The stories we uncovered did not disappoint. While childhood influences played a significant role in shaping many  of these career paths, it was often the unexpected turning points that proved most fascinating. These pivotal moments continue to inform how these talents see the world and how they create within it. Aspirations of becoming astronauts and fashion designers. A fascination with mathematics. Hours spent building with LEGO bricks. A book that sparked a new perspective. An interest in archaeology. A love of film. Theatre. Photography. Van Gogh’s Sunflowers. A memorable education in Milan. Each reason is unique, poetic, and deeply compelling in its own way. It has been a privilege to share these journeys, and we hope you enjoy reading them as much as we enjoyed uncovering them. We look forward to celebrating this year’s id50 cohort at IF HUB in July.

Continuing our collaboration with IF HUB, this issue’s cover story shines a spotlight on The Cut. We explore the brand’s innovative approach to kitchen design, highlighting the versatility, craftsmanship, and thoughtful functionality that define its collections.

Submissions for the identity Design Awards will open in early August, with entry criteria to be announced on our website in July. As always, we remain committed to recognising excellence across the MENA region, with an international jury set to evaluate this year’s entries. We look forward to discovering and celebrating the projects that continue to push the boundaries of design.

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WATG and Wimberly Interiors have unveiled the reimagined Lagen Island Resort, setting a new benchmark for preservation-first luxury in Southeast Asia. Conceived as an eco-sanctuary deeply rooted in its surroundings, the 42-key private island retreat embraces a regenerative design philosophy that prioritises conservation, cultural authenticity and immersive guest experiences.

Rather than rebuilding, the design team retained nearly all of the resort’s original structures, significantly reducing environmental impact while protecting the island’s biodiversity. Existing materials, including nara wood flooring, were carefully repurposed into new architectural features, reinforcing the project’s commitment to sustainable reuse. Across the six-hectare resort, architecture and interiors draw heavily from Filipino heritage, weaving traditional craftsmanship into every detail to support the local community. Hand-carved wood, woven textures and indigenous motifs inspired by the Tagbanua, Tausug and Maranao peoples create a layered narrative of place and culture. 

From water villas that blur the boundary between sea and shelter to forest rooms immersed within lush greenery, the resort’s design fosters a seamless connection to Palawan’s dramatic landscape, where nature itself becomes the ultimate luxury.

Amangiri, USA

Designed by original Amangiri architect Marwan Al-Sayed, the retreat’s new Six-Bedroom Villa brings a distinctly architectural perspective to desert living. Set deep within the untouched Utah landscape, the 1,115-square-metre residence is conceived as an extension of its surroundings, with low-slung lines, walled gardens and expansive terraces dissolving into the canyon terrain. Rooted in Aman’s restrained design language, interiors layer walnut, cypress and poured concrete to mirror the raw tones and textures of the desert beyond. Floor-to-ceiling glass walls frame sweeping vistas, while open-plan living spaces transition seamlessly into shaded loggias, alfresco dining areas and a dramatic 36-metre central swimming pool.

Balancing monumental scale with an intimate residential feel, the villa’s six ensuite king bedrooms are designed for privacy and retreat, including a primary suite with its own secluded courtyard and plunge pool. A dedicated spa, steam room, sauna and fitness studio further reinforce the sense of sanctuary. Conceived as a private desert home rather than a conventional resort stay, the experience is elevated through highly personalised service, including a private chef and dedicated villa host.

Wilderness Bisate Lodge, Rwanda

Bisate’s architecure and interior design is rooted in Rwandan building tradition as exemplified in the design of the Royal Palace of the traditional monarch. The spherical, thatched structures echo the thousands of hills that dot the Rwandan landscape. The architecture is also inspired by Bisate’s amphitheatre setting, with the forms and outlines of the lodge thus accentuating the spectacular natural surroundings. This volcanic mountainous terrain also resonates in the volcanic stone that is used in Bisate’s fireplaces and its surrounds, while natural ‘flamed’ granite is used for many surfaces. 

The architecture was completed by Garreth Kriel from Nicholas Plewman and Associates – who pulled the project together, with Designers Caline Williams-Wynn and Nilfah Adams from Artichoke. Materials used included concrete, steel, timber, synthetic thatch, volcanic rock, bamboo, reed, and papyrus. Bisate’s interior design is drawn from a variety of aspects of the Rwandan lifestyle, particularly the colourful textiles and use of texture. “The emerald green colour in the textiles and chandeliers is reminiscent of the verdant greens of the rainforests, as well as the vibrant markets that dot the villages throughout the country,” shares Williams-Wynn. Following through with Artichoke’s commitment to the principle of recycling, the chandeliers are of recycled glass, and the ibyansi milk jug motif is reused across a number of elements. Many of the furnishings are decorated using imigongo, an art form unique to Rwanda that uses cow dung. The use of black and white cow hides reflect the rural way of life in the villages, and volcanic stone is used in the fireplaces to echo the volcanoes of the adjacent Volcanoes National Park.

With only six luxurious forest villas, each villa comprises a generous yet intimate combination of bedroom, reception area and bathroom, all warmed by a central fireplace and with breathtaking views out across a private deck towards Mount Bisoke.

Recently, Wilderness has unveiled the Sanctuary – a purpose-built wellness space dedicated to restoration, reflection and connection to place. The spatial journey is defined by a deliberate interplay of scale, light and movement and local craftsmanship lies at the heart of the Sanctuary’s design. 

One&Only Mandarina, Mexico

One&Only Mandarina is deeply immersed in the culture and landscape of Mexico, with the eco-conscious retreat designed to preserve the untouched beauty of Riviera Nayarit. Conceived by Studio Rick Joy, the resort responds sensitively to its surroundings, allowing the dense jungle, ancient trees, and dramatic coastline to guide the architectural language and spatial planning.

“Our designs naturally attune with the views, light, activity and atmosphere created by the hundreds of hues of greens that stimulate all the senses from foreground to horizon. Our process was narrated not just by the hundreds of years’ old trees and vegetation but also the pre-Hispanic history and artifacts on site – so much so that it became necessary that the roads be constructed to divert disturbance and a great weaving take place throughout the site to preserve as much as possible,” says Studio Rick Joy. “Our intent is that those who visit, will sense the rare ancient timelessness of nature and uniqueness of this place.”

Throughout the resort, interiors celebrate Mexican craftsmanship through bespoke furnishings, artisanal textiles, and locally made artworks. Highlights include cast-bronze pieces by the Grez family, gold-leaf installations by Mexico City-based studio Fervor, and handwoven textiles sourced from artisan communities in Oaxaca and Chiapas. The One&Only Spa, set within a volcanic rock garden, draws inspiration from Huichol sacred geometry, with its eight-point star layout symbolising rebirth, renewal, and spiritual regeneration

STORY Carrousel Rabat, Morocco

Dubai-based studio ROAR has reinterpreted Amazigh heritage through a contemporary spatial language rooted in movement, craft, and materiality. Conceived as an immersive journey rather than a conventional hotel, the project balances cultural references with a refined architectural sensibility.

Throughout the interiors, tactile wall reliefs reinterpret traditional weaving techniques, transforming craft into architectural surfaces rather than decorative gestures. Geometric compositions derived from Berber textiles inform flooring patterns, joinery, and custom details, while wayfinding elements subtly reference Tuareg jewellery and protective amulets. “We wanted to distill Amazigh heritage into something more abstract and architectural, where culture is felt through space rather than explicitly shown,” says Pallavi Dean, Founder and Creative Director at ROAR. Natural materials, layered textures, and a muted palette inspired by Morocco’s landscapes define the guest rooms, while ocean-oriented planning and rooftop social spaces reinforce the hotel’s connection to the Atlantic coastline.

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Vaida Buchrotaite, Principal and International Interior Design and Operations Director and Henrique Dias, Principal and Middle East Hospitality and Mixed-Use Director

“Culture, rituals, materials, and subtle details that make a destination unique. That’s where the real narrative begins”

As opposed to forming a story once the project is complete, Buchrotaite’s team focuses on discovery by unveiling chapters layer by layer. Canopy by Hilton The Point in Abha, emerges as a common example. “For example, something as specific as the flower reeds worn by men during ceremonies became the inspiration for the ballroom chandelier design. It’s a small cultural detail, but when translated thoughtfully, it creates something authentic and memorable. Similarly, reception panelling can take cues from the surrounding Asir mountain formations, while patterns and colour palettes across the rest of the spaces draw directly from the craftsmanship of local women – elements you see across the city,” she shares. The focus seems to embed meaning into decisions and create spaces that transcend beauty. Instead, the focus lies in creating something that feels rooted, intentional, and impossible to replicate elsewhere.

Teams work in sync, as opposed to silos. Buchrotaite shares the sentiment of working together in one poignant line: “Interior designers are not decorators, and architects are not just façade designers; we operate as one embedded team,” she says. The teams work together across a variety of functions, from inception, planning, zoning, and user-experience to realise an experience that feels seamless, cohesive, and well-resolved.

To bring about a sense of synchronicity for mega-projects, Dias shares that this comes from creating a shared logic rather than a repeated visual language. The real challenge, he shares is more on making the journey feel seamless and intentional. “What we establish early is a common experiential DNA,” he shares. “How arrival is choreographed, how public spaces connect, how landscape carries continuity, and how material language reinforces a sense of belonging across the wider ecosystem.” He cites Saudi Arabia where this approach holds relevance as hospitality being embedded within the giga-scale destinations is a priority. “Guests are no longer experiencing a standalone hotel; they are moving through a larger narrative of culture, retail, wellness, entertainment, and public life,” he shares.

Restaurant concept of Canopy by Hilton The Point in Abha

“A project I often reference is Canopy by Hilton The Point, because it demonstrates how brand identity becomes strongest when it is inseparable from place.” Shares Dias. “Rather than treating the Canopy ethos as a fixed set of standards, we allowed the character of Abha, the mountain landscape, the cultural richness of Aseer, and the region’s artistic heritage to shape how the brand was expressed. That, to me, is where hospitality branding becomes truly innovative: not when a brand is imposed on a destination, but when the destination becomes the brand’s most authentic expression.”

Shifting Themes, Trends, and Technology

When asked about what the latest considerations were for hospitality, Buchrotaite shared that there still seems to be a focus on what she calls refined, minimal luxury. “It’s less about bold, lifestyle-driven palettes and more about material honesty, texture, and quiet elegance,” she said. “It’s not a one-directional trend. Our portfolio spans everything – from ultra-minimal resorts to richly detailed, traditional environments, and even more playful, industrial, or entertainment-driven spaces. Each has its place.” In markets with a diverse range of users, this may be perceived as particularly challenging. “You’re designing for a global audience with very different definitions of luxury and experience,” shares Buchrotaite. “While certain trends may lead at a given moment, in reality they all coexist – and that balance is what makes the region so dynamic.”

Dias adds that while aesthetics do matter in hospitality; context is critical. “In hospitality, they [aesthetics] only become meaningful when they translate into memory, wellbeing, and a sense of restoration,” he shares. Emotion out of the experience is key and is the goalpost. “Guests may first notice beauty, but what stays with them is the emotional residue of the experience,” shares Dias. “It is the calmness of arrival, the warmth of natural materials, the softness of filtered light, the shift in acoustics as they move from a vibrant social space into the privacy of their room, or the way a framed view creates a moment of pause.”

With a focus on sensory composition, the DLR team focuses on shaping guest experiences through rhythm, tactility, sound, scent, framing, and the emotional pacing between energy and retreat. Increasingly, this is also tied to wellness. “Luxury today is no longer only about visual richness; it is about how a space supports recovery, better sleep, mental clarity, social connection, and a deeper sense of human restoration,” shares Dias. “For me, the real role of aesthetics is to create emotion through space, but also to design environments that guests leave feeling better than when they arrived. Beauty is only the first layer; restoration is the lasting memory.”

When it comes to AI and technology, Dias is robustly positive. “The most successful technology in hospitality is the kind guests barely notice,” he shares. “Its role is not to make the experience feel more digital, but more intuitive. Whether through adaptive room settings, seamless arrival, intelligent concierge systems, or back-of-house efficiencies, technology should remove friction and allow the human side of hospitality to become even stronger.” 

He shares he is most excited about how AI influences design. “It allows us to understand guest movement, dwell patterns, circulation logic, and operational behaviour far earlier in the process, giving us a more intelligent framework for shaping experience before the building is even realised,” he shares. “For me, the benchmark is simple: technology should make hospitality feel more human, not less,”

A contemporary three-bedroom villa designed around indoor-outdoor living, blending sculpted arches, shaded terraces, and tropical landscaping

Sustainability equated to quality

Dias also argues that sustainability is not an added value. “Guests today are far more conscious of how spaces are made, how they age, and how authentically they connect to their environment,” he shares. A focus is given on healthier materials, better daylight, natural ventilation, a stronger connection to the landscape, and spaces that feel built to last rather than designed for short-term visual impact. “That has shifted the design conversation much earlier for us,” he shares. “We now begin with endurance: how a space performs over time, how gracefully it ages, and how it can remain emotionally and operationally relevant without constant reinvention. For me, the most sustainable hospitality experiences are the ones that still feel timeless a decade later. That sense of longevity, calm, and authenticity is increasingly what both operators and guests are looking for.”

On operating in Saudi Arabia

With a lot of active projects in the region, Buchrotaite claims that hotel operators are focused on very similar goals as the rest of the region. This includes efficiency, a strong ROI, and clear positioning. According to Buchrotaite, in Saudi Arabia, there’s an added layer: every project is expected to be a destination. “That doesn’t always mean ‘iconic’ in the traditional sense,” she shares. “Some projects are bold and statement-driven; others are more familiar and expected, but what they all have in common is the need to deliver an experience that stays with people. Not just something that photographs well, but something that creates a memory.”

Another focus is on fit-for-purpose destinations. “Whether it’s a business hotel supporting a new wave of remote work, a resort offering a genuine escape, or a family-oriented development built around ease and entertainment – the success comes from how well it’s curated for its end user,” Buchrotaite shares. It’s all about creating a space that people remember long after they leave.

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The spirit of synchronicity is reflected in our cover story with DLR Group, a full-service practice where architecture and interior design exist in constant dialogue. Directors Henrique Dias and Vaida Buchrotaite share insights into the studio’s integrated approach, discussing how collaboration across disciplines continue to define their work and distinguish their offering in an evolving regional hospitality landscape.

We also take you to Madrid with highlights from our recent trip in collaboration with Spanish trade agency ICEX, where Casa Decor offered a vibrant showcase of creativity, sustainability, and innovation. What stood out most was the individuality of each space and the confidence with which every studio approached curation and storytelling. We round up some of our favourite exhibits in this issue.

We also step inside two striking coastal homes in Dubai – one on Palm Jumeirah and another on Jumeirah Bay. Across the ocean, a remarkable home in Mumbai has taken shape, with views over the Arabian Sea. We also present an exciting collectible design debut, exclusively on identity.

Enjoy the read.

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“We believe the Middle East is moving from being a market of consumption to a place of contribution,” shares Maryam Raeisi, the Managing Director of HMA Living, reflecting on the partnership. Melding Killa’s futuristic outlook and a legacy of craftsmanship through Turri, the design philosophy evolved through a dialogue between the cultures of the UAE and Italy. “The starting point was not a product, but a reflection,” shares Luca Mazza, Design Director & Head of the Lighting Division at HMA Living. “For many years, design was primarily imported. Today, there is a growing ecosystem of architects and designers who are shaping a very specific and recognisable language, one that is rooted in this region but speaks internationally. Our vision at HMA Living is to position ourselves within this shift,” shares Raeisi. Acting beyond their role as a local distributor, the brand is keen on establishing their presence as curators and development partners that work between designers, manufacturers, and clients. “From our perspective, the strength of this partnership lies in the balance between innovation, craftsmanship, and a shared commitment to excellence,” shares Andrea Turri, CEO of Turri. “We would like to acknowledge HMA’s key role in initiating and shaping this collaboration, acting as a vital link between the parties and ensuring a seamless and productive process. Their contribution has been instrumental in translating a shared vision into a tangible and successful result.” 

Shaun Killa, Founder of Killa Design

”The phasing of the moon is a quiet reminder that form can remain constant while perception continually evolves“

On being asked what made the company decide on Shaun Killa, Mazza shares, “At HMA Living, we spend a significant amount of time observing how people actually live in this region: the scale of spaces, the way hospitality is experienced, the balance between formal and informal living.” Seeing an opportunity to translate these observations, the firm worked into reinterpreting this into a design language that was contextualised rather than merely inserted. “The dialogue with Killa Design started from this premise,” shares Mazza. Shaun Killa and his firm Killa Design are considered a leading force in the region’s architectural industry. From Jumeirah Marsa Al Arab to the Museum of the Future, the firm has worked on several award-winning projects and employs up to 120 people. “Working with HMA was defined by a shared vision and strong alignment from the outset, which allowed the collaboration to evolve naturally into a cohesive and beautifully crafted collection,” shares Shaun Killa, Founder of Killa Design. “Killa and his team’s architectural sculptural approach felt connected to the context and naturally aligned with the way the company sees design evolving in the Middle East,” shares Mazza. “Bringing Turri into the conversation added the depth of craftsmanship and manufacturing expertise needed to give this vision a tangible form.” Acting as a cultural and market bridge between Italy and the UAE, HMA Living contributed to the project’s development from its earliest stages, translating regional lifestyles, spatial rituals, and client expectations into the design conversation. “The collaboration started as a conversation between context, design vision, and production, rather than as a commercial initiative,” shares Raeisi. “The process was highly collaborative and, in many ways, unconventional,” adds Erika Martino, Sales Director of HMA Living. “Rather than selecting from an existing catalogue, we worked alongside Killa Design and Turri from the early stages, contributing insights coming directly from our projects, clients, and daily interactions with the market. This included everything from proportions and modularity to material combinations and the way the piece would be used in real spaces. Killa Design approached the collection almost architecturally, starting from form, flow, and spatial relationships,” shares Martino. “From there, Turri translated this vision into a product through its craftsmanship, refining details, materials, and construction.” 

When asked about HMA Living’s involvement in the collaboration outside introductions, Martino shares, “Our role was to continuously bring the conversation back to context, ensuring that the collection would not only be visually strong, but also relevant to how people live and interact in this region. The result is not just a sofa, but a system of elements – modular seating, armchairs, tables, and rug – conceived as a complete living composition.” Shaped through Turri’s artisanal mastery of luxury materials and meticulous attention to detail, which characterises every piece they create, the design balances dualities: structure and softness, strength, and comfort. Every curve is crafted to provide both support and a sense of embrace. Formed from four interlocking elements and a complementary armchair, the sofa creates a natural sense of flow and gathering. Its continuous silhouette gives it architectural clarity, while pebble-like side tables inspired by the moon’s textured surface, ground the composition with tactile contrast. The sofa is conceived as a spatial experience. “The phasing of the moon is a quiet reminder that form can remain constant while perception continually evolves,” says Shaun Killa, Founder of Killa Design. “With LŪNA, we were inspired by that relationship between permanence and light, how shadow reveals, conceals and reshapes what we see. The geometry of the sofa reflects this idea: a continuous form that feels different from every angle. It’s about creating something timeless, where craftsmanship, movement, and emotion exist in balance.” The sofa reflects Killa Design’s belief that design should evoke emotion and encourage connection. The result is a timeless composition where architecture and movement converge in a refined, sculptural form. The global preview of LŪNA took place during Milan Design Week 2026 at Turri’s showroom in Via Borgospesso, where the piece was unveiled through an immersive installation curated in collaboration with Killa Design and HMA Living.

Following its Milan debut, the collection is officially being launched in Dubai at the HMA Living by Al Shamsi showroom in Jumeirah, opening weeks after the global fair, positioning the city as the final stage of a design journey that bridges Italian manufacturing heritage with Middle Eastern contemporary living.

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Last month, we also hosted a panel in collaboration with GLAZE Granite & Marble, bringing together industry experts to discuss the current geopolitical landscape, its impact on the sector, and how to rise above it. We have recapped the key insights in this issue. You can also watch the full panel on our Youtube channel @identityae. 

What we value most is the spirit of collaboration, reflected throughout these pages. A standout example lies in our cover story with HMA Living. HMA living has collaborated with award-winning architect Shaun Killa and Turri to develop LUNA – a sofa collection influenced by the phases of the moon that debuted during Milan Design Week. 

Community is another theme that also resonates deeply with us. In this issue, we also turn our attention to spaces that matter that serves everyone from skateboarders to nature enthusiasts. 

This month, identity will be exploring Casa Decor 2026 in Madrid, Spain. Stay tuned to our social channels
@identityae for more design inspiration. 

Enjoy the issue.

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Adopting an approach that looked at spatially interpreting the museum, the studio moved away from just presenting history to bringing forth the talents of Emirati designers through project-specific pieces. Most of the pieces offer a contemporary take with a resonant story behind them, looking into history, materials, and rituals – creating a dialogue against the contemporary architecture designed by Foster + Partners. “The defining quality of the project lies in its curatorial structure. Each space is conceived as a cultural chapter,” shares Kurzela. 

The atmospheres shift deliberately across the museum. Public zones remain quietly sculptural and monumental, calibrated to support pause and orientation within the architectural scale. By contrast, other spaces designed by the studio invite curiosity, unfolding warmth through nuanced combinations of colour, shadow, and tactile surfaces. Al Liwan – a modular seating system is developed by Agata Kurzela studio and is conceived as a near-infrastructural element that dissolves into the architecture at the public atrium. The Al Shaheen Majlis on arrival expresses the tradition of welcoming guests with gahwa – Emirati coffee. A sequence of interconnected meeting spaces on the first floor is organised around a central courtyard, is informed by the cadence of the al durour calendar, the traditional system that maps the year through climatic and ecological phases. The meeting environments consist of two majlises and one boardroom. Both Al Hurr majlises represent seasonal conditions with distinct spatial and chromatic identities – Al Sheta (winter) and Al Qaith (extreme heat) – while the Boardroom reflects Al Saif (summer). Cultural meaning is embedded within the tactility of surfaces, the weight of objects, and the atmospheres produced through light and proportion. 

Al Shaheen Majlis

The  Al Shaheen Majlis introduces warmer references inspired by the welcoming ritual of gahwa, decorative traditional doors flanked by an Al Bab carpet and camels through the Jamal carpet with long fringes reminiscent of a soft animal fur. All carpets used in the project are by Zuleya. The arrival area of this majlis brings together works by Abdalla Al Mulla, who developed an adaptable modular bead bench that sits upon the Jamal carpet, flanked by large sculptural ceramic pots by Michael Rice. The Ned sofa and table system developed by Omar Al Gurg was adapted from an ultimate residential comfort to a more formal setting, the tables executed in stone and papyrus-based biomaterial. Roudha Al Shamsi was responsible for pendant lighting; Irthi wove safeefah cushions from local leather. The space is framed by a series of artworks by Juma Al Haj. Roudha Al Shamsi was responsible for pendant lighting, and safeefah cushions by Irthi are woven from local leather. 

Al Hurr 1 majlis

The Al Hurr 1 majlis is inspired by winter (Al Sheta). It features a custom sofa system by Aljoud Lootah featuring stone tables, solid yet visually lit. The system references an arrangement of stacked cushions, whose spontaneous and adaptable form was at the origin of a traditional Emirati majlis seating, here reinterpreted and synthesised. A bespoke EBB table light by Alya Al Ghefeli is rendered in metal patina, stone and camel leather, while feature pendant lights are by Khalid Shafar, octagonal tables are by One Third Studio, carpets by Agata Kurzela, and the embroidered artwork is by South African, Dubai-based artist Stephanie Neville.

Al Hurr 2 majlis features a custom sofa system by Aljoud Lootah, a Shade and Shadow floor light by Lodge Interior, a custom octagon table by One Third Studio, carpets by Agata Kurzela studio, and artwork again by Stephanie Neville. In the boardroom, inspired by Al Saif, Afra Al Dhaheri’s kandura-imprint wall panels establish a cultural surface language, complemented by a pendant light by Agata Kurzela studio and manufactured in collaboration with Nader Gammas, custom cabinetry by One Third Studio, carpets by Agata Kurzela studio, and seating by Vitra.

The Research Library is composed of a library space and a sitting area that overlooks the monumental Magan Boat, whose black woollen sail visually connects to the materials that originate in a Bedouin tent and that are at the core of the centre’s design. It introduces a more graphic register; high contrast, tactile, and grounded, drawing on the material logic of the raw wool of a Bedouin tent.

The space integrates custom shelving spanned by a system of movable ladders clad in burnished bronze, timber desks, sofa systems, lighting, coffee tables and rugs by Agata Kurzela studio, side modular tables co-designed with Abdalla Al Mulla, Nomad chairs by Latifa Saeed, Vitra task seating, carpets by Agata Kurzela with custom tarboushes by Loretta Bilinskaite.

Execution was treated as a curatorial and research-led process. Agata Kurzela studio conducted extensive prototyping, material trials, and full-scale mock-ups, working closely with local workshops and regional craftspeople. From testing the limits of the kilns and ceramic glazes to research-focused development of local tassels to on-site validation of bespoke furniture systems, the project evolved through continuous dialogue between concept and fabrication. This deliberate, investigative methodology ensured that every component aligned not only technically, but culturally.

“Designing within a national monument required a careful negotiation between presence and humility,” shares Kurzela. “The interiors needed to hold emotional and cultural weight without competing with the architecture’s authority.” Together, these collaborations embed contemporary Emirati and regional authorship directly into the museum’s spatial identity.

Photography – Sebastian Bottcher

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Over time, I’ve noticed that periods of disruption often give rise to the most meaningful work. The experiences that challenge us tend to shape what comes next. Your best work may still be ahead of you, and identity can’t wait to be your witness. We continue to support the industry and our partners through these uncertain times.

With that in mind, this issue looks both ahead and around us.  We explore innovations in design in the lead up to Milan Design Week. Peruse through the pages to have a look at what awaits you at Salone del Mobile.Milano, Fuorisalone and EuroCucina. As always, identity is proud to be present at the fair as a media partner from the region – do follow @identityae on Instagram to see the highlights.

In our cover story, we feature the interiors at the Zayed National Museum by Agata Kurzela Studio. The project is a masterclass in dialogue between contemporary materials, spatial, and artistic language. Completed in close collaboration with Emirati and international designers on a series of bespoke pieces; it is a particularly compelling story to tell. This spirit of exchange continues in our Saudi Setting section, where we explore Japanese architectural influences on Saudi projects. We also revisit some of the UAE’s most iconic spots through the lens of architecture. In trying times, it becomes even more important to notice the beauty between moments.

Perhaps my main lesson is this: there is rarely art that matters without dialogue. The most meaningful work emerges when there is space for exchange and respect for each other’s craft.

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It feels fitting, then, that our cover story this month centres on meaning rather than spectacle. This issue, we sit down with Ignacio Gomez, Global Design Principal at Aedas, to discuss what architecture must become if it is to remain relevant. Based in the Middle East for two decades, Gomez speaks candidly about dismantling the myth of the heroic architect and reframing the discipline as one of collective intelligence, process and accountability. His perspective is clear: architecture cannot afford to be visually loud but strategically irrelevant. The conversation is a timely reminder that the future of the built environment will be shaped less by ego and more by the ability to align complex systems toward a shared ambition.

That emphasis on leadership and long-term impact flows naturally into our Women in Design feature, which feels particularly resonant during Ramadan. As the Gulf’s architecture and interiors landscape continues its upward trajectory, the voices shaping it are increasingly diverse and confident. The designers featured do not approach their work as statements of visibility alone, but as disciplined, research-led practices rooted in context. Across multiple disciplines, they demonstrate that empowerment is not performative – it is embedded in built form and the ability to translate cultural memory into contemporary space. Together, they reflect a generation of practitioners redefining influence through measurable impact.

This feels like the right moment, too, to recognise the incredible women behind identity who bring each issue to life. From editorial and design to partnerships, production and operations, their creative intelligence shape these pages every month. Much like the architects and designers we feature, they balance instinct with execution. The magazine is, and has always been, a collective effort that ensures these pages remain reflective of the industry we serve.

Welcome to the March issue of identity.

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This month, identity was in Paris for Maison&Objet 2026, and being there felt important. Not just to report on what we saw, but to experience the fair as it unfolded – across the exhibition halls and throughout the city. What stood out wasn’t excess or spectacle, but a noticeable sense of restraint. Many of the conversations, installations and collections pointed towards a quieter way forward for design – one rooted in craft, perception and cultural continuity. Maison&Objet felt less like a prediction of what’s next, and more like a moment to pause and reassess where design is heading, and why.

That same sense of discipline and focus carries through to our cover feature with Sawsan Chammas Haber of Sobha Villa, where Dipiugi delivered a full turnkey home under intense time pressure. Completed in just four months for a client overseas, the project is a reminder that strong design isn’t about chasing trends – it’s about experience, judgement and knowing when to hold back. Through proportion, material choices and meticulous attention to detail, Haber shows how speed and quality don’t have to be at odds when there’s clarity of vision. Our cover feature is a must-read.

On a very different scale, one of this issue’s interiors stories looks at Titter Totter in Abu Dhabi – a children’s play space that deliberately steps away from noise and visual overload. Designed by Sneha Divias Atelier, the project treats play as something thoughtful rather than chaotic, using architecture, materiality and calm to encourage imagination. It’s a refreshing take and one that speaks to a broader shift in how we design spaces for younger generations – with care, intelligence and long-term thinking.

As the year continues to unfold, February feels like a moment to slow slightly, reflect and look more closely during Ramadan and move forward with confidence rather than noise.

Welcome to the February issue of identity.

Aneesha Rai

Editor

identity

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