impression of a modern majlis setting amidst high ceilings
The restaurant’s
the
Nordic Sophistication Meets Dubai Flair
Björn Frantzén and Paul Bishop craft a transformative dining experience at Atlantis, The Palm
WORDS – ANEESHA RAI
PHOTOGRAPHY – NATELEE COCKS
design balances
vibrancy of Dubai with Scandinavian serenity
In October 2024, Atlantis, The Palm welcomed Studio Frantzén – Social Dining & Bar, the highly anticipated Middle Eastern debut from Michelin-starred chef Björn Frantzén. Intertwining gastronomic artistry with immersive design, the restaurant offers an experience where storytelling in flavour and outstanding visuals collide.
To create this atmosphere and environment, Frantzén worked with Paul Bishop, founder of the award-winning studio Bishop Design. Occupying a substantial 400 square metres, the restaurant encompasses a main dining area, a stylish bar, a whimsical candy room and a private dining space. Each zone is distinct yet seamlessly connected, forming a cohesive narrative that merges Frantzén’s Nordic-Asian culinary ethos with Bishop’s signature’s flair. Bishop Design’s concept draws inspiration from Nordic landscapes, blending natural textures with opulent details to balance the vibrancy of Dubai with Scandinavian serenity. The result is an environment that bridges a casual, à la carte dining experience with a deeply immersive ambiance. “Björn’s focus on authenticity and connection reso-
nates with our approach to design,” says Paul Bishop. “Every element in Studio Frantzén is about reinforcing a narrative that reflects his culinary journey. It’s a space that speaks as profoundly as the menu.”
Studio Frantzén’s interiors celebrate Nordic heritage through an enchanting design language. The material palette integrates warm copper accents, reminiscent of Scandinavia’s mining history, placing them alongside terrazzo-tiled floors that dissolve into moss-inspired carpeting – an homage to woodland journeys. A stunning candlelight chandelier illuminates the main dining area, a poetic nod to Scandinavia’s reverence for light during its dark winters. Handcrafted details infuse the space with bespoke charm, while textures and finishes bring a layered richness to the interiors.
At the entrance, a striking bear sculpture – a playful reference to Frantzén’s first name, which means ‘bear’ in Swedish – sets the tone for the experience ahead. This emblematic feature embodies a whimsical yet sophisticated spirit, welcoming guests into a realm where every detail tells a story. Nordic design elements such as wooden screens and artfully
curated accessories are reimagined with contemporary flair, creating an interplay between tradition and modernity.
This visionary project is a true collaboration between Frantzén and Bishop, who share a commitment to pushing boundaries and crafting immersive experiences. “Working with Paul has been transformative,” says Frantzén. “He has taken our vision for the guest experience and translated it into a design that feels deeply connected to our brand while introducing an element of surprise.”
With key partners like Al Tayer Stocks (contractor), Turner & Townsend (project manager), Studio N (lighting) and Vision Furniture & Decoration Factory (furniture supplier), Bishop Design was able to bring the design vision to life.
Studio Frantzén is just the beginning of Björn Frantzén’s journey in Dubai. Following its debut, the neighbouring FZN, a distinct dining concept, opened on 8 November. While accessible via Studio Frantzén, FZN will operate as an independent venue, offering an elevated culinary experience that cements Frantzén’s place in Dubai’s gastronomic landscape.
This page and opposite – The material palette integrates warm copper accents, reminiscent of Scandinavia’s mining history, placing them alongside terrazzo-tiled floors that dissolve into moss-inspired carpeting – an homage to woodland journeys
Architect Michele Perlini’s F+C House Invites Land and Light to Converse
Set on the rugged hillside surrounding Verona, this modernist abode has been guided by sustainable principles and an appreciation for the surrounding land
WORDS – LAURA CHERRIE BEANEY
Set amid the sprawling Torricelle hillside on the outskirts of Verona, F+C House feels like an architectural whisper – quiet, deliberate and attuned to its surroundings. Designed by Michele Perlini, the house reflects the ethos of his family’s studio, founded in 1974 – a practice committed to energy efficiency and environmental responsibility. Perlini, no stranger to the rigorous demands of sustainable design, honed his expertise at CasaClima, Europe’s benchmark for energy-conscious architecture, and built up a portfolio which includes Italy’s first luxury hotel in a historic centre to meet its exacting standards. His work includes experimental projects like Smart House, a template for sustainable living, and the award-winning No.Made luxury mobile home. Such innovations underpin a philosophy where functionality, aesthetics and sustainable principles are inseparable; F+C House continues this narrative with quiet conviction.
Perlini understands design as a negotiation process between material and site, form and function, land and light. “Every choice I make aims to improve physical and mental wellbeing,” he says. “Sustainable and biophilic architecture creates a better lifestyle by introducing elements such as natural light, greenery, fresh air and carefully selected materials that stimulate the senses and unlock creativity.”
F+C House occupies 300 square metres of undulating hillside, its two minimalist volumes balancing bold geometry with sensitivity to the terrain. The monochromatic forms don’t dominate the landscape but seem to seep into it. There’s a dialogue between
The two minimalist volumes of the home balance bold geometry with sensitivity to the terrain
the clean precision of modern design and the untamed wildness of the surrounding olive trees, cherry groves and ancient slopes. This sense of quiet reciprocity defines Perlini’s approach. “The space exudes serenity and a sense of balance,” he notes. “It’s designed to feel like a retreat – calm, welcoming and conversing with nature. Through a play of natural light, combined with the warmth of the materials, we established a mood that feels uplifting and grounding.”
Inside, this ethos unfolds through discreet yet intentional gestures. The open-plan ground floor feels expansive but also intimate, with a custom steam-powered fireplace designed by Perlini as the centre point, connecting the living and dining spaces. From there, twelve metres of full-height glass blur the boundary between interior and exterior domains, inviting the garden to enter. Above, a suspended staircase – sculptural and weightless – carries the eye and body upward, linking the house’s two levels in fluid ascent. The upper floor is an environment of quiet refinement. The master suite embraces the calm precision of Japanese design with its open bathroom, walk-in closet and panoramic terrace, where a hot tub frames views of the rolling terrain. Every detail feels purposeful yet unforced. A second en-suite bedroom, a study and laundry space complete the level, encircled by a wraparound terrace that summons the landscape closer.
Perlini’s careful attention to light activates every corner. Daylight refracts through textured plasters and gilded surfaces, shifting and softening as it moves. External wooden slats create dynamic patterns of light and shadow,
Left and opposite page – Twelve metres of full-height glass blur the boundary between interior and exterior domains; Below – The master suite embraces the calm precision of Japanese design
evolving with the hours and seasons. These elements – windows, slats, walls – are never just structural; they are frames through which the outside world flows in, lending the house its organic rhythm. “We employed layered lighting, combining natural light with strategically placed fixtures such as warm-toned LED strips and recessed spotlights,” says Perlini. “In this way, we cultivate distinct moods throughout the day.” At its core, the F+C House is a study in restraint. Its materials – warm oak, natural clay, sleek Modulnova cabinetry – are tactile and honest, grounding the interiors in a sense
of place. Even the energy systems echo this harmony. Consuming just 15 kWh per square metre annually, the home integrates mechanical ventilation and climate control to reduce its environmental footprint without compromising comfort. For Perlini, sustainability isn’t a gesture; it’s imperative.
F+C House doesn’t shout its purpose; instead it invites you to take stock and observe –how the light moves, how the air flows, how the land holds it. It’s an architecture of balance, where design and nature coexist, each making room for the other.
Photography: Francesco Scandinavo
THE HOUSE OF
The architects retained the pitched roof,applying its traditional and symbolic function as a form of collective shelter and protection while also utilising it to demarcate shared and private areas
In Singapore, a private residence designed by Neri&Hu honours collective memory and communal living
WORDS – JEN COPLEYPHOTOGRAPHY – FABIAN ONG
Asmall memorial garden sits within the centre of a striking Singaporean home designed by Shanghai-based architects Neri&Hu. This is The House of Remembrance, a two-storey residence inspired by a traditional Chinese courtyard house, or siheyuan. Rooted in Confucian ideals, a siheyuan dwelling embodies the principles of symmetry and communal living. Neri&Hu has incorporated these values into a new home for three siblings, providing shared areas on the ground level and private spaces on the upper floor, all housed under a dramatic pitched roof. At the heart of the residence is a central garden designed to honour the memory of the siblings’ late mother. This is a building that functions as a receptacle of memory; the central garden is both a literal and symbolic nucleus of the home. The client had a series
This page (below) – A small memorial garden sits within the centre; Right page –Apertures, voids, expansive glazing and skylights sculpt natural light and unify space
of clear and unique objectives. This included preserving the memory of their old house in the design of their new home. The pitched roof form was a key aspect of their childhood family home, a building that combined myriad architectural influences including British colonial features, Victorian elements and traditional Malaysian details such as deep roof eaves. The architects retained the pitched roof, applying its traditional and symbolic function as a form of collective shelter and protection while also utilising it to demarcate shared and private areas. As Neri&Hu elaborates, “All private bedrooms, located on the upper introverted level, are housed within the roof’s steep gables so that when seen from the exterior, the house retains the appearance of a single-story hippedroof bungalow.” Apertures, voids, expansive glazing and skylights sculpt natural light and
unify space. The ground floor houses a living room, open kitchen, dining room and study, and double-height areas connect the communal facilities to the corridors above while large glass walls orientate views to the lush garden spaces surrounding the house.
“Questions of culture and aesthetic philosophy concern us deeply and we also want to relate what we do to the everyday and the public,” explains Neri&Hu. The House of Remembrance embodies these concerns, combining cultural references with formal concerns and practical function. The architects elaborate: “The House of Remembrance transforms a traditional house into a multi-generational home, addressing not just the spatial challenges of adaptive reuse but also embedding layers of memory. In China, in the historical cities, we have always had multigenerational homes…
We are accustomed to sharing spaces and the necessary respect for others – we understand the proxemics of closeness.”
The House of Remembrance realises the lyrical and poetic potential of architecture, with memory and meaning infused into every aspect of the design. On the ground floor, space is organised around the shape of a circle, with the memorial garden at its centre. This circular form encourages an ambulatory meditative experience and embodies something of the sacred and eternal. As Neri&Hu explains, “Since the circle has no edges or terminating vantage points, it allows one to always find a return to the centre both spiritually and physically. The garden symbolically defines the heart of the home as an ever-palpable void, persisting as the common backdrop to the collective lives of all inhabitants.”
The design seamlessly merges mid-century modern aesthetics with the serene charm of its mountain surroundings, embodying a fresh take on alpine luxury
The Cōmodo
This hotel in Bad Gastein in the Austrian Alps evokes alpine nostalgia with its ‘60s and ‘70s charm
PHOTOGRAPHY – PION STUDIO
WORDS – ANEESHA RAI
Nestled in the picturesque alpine town of Bad Gastein, the designers of The Cōmodo reimagine an old, abandoned spa hotel into a bold design destination. With 70 meticulously curated rooms, the new design seamlessly merges mid-century modern aesthetics with the serene charm of its mountain surroundings, embodying a fresh take on alpine luxury. Rooted in Bad Gastein’s legacy of wellness and nature, the hotel balances creativity with tranquillity. Designed by Berlin-based visionary Piotr Wiśniewski and architect Barbara Elwardt of weStudio, The Cōmodo represents the first in a series of design-forward properties slated to redefine hospitality worldwide. Framed by dramatic cliffs and sprawling valleys, The Cōmodo’s architecture is a tribute to mid-century modern design with a contemporary alpine twist. Bold geometric shapes, vibrant hues and an inviting interplay of textures define its interiors. Original terrazzo floors are juxtaposed with rich wine and bottle-green accents, while natural oak and pine add warmth and authenticity. The hotel showcases the work of European artisans, with bespoke tapestries, prints and furniture. “We wanted every corner to tell a story,” say the designers, whose collaborations with rising and established talents like Berlinbased AMBERDESIGN infuse the space with curated charm. Each room is a modernist haven, offering a playful yet sophisticated aesthetic. Ranging from Mountain View Rooms to Garden Suites, the accommodations combine thoughtful luxury with functional design. Vintage furniture, oak parquet flooring with underfloor heating, and freestanding bathtubs (in selected suites) create spaces for both comfort and inspiration. Some rooms boast sweeping vistas of the Gastein Valley, while others open to serene forest views. At the heart of the hotel, the lobby hums with life – a communal living room filled with books, artwork and curios. A central bar and restaurant flow into a summer garden, seamlessly blending indoor and outdoor spaces. Bad Gastein has long been renowned for its therapeutic properties, drawing royals and wellness-seekers since the 19th century. The Cōmodo continues this legacy with a spa that offers treatments inspired by the healing properties of Gastein’s mineral-rich
mountain water. With anti-inflammatory and regenerative benefits, the water anchors the spa’s ethos. Guests can enjoy tailored treatments using luxury Saint Charles products, alongside traditional massages, facials and innovative magnesium therapies. The spa also features saunas, treatment rooms and an indoor pool for ultimate relaxation.
Under the culinary direction of Berlin-based chef Max Jensen, The Cōmodo offers a menu of modern Austrian cuisine rooted in a farm-to-table philosophy. Ingredients are sourced from local farmers, ensuring sustainability without compromising flavor. Guests can enjoy organic wines, classic cocktails and dishes that blend traditional techniques with creative flair. Art plays a starring role at the hotel, with over 140 unique pieces by AMBERDESIGN adorning the hotel, inspired by the natural beauty of Bad Gastein. Gerrit Engel’s photography and Jeppe Hein’s interactive art further enrich the visual narrative. Fundamental, a Berlin design agency, has also crafted exclusive vases and candleholders, adding another layer of sophistication to the interiors.
Bad Gastein, once a retreat for Europe’s elite, is experiencing a creative resurgence – and The Cōmodo stands at its forefront. The town’s blend of brutalist and Belle Époque architecture, paired with sweeping natural vistas, creates a unique charm. Whether skiing across 220 kilometres of slopes in winter or exploring sunlit trails in spring, visitors will find a perfect blend of adventure and tranquility.
Top (from left) – Bold geometric shapes, vibrant hues and an inviting interplay of textures define its interiors; Freestanding bathtubs in selected suites create spaces for both comfort and inspiration; Below – The spa offers treatments inspired by the healing properties of Gastein’s mineral-rich mountain water
Channelling the Dada Spirit
Free-spirited and creative, The Home Hotel in Zurich injects a sense of whimsy into a former paper factory
WORDS – ANEESHA RAI
Eccentric, free-spirited and unapologetically creative – these qualities defined the avantgarde Dada movement of the 20th century that now embody the essence of The Home Hotel Zürich. Recently opened in a reimagined 19thcentury paper factory alongside the Sihl River, this unique property captures the whimsical and experimental spirit of its historic predecessors while creating a vibrant hub for today’s cultural scene. The Home Hotel Zürich pays homage to the rebellious legacy of Dadaism, born in Zurich during World War I when artists like Marcel Duchamp, Francis Picabia and Hugo Ball rejected traditional aesthetics in favour of satirical and nonsensical creations. The hotel’s design, spearheaded by Erik Nissen Johansen of Stylt Trampoli, has transformed the historic structure into a contemporary masterpiece, blending industrial elements with playful, unexpected details. Towering concrete columns, glass-brick accents and lush greenery honour the building's past, while bespoke furniture, bold colour palettes and layered materials evoke joy and intrigue.
The hotel’s 132 guestrooms, including suites and extended-stay options, continue this narrative with earthy tones, warm walnut accents and bespoke touches including playful wallpapers that create optical illusions. Even the bathrooms are infused with creativity, featuring premium amenities in custom Dada-inspired bottles. Beyond its striking interiors, The Home Hotel Zürich invites guests to immerse themselves in a multifaceted cultural experience. The Loulou French Grill & Raw Bar Zürich elevates dining with a menu that marries French tradition and global influences while emphasising local ingredients. Meanwhile, the Home Bar & Lounge serves as a social nexus with classic cocktails, creative drinks and an eclectic atmosphere.
Blurring the lines between art, culture and hospitality, The Home Hotel Zürich is a sanctuary for the modern-day Dadaist – a space where history inspires, creativity thrives and every moment surprises.
Photography courtesy of Erik Nissen Johansen and Design Hotels
Bespoke furniture, bold colour palettes and layered materials evoke joy and intrigue
Cultural Immersion Meets Refined Luxury
The Chedi Hegra opens its doors in AlUla’s UNESCO World Heritage Site
WORDS – ANEESHA RAI
The Chedi Hegra has officially opened its doors, inviting discerning travellers to explore the heart of Saudi Arabia's first UNESCO World Heritage site, Hegra. Nestled within the ancient Nabataean city of AlUla, the hotel is a masterful transformation of the historic Hegra Train Station, seamlessly combining historic preservation with modern luxury. Hegra, once a bustling hub along the Incense Road in the 1st century BCE, has long been a beacon of cultural and historical significance. The railway, a marvel of early 20th-century engineering built in 1907 under German engineer Heinrich Meissner, linked Medina to Damascus, facilitating the movement of pilgrims and trade. Now, The Chedi Hegra pays homage to this storied past while introducing guests to the unparalleled beauty of AlUla’s landscapes and the region’s 200,000 years of human history.
ther enhance the connection between the past and present. Among the highlights is Silent Witnesses of the Past by Monika Sosnowska, a poignant piece crafted from repurposed steel rails from the historic Hegra Railway.
“The opening of The Chedi Hegra represents a significant milestone in AlUla’s transformation into a global cultural destination,” remarked Phillip Jones, Chief Tourism Officer of the Royal Commission for AlUla.
“This boutique property epitomises sustainable place-making while preserving the region’s natural beauty and cultural heritage.”
in the historic train station, serves Mediterranean dishes crafted from locally sourced ingredients. By night, the space transforms into the elegant Golden Hour Lounge, where guests can savour the desert sunset alongside the restored Locomotive 964, an original 1906 model that once graced the Hajj route.
Guests at The Chedi Hegra can explore AlUla’s rich heritage through guided tours, wildlife excursions and peaceful walks through desert-inspired gardens. Plans for a tram system beneath the Shadow Canopy promise to enhance possibilities for exploration.
At the core of The Chedi Hegra’s architectural identity is a dedication to blending heritage with contemporary design. Led by the Milan-based design studio Gio Forma, the project integrates historic railway structures with tranquil, modern spaces. A standout feature is the Shadow Canopy, or Lamellae – a 700-metre-long design marvel that bridges the historic railway tracks with serene, shaded areas for exploration and reflection. Inside, curated art collections and immersive installations fur-
The Chedi Hegra features 35 meticulously restored rooms, suites and villas, each offering breathtaking views of the desert’s necropolis and rock formations. Many of these spaces are housed in the original railway buildings, showcasing preserved stone walls and architectural features that resonate with the site’s history. Thoughtful design touches, such as private terraces and plunge pools, create an intimate connection to the surrounding landscape, while interiors draw inspiration from Nabataean heritage. Dining at The Chedi Hegra is a sensory journey, blending local flavours with international finesse. Prima Classe, located
For those seeking rejuvenation, the hotel offers a villa spa featuring treatments inspired by local ingredients, such as dates and moringa. A larger wellness centre, opening soon in a historic mud-brick villa, will include saunas, steam rooms and a sprawling outdoor pool –the largest in Hegra.
With its seamless integration of history, design and luxury, The Chedi Hegra offers a truly unique stay amidst one of the world’s most storied regions. It redefines the boundaries of experiential travel, inviting guests to be part of a living narrative where ancient heritage meets modern sophistication.
Left page – The hotel is a masterful transformation of the historic Hegra Train Station; This page – Led by the Milanbased design studio Gio Forma, the hotel integrates historic railway structures with tranquil, modern spaces
The Muse
Located in the heart of Jumeirah Garden City, formerly known as ‘New Satwa’, The Muse adds to the urban fabric of the area
WORDS – ANEESHA RAI
As you navigate the Jumeirah Garden City neighbourhood, The Muse hotel commands attention with its striking olive-green façade and elegant beige structural arches, crowned by a tripleheight vaulted entrance crafted from glass reinforced concrete (GRC). The design features a series of colonnades and a stepped-back façade, seamlessly blending nods to regional heritage with practical solutions for Dubai’s climate such as natural shading and passive cooling. As one of the first
developments in the area, The Muse set a benchmark for future developments in a ‘gentrified’ neighbourhood that effortlessly bridges old and new Dubai. Designed by T.ZED Architects, the hotel reflects a deep respect for the site’s heritage and a forward-thinking vision, offering a fresh take on Dubai’s evolving urban fabric.
“T.ZED Architects needed to be considerate in our approach to designing one of the first contemporary buildings in what was once New Satwa. Historically, Satwa is one of Dubai's oldest neighbourhoods and housed the first markets. The brief inevitably required us to not only look back at the heritage of the site, but to also inform the ways in which individuals and couples would live in the future,” shared Tarik Zaharna, founder of T.ZED Architects. “The building needed to be bold, social in its nature and transparent in its experience. How were we to fit as many studios and rooms [as possible] across eight floors without making the building feel congested? How will one of the first buildings in one of the first gentrified neighbourhoods be received by the public?”
The ground floor design, with its transparent, flexible layout, blends seamlessly with the public realm. Interlock-
Pivoting screens and shaded bays add a dynamic element, transforming spaces into temporary market areas that invite interaction and community engagement
ing materials extend from the exterior into the interiors, creating a continuous dialogue between urban and built environments. Pivoting screens and shaded bays add a dynamic element, transforming spaces into temporary market areas that invite interaction and community engagement. “The idea of consolidating comfort, service, ease of use and access, all enveloped in a building that encourages interaction (without compromising privacy) and celebrates art, were components that we wanted to drive and introduce to the city. During construction, The Muse was one of the few buildings that was being developed and we wanted it to stand out in stature as well as offering, so we helped develop the idea of creating an almost self-contained micro-climate (an incubator) of sorts, for visitors and guests. The ground floor housed pivoting screens not only for shading but to also create 'bays' that could be temporarily occupied as a market space, and so we treated the project as an investigation on how the design of buildings can be approached in the city [not only] as a sustainable endeavour, but also as a catalyst of new ways to travel and stay in a new city,” shares Zaharna.
Catering to young professionals and designsavvy travellers, The Muse offers a range of selfcontained living typologies. These units integrate custom joinery, expansive floor-to-ceiling glazing and recessed facades, combining functionality with aesthetic appeal. Terrazzo and anodised metal in a distinct olive green dominate the material palette, lending a contemporary yet timeless quality to the interiors.
The unconventional hotel design merges places for living, working, exhibiting and recreation, making this hotel a first of its kind in the UAE.
Left – The Muse offers a range of self-contained living typologies; Below –The Muse hotel commands attention with its striking olive-green façade and elegant beige structural arches, crowned by a triple-height vaulted entrance
A distinct olive green dominate the material palette, lending a contemporary yet timeless quality to the interiors
Shaping Urban Transformation
Gensler’s Design Forecast Report 2025 identifies the top global design trends that will impact the real estate and built environment this year
WORDS – ANEESHA RAI
Global architecture, design and planning firm Gensler has revealed its latest design forecast report, which focuses on crafting adaptable, sustainable spaces that elevate the human experience while meeting the demands of modern life.
Tim Martin and Tariq Shaikh, Co-Regional Managing Directors and Principals at Gensler Middle East, said: “This year’s Design Forecast demonstrates how bold, visionary design can address global challenges and make a tangible impact. We are at a transformative moment in our industry, one that demands groundbreaking ideas and innovative solutions to enhance the human experience. Looking ahead, we are optimistic about design’s potential to shape a sustainable future that inspires and positively impacts people in meaningful ways.”
Here are five key takeaways from the report:
1. Experience-Driven Lifestyle Districts Reignite Global Cities
Mixed-use lifestyle and entertainment districts will take centre stage in 2025 as the new anchors for cities looking to drive community engagement and bring people together around shared experiences. Hospitality, retail, sports and residential spaces make up the mix of these experience-driven areas, the rise of which is also driving demand for safe streets and reliable transit options. The Diplomatic Quarter project in Riyadh showcases a recent Gensler example. Spanning a 38,000-square metre site, this development integrates retail, food and beverage, as well as entertainment spaces tailored to young professionals and families, creating a vibrant hub for urban living.
2.
Demand for Sustainable Design Supercharges Innovation and Value
With organisations everywhere increasingly aware of climate risk, buildings designed with resilient and sustainable strategies are trading at premium values. This sustainable surge is also driving demand for game-changing innovations in construction processes and the materials industry. The adaptive reuse of old buildings, energy-efficient designs, weatherscenario planning and other green techniques are anticipating local climate challenges while reducing waste and carbon emissions. Solutions such as low- or no-carbon interior finishes and furnishings and zero-carbon cement are leading the materials revolution.
3. Deeply Discounted Buildings Drive a Conversion Boom
On a global scale, with ageing office buildings and other devalued assets trading at deeply discounted rates, the adaptive reuse boom is poised to create valuable new real estate beyond just office-to-residential conversion. As the cost
of capital comes down, Gensler predicts that 2025 will usher in a new financial environment that will inspire developers to seek out creative conversions of all types. Specific to the Middle East region, they expect to see conversion from hospitality to healthcare, sports to retail, office to residential and more. The Al Faisaliah redevelopment project in Riyadh, for example, reimagines traditional retail and office spaces into a dynamic mixed-use environment.
4. The Workplace of the Future has Arrived
The future workplace is reportedly all about employee experience, inspiration and the value proposition being realised by building owners and developers. In 2025, tenants will continue to search for workplace experiences that motivate employees and meet their professional aspirations. Landlords looking to compete must be laser focused on transforming their spaces into fully amenitised, Class A buildings close to transit and within the 20-minute lifestyle mix. In Abu Dhabi, Gensler’s design for a leading
cybersecurity firm applies urban design principles to create a multifunctional workspace. Key zones such as The Harbour, The Neighborhood and The Oasis offer tailored spaces for interaction, focused work and relaxation, creating a balanced and productive environment.
5. Luxury Housing Meets Growing Demand
Attainable market-rate housing becomes the number one priority for cities around the world in 2025 as new financial incentives and lowering interest rates converge with changes to zoning laws and building codes to create an attractive market for housing developments of all types.
In the Middle East, the UAE and KSA are responding to different shifts in ways that reflect their unique market priorities. In the UAE, the focus is on meeting the growing demand for luxury residential properties, fuelled by an influx of high-net-worth individuals, financial incentives and a thriving expatriate community. Developers are increasingly integrating advanced technologies and sustainable designs
to cater to residents seeking bespoke living experiences. Dubai’s luxury developments demonstrate a trend toward world-class amenities, privacy and convenience, reinforcing the city’s reputation as a luxury destination.
Meanwhile, in KSA, the housing market reflects the broader Vision 2030 goals, emphasising the creation of vibrant, sustainable and inclusive communities. Mixed-income developments are gaining traction, with affordable housing projects balancing rapid urban expansion in cities like Riyadh and Jeddah. These initiatives aim to address the needs of a growing middle class while supporting government ambitions to improve home ownership rates. The integration of smart city concepts, cultural heritage preservation and green infrastructure is redefining housing in the Kingdom, aligning with its aspirations for a more liveable and sustainable urban future.
As cities worldwide face evolving challenges, Gensler’s Design Forecast 2025 offers a blueprint for building adaptable, sustainable environments that put people at the centre.
Staying Ahead of the Curve
identity interviews members of the A+D industry on the latest technological innovations driving their practices into the future
This page (from left) –Hai Phong Tower in Vietnam,
in-house spa,
In a rapidly evolving world, here’s what members of the architecture and interior design industry have on their radar. Shaped by disruptive technologies that are transforming how architectural firms create, collaborate and meet client needs, Dewan Architects + Engineers recently established MAD (Metaverse Architecture Department), a research and development lab, to continuously explore innova-
tions and redefine workflows to capitalise on the emergence of AI-driven design tools and extended reality (XR).
“AI is no longer just a buzzword, it’s fundamentally transforming how architects conceptualise, iterate and execute projects. It has evolved far beyond simple text-to-image capabilities; we are now interacting with our data, asking for insights and receiving actionable recommendations,” shares Mohammed Adib, Chief Design Officer (CDO) at Dewan Architects + Engineers. The company, through MAD, has now successfully developed an in-house AI solution called Quible which enables direct communication with Dewan’s Business Information Modelling (BIM) models and automates repetitive and time-consuming tasks, leaving designers to focus on creative problem-solving.
Firas Alsahin, co-founder of 4Space Design, is also a fan of capitalising on the AI boom, citing Midjourney and Finch3D, which are revolutionising design ideation and optimisation. He also is a proponent for generative design and BIM. “By integrating BIM with emerging technologies like IoT [Internet of Things] and AR/VR [augmented reality/virtual reality], we’re now able to visualise and simulate entire projects before construction even begins,” he says.
WORDS – ANEESHA RAI
Left page – SolForest Eco Park in Hanoi, Vietnam by Dewan Architects+Engineers introduced modern, organically induced vertical gardens throughout the development
designed by Dewan Architects+Engineers; Oceano’s
designed by Dewan Architects+Engineers
Parametric Architecture
Parametric architecture continues to be heavily used. “Over time, its [parametric architecture’s] capabilities have grown more sophisticated, but today, with the advent of AI and machine learning, parametric design has reached an entirely new level of potential,” Abid shares. “Take, for example, the design of a high-performance building façade. Traditionally, parametric tools allowed architects to model intricate patterns that optimise light, shade and airflow. With AI, this process becomes dynamic. Machine learning algorithms can simulate how sunlight interacts with the façade across seasons and generate louvres or shading systems that adjust in real-time to changing conditions. This ensures optimal energy efficiency and comfort for occupants while maintaining the visual integrity of the design. Here, form becomes a direct response to functional needs, creating a symbiosis where one enhances the other,” he adds.
Smart Cities
From an urban development perspective, smart cities are on the rise. “Smart cities will leverage IoT to collect and analyse real-time data, enabling adaptive traffic management, efficient energy grids, and better resource allocation. This real-time feedback loop will improve the quality of life while reducing environmental impact,” says Alsahin. He also predicts that smart cities will prioritise environmental harmony, ensuring that technology enhances rather than detracts from natural ecosystems. Meanwhile, hybrid physical-virtual spaces driven by AR and VR will transform public areas into immersive, interactive hubs, enriching cultural and social experiences. “The concept of smart cities is no longer a distant vision but an emerging reality where technology and urban design converge to redefine how we live and interact with our environment,” says Adib.
Disruptive Technologies on the Horizon
Alsahin cites technologies such as generative design which uses AI to create optimised, innovative solutions, as well as bioengineered materials like self-healing concrete and algae bioreactors that foster symbiotic structures. Advanced robotics enable intricate construction tasks, enhancing efficiency and safety, while 3D printing accelerates large-scale building fabrication, reducing costs and waste. Additionally, he says hybrid-virtual spaces are here to stay: “AR/VR immersive design tools allow architects and clients to virtually explore and refine projects pre-construction, ensuring alignment and reducing rework.”
“Looking ahead, the horizon is filled with transformative innovations such as robotics, 3D printing, artificial intelligence and extended reality technologies that are not merely
tools but catalysts for a fundamental reimagining of how we design and build,” says Adib, who adds that machine learning is emerging as a creative force, helping enhance design decisions and create smarter workflows.
Materials Mastery
From a materials perspective, Richard Wilson, founder of Colab, Dubai’s first materials library remains positive. “In the early days of Colab the curiosity was certainly there, and this has since flourished into genuine interest. More specifiers are keen to work with local materials and as a result there is greater innovation, and the cycle continues,” he shares. Material development continues to thrive,
with innovators evolving existing products or introducing new ones. Wilson notes that over 15 locally and regionally made materials are now available for the design and build community – including materials from Dateform, Byblos and Karim+Elias. “We realise the importance of testing and closer collaboration with creatives and government entities. Testing is posing a challenge to creatives. There’s a concerning lack of information out there, and the costs are prohibitive. More needs to be done to break down these barriers,” he says. Colab has recently also collaborated with The King Abdulaziz Center for World Culture (Ithra), which will soon house a new purpose-built materials library in the Kingdom of Saudi Arabia.
Below (from top) – IDA bakery and bistro, designed by 4Space Design; Akabeko at voco the Palm, designed by 4Space Design; Cosmo café in Riyadh, Saudi Arabia designed by 4Space Design
Form Meets Function
Laufen prioritises design, functionality and sustainability in its latest collections
WORDS – ANEESHA RAI
PHOTOGRAPHY – OLIVER HELBIG
Renowned for its expertise in crafting bathroom solutions since 1892, Laufen continues to redefine holistic bathroom culture through innovative products that combine sustainability, design excellence and cutting-edge technology.
At the forefront of Laufen's offerings is the Meda collection. Created by Peter Wirz of Studio Vetica, Meda presents a modular system of ceramics, taps, furniture and bathtubs with
sleek, essential shapes. Designed for adaptability, Meda seamlessly fits into various bathroom environments and styles. “The calm, soft and gentle design language of Meda forms the foundation of the extended Laufen brand experience,” says Wirz. The collection embodies Laufen’s vision of a cohesive bathroom experience, blending elegance with functionality.
Another standout collection is ILBAGNOALESSI, which epitomises Laufen’s commitment to balancing form and function. Designed by Stefano Giovannoni in collaboration with design brand Alessi, this collection reimagines classic bathroom archetypes with fluid, sculptural forms. Launched in 2002 and reimagined in 2022, ILBAGNOALESSI showcases the possibilities of Saphirkeramik, an innovative material unique to Laufen. Strong yet malleable, Saphirkeramik enables the creation of soft, fluid washstands and basins with a seemingly weightless appearance, pushing the boundaries of design and technological craftsmanship.
Courtyard 35 honours the rich heritage of Beijing’s siheyuan (traditional courtyards) while challenging conventional notions of preservation
WAY Studio redefines Beijing’s courtyard heritage with modern elegance
WORDS – ANEESHA RAI
Located near the historic imperial palace and juxtaposed against the bustling commercial hub of Wangfujing, WAY Studio has transformed an old, secluded courtyard into a vibrant micromixed-use urban complex. Courtyard 35 honours the rich heritage of Beijing’s siheyuan (traditional courtyards) while challenging conventional notions of preservation. WAY Studio approached the design with the philosophy that preserving tradition is not about replicating historical forms but about fostering a spirit of innovation. By introducing new elements into the courtyard’s existing spatial order, the studio has created an interplay of old and new, exploring the relationship between natural and man-made spaces.
Originally an introverted, irregular courtyard marked by fragmented renovations, the space has been redefined with a focus on negative space. Rather than altering the existing buildings, the design centres on the cloud bridge, a striking installation that floats above the courtyard. This intervention reshapes the spatial flow, transforming the courtyard into a public gathering space and reconnecting it to the urban fabric of the city.
Serving as the heart of the transformation, the cloud bridge is both a functional structure and an artistic statement. Its organic, undulating form is inspired by natural curves, creating a fluid dialogue between architecture and the natural environment. Floating above the courtyard and embracing two towering ancient trees, the bridge offers visitors a fresh perspective, abstracting the surrounding architecture into a surreal landscape.
The reflective surfaces of the cloud bridge distort and reinterpret the traditional skyline, blending rooftops and treetops into a seamless, dreamlike composition. This design introduces a sense of elevation, allowing users to experience the courtyard from a vantage point that feels suspended between earth and sky.
The renovated courtyard is more than an architectural statement – it is a functional and dynamic urban space. Designed with a degree of ambiguity to maximise flexibility, the project incorporates four core components, including a coffee and teashop in the original guardhouse, an exhibition shop and restaurant as well as a VIP room and cultural exchange studio. These elements create a seamless integration of modern amenities with traditional
The
undulating
is inspired by natural curves, creating a fluid dialogue between architecture and the natural environment
spatial principles, catering to contemporary needs while fostering social interaction and cultural exchange.
The design for Courtyard 35 is also an attempt to explore Chinese aesthetic values, allowing people to break free from the conventional impression of ‘Chinese space’ and instead embark on an imaginative journey between modern functionality and the abstract and more impressionistic aspects of Chinese aesthetics. Chinese values are honoured by the flexibility of the space, where experience and functionality are integrated in a state of flux. The space invites visitors on an inspirational voyage, celebrating the fluidity of Chinese aesthetics and the harmony between functionality and experience.
This page – The restaurant that forms part of the urban space; Right page –
courtyard’s
form
Photography: Yuan Gao, Zeng Hao and AkunLee
Things to Covet
identity selects warm-toned furniture pieces and objets that align with Pantone’s colour of the year
WORDS – ANEESHA RAI
La Grande Muraglia Outdoor armchair by NEUTRA
The two-seater sofa from La Grande Muraglia Outdoor collection has been designed by Mario Bellini and features a frame made of silver travertine, a natural marble with unique veining, processed with an openpore brushed finish to enhance beauty and ensure durability. The uprights and frame evoke monumental architecture, while the wide seat offers enveloping comfort thanks to removable cushions with covers made of durable, waterproof materials and covered in recyclable polypropylene fabric. Elegant and sculptural, combining solidity and softness, the sofa is ideal for enriching any outdoor setting with style.
Distortion rug by Illulian
Designed by Marco Piva for Illulian, this rug features sinuous patterns and neutral colours and will add warmth to a space while instilling a sense of serenity. Shades of cocoa, chocolate and coffee are superimposed but never collide, being defined by contrasting silvery lines. The rug is crafted from pure silk and Himalayan wool, dyed exclusively with vegetable-based colours.
Helene by Minotti
Zoe pendant lamp by Venini
Designed by Doriana and Massimiliano Fuksas, the Zoe pendant lamp is inspired by the soft, flowing forms of the traditional Chinese lantern. Made of handcrafted opaline and coloured glass, it recalls the link between Venice and the Orient. The golden metal structure adds elegance, transforming light into a unique sensory experience.
With an extremely decorative and scenic appeal, the Helene coffee table designed by Hannes Peer design for Minotti features a frame created by interlocking the cylindrical or cubic polished stainless steel base with the wooden top. The base serves not only as a supporting element, but also as a functional storage tray in the centre of the top, making it ideal for accompanying moments of relaxation and conviviality. Either square or round, available in one height, Helene fits seamlessly into any environment, meeting different styles and needs.
Textures That Transform
Aura Living’s AW24 collection showcases the elegance of contrast and harmony
WORDS – ANEESHA RAI
Aura Living, a Saudi Arabian interiors brand celebrated for its refined f usion of global design trends with Middle Eastern cultural influences, unveils its Autumn/Winter 2024 collection –a showcase of transformative textures that epitomise the art of layered design. With a focus on both functionality and aesthetics, the collection features furniture and accessories that marry tactile richness with visual elegance, creating spaces that invite both comfort and sophistication.
Layering textures is not just a design technique – it’s a philosophy that infuses a space with depth and personality. Aura Liv-
ing’s AW24 collection explores this concept through an inspired mix of materials, from soft bouclé and rich velvet to sleek gold finishes and organic dark woods. Each texture i s carefully curated to balance contrast and harmony, offering a visual and tactile experience that transforms interiors into multidimensional sanctuaries.
The living room emerges as the heart of the home in the AW24 collection, where textures converge to balance warmth with sophistication. The Napoli Upholstered Sofa, wrapped in plush bouclé fabric, serves as a centrepiece of cosy luxury. Surrounding it, delicate ceramics and gleaming gold-accented candleholders
reflect Aura Living’s subtle nods to its Middle Eastern heritage, adding layers of opulence to the inviting space. For the dining room, Aura Living brings an interplay of bold contrasts and understated elegance. The Siena dining table, crafted from dark walnut veneer, anchors the space with a grounding presence, while its sleek gold legs add a contemporary edge. Complementing this, the Verona dining chairs extend the collection’s textured narrative with upholstered seating that pairs seamlessly with gleaming gold dinnerware and statement accessories. Together, they create an elevated dining atmosphere where functionality meets artistic finesse.
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Preserving Culture, Inspiring Creativity
Discover the Legacy of a Saudi Art Space: Prince Faisal bin Fahd Arts Hall explores the Hall’s enduring influence on the cultural fabric of Saudi Arabia
WORDS – ANEESHA RAI
In the heart of Riyadh stands the Prince Faisal bin Fahd Arts Hall. Established in 1985 a s one of the country’s first fine arts institutions, the Hall has undergone an extraordinary transformation to remain a cornerstone of t he Kingdom’s cultural identity. This book by Assouline celebrates the Hall’s legacy, exploring its history, architectural significance and its role in shaping the nation’s creative future.
Prince Faisal bin Fahd Arts Hall is more than just an exhibition space; it is a living archive of Saudi Arabia’s artistic journey. Originally designed to spotlight fine arts, the Hall h as evolved into a dynamic hub. Following extensive renovations, it now reflects a blend of heritage and modernity, while its Salmani ar-
chitecture serves as a fitting backdrop for the country’s burgeoning art scene. The publication delves into this architectural legacy, enriched with rare archival imagery that brings t he Hall’s rich history to life.
The revitalised Hall is a thriving space for creativity, offering much more than exhibitions. Its transformed basement, Masaha, stands as a vibrant creative hub, housing artist studios, a silkscreen lab, workshop spaces a nd a library. This multifaceted approach underscores the Hall’s commitment to fostering a n inclusive and supportive artistic community. The Hall’s programming, curated by Misk A rt Institute, showcases artists across all levels, from rising stars to established names.
Through free educational initiatives and public exhibitions, it bridges the gap between art a nd society, making modern and contemporary art accessible to all. This ethos is beautifully captured in the book’s pages, featuring original photography by Abdul Rahman Taha and illustrations by Nvard Yerkanian, with texts by Reem AlSultan and Eiman Elgibreen. Together, they provide a cohesive narrative of the Hall’s transformation and its continued influence on the cultural fabric of Saudi Arabia.
Th rough vivid imagery and insightful storytelling, this publication honours Prince Faisal bin Fahd Arts Hall as a cultural beacon that is preserving Saudi heritage while inspiring creativity for the future. www.assouline.com
Right – Sultan bin Fahad, Been There, Continued, 2022 (exhibition, “Tales of Nostalgia,” 2022)
Falaj Collection by Aljoud Lootah Design
Inspired by the UAE’s traditional falaj irrigation system, the Falaj Collection reinterprets a centuries-old symbol of life and connection into a contemporary design narrative. The falaj is an ingenious network of channels that distributed water from springs or underground aquifers, not only sustaining agricultural lands but also serving as a lifeline for communities, fostering unity and resilience. This profound legacy and impact on the UAE shaped the essence of the collection, which pays homage to the fluidity, organic forms and cultural significance of the falaj. Featuring elegantly crafted sofas and tables, the collection captures the natural curves and branching flows of the water channels, translating them into pieces that are both functional and deeply evocative. The colour palette draws directly from the UAE’s verdant oases – soft greens, earthy browns and warm neutral tones – evoking the landscapes that thrived along the falaj streams. The interplay of textures and materials mirrors the seamless blending of nature and human ingenuity that defined the irrigation system, while the shapes and separations in the designs reflect the harmonious reconnections of flowing water.
