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.

The post Destinations in Design appeared first on identity.

The post A Story in Wood appeared first on identity.

The studio’s first edition, Bloom, introduces the beginning of the Naqsh editions and the direction the studio will continue exploring through future works. Handmade in stainless steel, the work explores the relationship between pressure and softness through form, surface and process. The piece moves through hammered, tumbled and polished finishes, allowing traces of making to remain visible within the final object. “The petals move slightly inward and outward at once, creating a quiet pull between compression and release. As you move around the piece, the reflections and contours shift constantly, so Bloom never feels visually fixed or fully still,” shares Mulaokar. Available as a limited edition of 100 individually numbered objects, the pieces are inspired by moving through pressure, uncertainty, and change, embodying emotional tension through form that suggests movement and transformation. “That sense of becoming was important to us. Bloom does not feel completely resolved. It feels as though it is still in the process of opening, still carrying movement within it,” shares Mulaokar. 

Looking ahead, the studio has plans to continue developing limited-edition sculptures emphasising material and process, exploring different finishes, scales, and materials, with a focus on emotionally and materially honest pieces that range from intimate to larger sculptural works, moving beyond purely decorative objects.

The post Design Debut – Naqsh Editions appeared first on identity.

With over 240 companies and professionals taking part and almost 50 spaces designed, this edition was its best one yet. Settings changed rapidly, from restaurants to hotel lobbies, living rooms to listening rooms, and terraces to experimental vitrines. The spirit of collaboration between local studios and brands across the spaces exhibited a true sense of community, and the versatility of difference materials were appreciated in its thought-provoking applications. Some of the trends we observed included the emergence of volcanic and mineral tones in interiors, textured wallpapers, the use of raw construction material, the presence of clay in different capabilities, and recycled materials such as plastic, wood, cork, and textiles. Here were the most interesting exhibits:

Arcos’ Threshold Vestibule by Studio Lucas and Hernandez-Gil 

Cutlery brand Arcos team had their pieces embodied in two vertical totems that were created out of leftover metal dies from the Arcos knife manufacturing process. The exhibit used colour as a structural tool and geometry as a language. 

Sixtypro’s Savia kitchen 

This exhibit featured natural root wood as a protagonist with terracotta-toned lacquers. Copper details introduce warmth and reflections that evoke the hearth of the kitchen and the handcrafted metalwork. Countertops and technical elements are integrated with a contemporary aesthetic that prioritises visual continuity and fluid forms. 

Kaldewei Space’s Gentle Strength bathroom by ILV* Isabel López Vilalta

Kaldewei’s space included a truly innovative bathtub that warms up and offers chromotherapy as well as sound therapy through programming on your phone.

LAUFEN’s Sensory Balance public restrooms by Studio DIIR

Through the interplay of light, materials, and water, LAUFEN’s space exhibited a sense of calm. Constructive precision and material honesty generated a timeless environment where serenity, intimacy, and understated luxury coexisted in perfect harmony.

Demark Thailand’s Warmest Sun Loft by Trimode Studio

Bamboo, teak, rain tree wood, sustainable fabrics and metals were used in this exhibit organised through the Thailand’s Ministry of Commerce. The unique use of materials and craftsmanship really stood out, with our favourite pieces being the bar cabinet, partition  screens, and decorative lamps made of paper.

Neolith’s Library Hall Between Surfaces and Words by Personalk

The design reveals a different perspective on Neolith, showcasing its ability to harmonise with other materials. The space invited you in with warmth; filled with books, cherished objects, old photographs, and shared memories. 85% of the wall coverings and all of the furniture used in the space can be reused.

La Redoute’s Dressing Room La Loge de Josephine by Top Design Studio

Inspired by the world of Josephine Baker, this intimate space was intelligently styled. Curved volumes, a palette of burgundy and deep greens, natural wood and stone conversed with striking textiles against the furniture.

Cosentino’s Conceptual Space: Spring by Summumstudio

Manantial recreates an atmosphere inspired by the essence of Éclos, Cosentino’s latest product made of 95% recycled glass. Here, the material acquires life and purpose through applications that balance functionality and symbolism.

PH Collection’s Living-Dining Room La vie chez nous by S de Studio

Wood and textile coverings enveloped the space, combined with carpeting and geometric patterns that evoke the spirit of the 70s. Orange and green tones conversed with furniture in caramel woods, while stone and artistic ceramics added texture, character and a contemporary dimension to the whole.

Nuet Ceramics’ Naked Terrace 

Here, walls, floors, and spaces emerge from a single construction system. A longitudinal courtyard organised a series of pauses where the pieces constructed walls, floors, and atmosphere. Light and shadow transformed the material throughout the experience, culminating in a framed view of the Madrid skyline.

The post Highlights of Casa Decor 2026 appeared first on identity.

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.

The post An Integrated Approach appeared first on identity.

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.

Access the issue

The post Read Shaping Destinations in Design – Note from the editor appeared first on identity.

The new models include refrigerators, freezers, fridge-freezers and grape climate cabinets. Each appliance is designed to be installed individually or side by side in coordinated alignment. Handleless doors, flush surfaces and precisely structured interiors create visual continuity, allowing the appliances to integrate seamlessly into the overall kitchen concept. With proportions and detailing that recall fine furniture, the appliances are conceived as architectural elements within the space. Conceived to resemble furniture, it allows for countless configuration possibilities, enabling you to curate a cooling ensemble that reflects your personal vision and cultivated taste. Every shelf and door bin can be precisely aligned to create visual continuity between refrigerator and freezer, ensuring a seamless composition when installed side-by-side.

Internally, the material palette is consistent and restrained. Dark brushed stainless steel, anthracite aluminium and glass create a calm, coherent interior. Glare-free, warm white, LED lighting activates gradually and evenly in response to use, providing clear visibility without distraction.

Performance features are designed for precision and longevity. A professional freshness system ensures stable temperature and humidity conditions. Selected models include integrated cameras, and every appliance offers compatibility with Gaggenau Home Connect, enabling remote access and visibility. Interfaces are clear and intuitive, with animated quick guides to support maintenance and everyday use.

Sven Baacke, Gaggenau Head of Design, says: “The latest additions to the Vario cooling Expressive series continue Gaggenau’s approach to cooling as a considered part of kitchen and interior design – architectural in form, exacting in function, and aligned with the values of those who create with intent.” 

Mikkel Brandt Bugge, Industrial Designer, adds: “We approached every detail with purpose – from the alignment of each shelf to the tone of the interior lighting. Our goal was to create a calm, coherent experience where function and materiality work quietly together. The flexibility of the system allows for truly personal configurations, whether through individual appliances or through the creation of a dedicated cooling ensemble.” 

Adriane Wassmandorf Mattos, User Experience Designer, notes: “Our goal was to create an experience that feels immediate and unobtrusive. From the way the lighting responds to your presence to the structure of the interface, everything was designed to support use without calling attention to itself.” 

The new models of the Vario cooling Expressive series will be available from December 2025 in key markets across Europe and from mid-2026 in North America and Asia-Pacific.

For more information about Gaggenau’s Vario cooling Expressive series, please visit the Gaggenau flagship in Dubai at City Walk, Building 10.

The post Gaggenau reveals the full range of the new Vario Cooling Expressive Series appeared first on identity.

Located in Warehouse 65, the pop-up offers an early expression of Boffi|DePadova’s integrated philosophy, where architecture, interiors and systems converge into a singular, coherent environment. Conceived as both a preview and a platform for engagement, the space invites architects, designers and clients to experience a holistic way of living shaped by precision, materiality and enduring design.

Boffi|DePadova brings together Boffi and De Padova into a cohesive Made in Italy system of indoor and outdoor living. Rooted in a manufacturing heritage dating back to 1934, the group continues to shape contemporary interiors through a refined balance of craftsmanship, innovation and architectural thinking.With a presence across five continents and over 50 countries, Boffi|DePadova operates more than 400 design destinations worldwide, including flagship showrooms in Milan, Paris, London and New York, reinforcing its position within the world’s leading design capitals.

“We are pleased to begin our collaboration with Atelio at Alserkal Avenue, one of Dubai’s most distinctive cultural districts,” says Roberto Gavazzi, President and CEO of Boffi|DePadova. “At Boffi|DePadova, we design personalised and bespoke spaces as complete environments, where every element contributes to a way of living. Dubai represents one of the most dynamic design landscapes today, and this space marks an exciting new chapter for the brand in the region ahead of our flagship opening.”

“Partnering with Boffi|DePadova is a natural expression of what Atelio stands for – connecting the world’s finest design culture with a region that increasingly defines it.” adds Elie Khouri, Chairman of Atelio “This is not simply a retail space, but a destination where craftsmanship, architecture and contemporary living converge. It reflects the evolving role of design within the Middle East, and the beginning of a relationship rooted in a shared commitment to excellence.”

“Conceived as a dynamic environment rather than a traditional showroom, the pop-up reflects a shared approach to design, where architecture, furniture and systems come together seamlessly,” says Ruggero Ottogalli, CEO of Atelio. “Activated through conversations, gatherings and discovery, the space takes on a studio-like quality, inviting architects and clients to explore materials, scale and composition within a lived environment.”

The space unfolds as a sequence of interconnected environments where living, dining and kitchen areas flow seamlessly into one another. Sculptural seating, including the Alberese XL and Landscape 25 by Piero Lissoni anchors the living area, while the Tiny Blendy armchair introduces a more relaxed, cinematic presence. A restrained palette of warm neutrals, natural woods and deep charcoals defines the atmosphere, layered with luminous compositions such as Elisa Ossino’s Helium collection and the linear precision Cut Back lighting by David Lopez Quincoce, creating rhythm that guides movement through the space.

At its centre, the kitchen emerges as a defined setting, where monolithic islands and finely detailed cabinetry establish a strong focal point. The dining area extends naturally from this space, with marble surfaces such as the T.T.A. Stone table and the round natural oak Mawari table echoing the material language of the kitchen.

This sense of continuity is articulated through a series of architectural systems that shape how the space is organised and experienced. Tall Units in aluminium dark tabacco and canaletto walnut, alongside melamine graphite grey oak and metal finish introduce a refined, built-in quality rooted in Boffi’s kitchen expertise. The R.I.G. modules by Mikal Harrsen act as open frameworks that define and organise without enclosing, creating a dialogue between kitchen, living and storage within a cohesive spatial narrative.

The Alserkal Avenue space will remain open until the launch of the brand’s permanent UAE flagship by the last quarter of the year.

Visit Boffi|DePadova – Warehouse 65, Alserkal Avenue, Dubai or ateliospaces.com for more information.

The post Boffi|DePadova Opens in Alserkal Avenue appeared first on identity.

The initiative was designed and curated by E+A Studio, with engineering and fabrication carried out in collaboration with Metalfabrik. Conceived as a quiet yet meaningful urban intervention, the fountains embed ecological support directly into the everyday fabric of the city.

Cities often underestimate how deeply nature shapes our mental clarity, emotional regulation, and sense of belonging. In the rush to optimise efficiency, density, and speed, something fundamental is often forgotten: cities are not closed systems. They are living environments, shaped as much by invisible relationships as by visible structures. When these relationships are disrupted, the consequences unfold quietly, yet profoundly.

As urban environments densify, natural ground cover gives way to hard surfaces, and access to water, shelter, and resting spaces for birds and small species becomes increasingly scarce. Each loss may seem minor in isolation, yet together they erode the delicate systems that allow life to coexist within the city. Migration routes shift, behaviours are altered, and food chains weaken, gradually thinning the ecological presence that once animated public space.

Over time, cities grow quieter in ways that are difficult to quantify but easy to feel. Birds are often among the first to disappear when conditions become inhospitable, and with them goes a layer of life that subtly informs how we experience our surroundings. Cities without these everyday ecological cues tend to feel harsher, more mechanical, and less legible – even when residents cannot easily articulate why. “Preserving biodiversity is inseparable from preserving the quality of human experience,” says Evgeniia Molchanova, founder of E+A Studio. “They are not separate concerns, but part of the same living system.”

Fountains of Mercy responds to this absence not through spectacle, but through presence. By reintroducing access to water within dense urban environments, the initiative allows life to return visibly and meaningfully to the city. The movement of birds, the sound of wings, and the rhythm of daily visits introduce a layer of sensory information often missing from highly engineered urban spaces. Unlike signage or traffic, these cues do not demand attention; instead, they offer subtle reassurance to the nervous system – signals of continuity, balance, and care.

Designed as a self-sustaining ecological intervention, Fountains of Mercy is fully solar-powered and operates independently within the public space. Its autonomy reinforces resilience, allowing the fountain to exist without reliance on complex infrastructure or energy consumption. Constructed from Corten steel, the structure is designed to weather naturally over time, developing a patina that reflects its environment and allows it to age alongside the city rather than resist it.

The design was informed by the behaviour and scale of local bird species in Dubai. Proportions, access points, and placement were carefully calibrated to support natural patterns of use while remaining unobtrusive within daily urban life. At its core, Fountains of Mercy reflects a belief that cities must evolve beyond serving human needs alone. In a time when urban development prioritises optimisation, the project introduces a different value system – one that recognises interdependence. 

The post Fountains of Mercy appeared first on identity.

The post id most wanted – May 2026 appeared first on identity.