Designed by Studio Pheasant with a team led by Creative Director Talar Bardakjian, the studio set about creating a space that could act as a platform for community building and social interaction. Rather than designing a conventional sports facility, the studio envisioned an indoor skatepark that would transcend its primary function and become a catalyst for connection. The skatepark acts as the anchor for the whole concept; while retail, food, events and workspaces expand the experience into a hybrid destination. 

Rather than creating a polished or overly refined environment, the space embraces adaptability and imperfection. Flexibility became a guiding design principle, allowing the environment to evolve alongside the community it serves. Gooder was conceived as a living space that can continuously transform, grow and be reinterpreted over time. This DIY mindset also supports the project’s long-term sustainability. By prioritising robust materials and adaptable design systems, the space is able to evolve without requiring constant renovation or replacement, allowing it to remain relevant and functional for years to come.

At the centre of Gooder sits a sculptural fountain that anchors the entire spatial experience. The idea originated from the traditional fountains commonly found within homes in Damascus, Syria, intimate courtyards where water becomes a focal point for gathering, conversation and everyday life.

Studio Pheasant translated this cultural reference into a contemporary spatial gesture by reinterpreting the geometry of these domestic fountains into a central feature and surrounding furniture. The narrative then connected naturally to Dubai’s skate scene, where skaters gather weekly at the Deira Memorial Fountain. By linking these two references, the design creates a symbolic bridge between regional heritage and contemporary youth culture.

Gooder is organised into three primary zones: a flexible retail environment on the ground floor, Ollie’s Pizza, and a mezzanine lounge designed for working, meetings and events. Together, these spaces create a layered experience that shifts seamlessly throughout the day.

The ground floor retail space sits directly beside the fountain and skatepark, acting as the project’s most adaptable environment. From the outset, Studio Pheasant designed this area to reflect the improvisational nature of skate culture while providing the flexibility required for evolving retail and event programming.

Walls are lined with modular peg systems that allow fixtures to be easily added, removed and reconfigured. Shelves, hang rails and skateboard deck displays can be plugged in and out as needed, enabling the space to respond to changing brands, exhibitions or community activations. Flexibility extends beyond the walls. Two pairs of rail tracks carved into the floor allow retail fixtures and the coffee counter to slide along the space. This simple yet highly effective move enables the layout to be continuously reconfigured, transforming the environment for different retail setups, gallery installations or events.

The majority of the materials including brick, concrete, metal and wood were sourced locally, reducing transport impact while strengthening connections with regional suppliers and makers. Walnut veneer peg walls bring warmth and tactility, while locally produced clay brick introduces texture and regional authenticity. Around the fountain, square ceramic tiles form a stylised interpretation of a Persian rug, translating traditional patterns into a contemporary geometric language that reflects the Gooder brand palette. Rooted in regional references yet shaped by global youth culture, Gooder reflects the growing influence of skateboarding as a social and creative movement within the Middle East.

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“The client came with a clear sense of who they are,” shared Lamees Hamdan, founder of Design Studio Consoul by LH. They had a desire for a home that prioritised comfort above all else; a home that was inviting, layered, and lived-in, while also reflecting a love for art and sculptural form. 

Travertine and natural timber flooring anchor the apartment in materials that are timeless and tactile. From there, the interiors unfold gradually. Bouclé upholstery, hand-tufted textiles, and carefully considered custom joinery introduce softness and depth, allowing the space to build character without ever feeling overworked. Key pieces include: lighting by Atelier Areti, a Sancal coffee table sourced through Designitch Dubai, a George Geara armchair, a sofa sourced from OBEGI Home, and a Fendi side table.

Throughout the process, a central tension guided the design decisions: how to introduce personality and visual energy without tipping into something that feels overly polished or commercial. It’s a fine line, particularly in a city where luxury interiors can often veer towards the impersonal. Here, sculptural furniture, original artwork, and moments of colour are present, but always in service of the home rather than as statements in isolation. “The goal was an interior with genuine character that still, at its core, feels like somewhere a family lives and wants to be,” shared Hamdan. 

A key part of achieving this balance lies in the custom joinery, executed by Tareen Interiors. Rather than imposing a new layer onto the apartment, the joinery was designed to extend the building’s existing material language. The intention was to create pieces that feel embedded within the architecture itself. 

The terrace is where the project’s narrative becomes most tangible. Framed by sweeping curves, the private pool overlooks the Dubai Canal, its fluid geometry echoing the movement of water beyond. This sense of flow became a point of departure for the interiors. Soft lines, rounded forms, and gentle transitions carry that same language inward, dissolving the boundary between inside and out. Rather than two separate zones, the apartment reads as a continuous spatial experience.

What emerges is not a showpiece, but a home with a distinct emotional quality. There is warmth here, and a quiet sense of ease. It is a space that accommodates art without feeling like a gallery and embraces design without losing its sense of intimacy.  Ultimately, it is this balance that defines the apartment. A way of living above a design philosophy. 

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The architectural approach emerged from a deep exploration of traditional African building typologies and their translation into a contemporary context. The firm reinterpreted these vernacular structures, materials, and craftsmanship to develop an expressive yet functional language that resonates with the landscape. A key part of the design process involved extensive studies on the performance and adaptation of thatched roofing systems to the local climate, seeking to achieve both authenticity and environmental responsiveness. Drawing from the firm’s experience in Kenya, they envisioned the buildings as sculptural presences that rise from the terrain, forms that evoke natural organisms, engaging in a quiet dialogue with one another and with the surrounding vegetation.

Materiality became central to this expression, particularly through the deliberate pairing of thatch and timber. Rather than treating the roof as a separate element, the thatch was conceived as an extension of the wooden structure beneath it to create an integrated system in which warmth, texture, and craft operate in unison. The timber framework provides clarity and rhythm, while the thatch introduces softness, depth, and climatic performance, filtering light and heat in a way that reinforces the project’s environmental ethos. Together, these materials create an architectural language that feels both grounded and tactile, bridging a sensorial natural richness with the durability and refinement required by the contemporary context. The result is a cohesive architectural landscape that celebrates learning, adaptation, and the interplay between nature and built form.

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Defined by understated luxury, it combines refined craftsmanship with exceptional comfort. Woven from bamboo silk, the velvety texture delivers a soft, luminous surface that enhances interiors with a subtle sheen. The collection offers varying pile heights to suit different preferences, from a refined low profile to a deeply plush feel underfoot. Designed for both residential and light contract settings, BLISS balances durability with indulgence. Made in Portugal, these carpets create a sophisticated foundation, bringing warmth, texture, and a quiet sense of elegance to contemporary living spaces.

Carpet Collections by Iwan Maktabi

Through two distinct collaborations, Iwan Maktabi expands the role of handwoven carpets, positioning them as active spatial and sculptural elements within contemporary design. In partnership with David/Nicolas and de Gournay, carpets are integrated into an immersive interior where rhythm, repetition, and line extend across surfaces, dissolving boundaries between wall and floor to create a continuous architectural experience shaped by material flow and atmosphere. In a second collaboration with Abeer AlRabiah and Albandari Sulaiman under Jusoor Design Collections, carpets are reinterpreted as sculptural seating forms inspired by coral ecosystems, translating textile heritage into tactile, three-dimensional objects. Across both projects, traditional hand-knotting is reimagined through a contemporary lens, where craft becomes a medium for spatial storytelling, material experimentation, and cultural reference.

Bespoke surfaces by Slo Ceramics 

Slo is an artisanal surface that transforms interiors through texture and variation. Crafted from high-fire stoneware, each tile is individually made and finished with a layered glaze that reveals a dynamic interplay of tone and pattern. The hand-applied detailing introduces a sense of movement, ensuring every composition feels unique and expressive. Subtle irregularities celebrate the handmade process, adding depth and authenticity to the surface. Designed for walls and interior features, it offers a refined yet characterful backdrop that brings warmth, individuality, and a contemporary crafted aesthetic to any space.

Righe incerte by Spaghetti Wall 

Designed by Claudio Meninno for Spaghetti Wall explores the beauty of gesture through a refined, freehand composition of fluid linear strokes. The pattern evokes the immediacy of hand-drawn movement, where irregularity and softness create a delicate visual rhythm across the surface. Rather than imposing structure, it allows the wall to breathe, introducing depth through subtle contrasts and spontaneous flow. The result is a decorative language that feels intimate and expressive, balancing artistic freedom with contemporary restraint. Righe Incerte transforms interior surfaces into quiet compositions of movement and light, where each line carries a sense of natural, unforced elegance.

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Spanning nearly 2,000 square meters, the Hafawa Lounge accommodates 370 Business Elite and Business Class guests. Located between Terminals 1 and 2, its innovative design features interconnected, residential-inspired rooms, offering guests a seamless blend of relaxation and social spaces.

The lounge’s design is deeply rooted in the concept of Hafawa; a Saudi cultural value centred around warmth, generosity, and hospitality. This emotional underpinning is reflected in every detail of the lounge, creating an inviting and sophisticated atmosphere. “Our goal was to create a space that supports the emotional side of travel,” said Glenn Pushelberg, co-founder of Yabu Pushelberg. This vision is realised through a careful balance of tactile materials such as limestone, oak, and textured plaster.

The journey through the lounge mirrors the rhythms of the Saudi desert. A carefully orchestrated circadian lighting system adjusts throughout the day, changing from warm hues at dawn, to cooler tones during midday, and returning to warmth at dusk. These subtle changes enhance the guests’ experience, allowing them to adjust to the natural light of the desert while moving through the space. Accents of peach, lavender, and indigo subtly echo the airline’s brand palette, offering a sense of orientation while also contributing to the soothing environment.

The Hafawa Lounge offers more than just a waiting area. Guests can relax at the Pantry for informal dining or socialise at the Balcony Café. For solitude, The Study and The Parlor provide quiet, intimate spaces, while the Cabinet and Cellar cater to social gatherings. Private sleeping pods and spa-like bathrooms ensure moments of rest and rejuvenation.

“Rather than designing a single environment, we envisioned the lounge as a home made up of distinct rooms,” explained George Yabu, co-founder of Yabu Pushelberg. This philosophy extends to every part of the lounge, where spaces blend together to create a natural flow, allowing guests to tailor their experience based on their mood or needs.

The lounge design integrates advanced technology, from intuitive wayfinding to discreet service touchpoints, ensuring ease and comfort. Despite these innovations, human connection remains central, with guests welcomed by traditional Saudi coffee and premium dates. By blending design, technology, and emotional well-being, it sets a new standard for airport lounges; thereby elevating the passenger experience. 

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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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This list brings together a selection of Lebanese interior designers, architects, and product designers whose work reflects that spirit practices that move between disciplines, reinterpret heritage through a contemporary lens, and continue to shape how Lebanese design is seen and experienced today.

Lina Ghotmeh

A Beirut-born architect known for her humanist, research-led approach to design. Her work explores memory, archaeology, and sustainability, shaped by projects like the Estonian National Museum and Stone Garden, blending sensitive storytelling with contemporary architectural innovation.

Follow her on Instagram: linaghotmeh

Karim Nader

An architect whose work is deeply context-driven and narrative-led, exploring the relationship between landscape, memory, and built form. Educated at the American University of Beirut and Rice University, he founded his independent studio in 2016, developing a practice that spans architecture, interiors, and object design.

Follow him on Instagram: karimnaderstudio

David/Nicolas

A design duo formed by David Raffoul and Nicolas Moussallem, known for their balanced approach between intuition and research. Working across interiors, furniture, and product design, their practice blends cultural memory with contemporary experimentation, resulting in refined, craft-driven spaces and objects shaped by collaboration and context.

Follow on Instagram: davidandnicolas

Stephanie Moussallem

A multidisciplinary design practice founded in 2015, working across interiors, architecture-led spaces, and collectible furniture. The studio focuses on creating refined, characterful environments shaped by craftsmanship, material exploration, and a strong sense of place.

Follow her on Instagram: stephaniemoussallem.studio

Fadi Yachoui

 Architect and industrial designer whose work bridges cultural influences with refined European training. Educated in Beirut, Paris, and Milan, he has worked with studios such as Bernard Khoury/DW5 and Piero Lissoni, developing a design language rooted in precision, restraint, and material storytelling.

Follow on Instagram: atelierlinconnu

Marine Bustros

MB Design Studios is an interdisciplinary design practice founded in 2017 by Marine Bustros, working across interior architecture, furniture design, and spatial projects. Based between Dubai and Beirut, the studio is known for expressive, material-rich environments that blend contemporary forms with traditional references.

Follow her on Instagram: mb.designstudios

Jeffery Meawad

JM Design & Architecture founded in 2010 by Jeffrey Meawad, working across luxury residential and hospitality projects. The studio’s approach blends contemporary design with cultural influence, creating spaces that balance functionality, visual impact, and a strong narrative sensibility.

Follow him on Instagram: jeffreymeawadarchitect

Karen Chekerdjian

Founded in 2001, focused on furniture, objects, and spatial works. The studio explores design as an evolving process, shaped by craftsmanship, material research, and open-ended concepts that resist fixed interpretation.

Follow her on Instagram: karenchekerdjianstudio

Nada Debs

A designer whose practice spans furniture and object design, rooted in craftsmanship and cultural exchange. Her work combines global influences with refined material sensibility, resulting in pieces that feel personal, tactile, and emotionally driven.

Follow her on Instagram: nadadebs

Raed Abillama

 An architect who founded his practice in 1997 after working at Rafael Viñoly Architects in New York. Educated at RISD and Columbia University, he is known for unifying architecture, detailing, and product design through a process-driven, production-oriented approach.

Follow him on Instagram: raedabillamaarchitects

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“The Bathhouse is a meditation on ritual, nature, and the quiet power of materials,” said Richard Christiansen, Founder of Flamingo Estate. “We imagined a place where wildflowers, water, and light come together to create a sensory experience that reconnects us to the rhythms of the earth.” Surrounding the bathhouse, four custom, one-of-a-kind pollinator baths offered respite and hydration to pollinator species drawn into the installation by the blossoming flowers. Handmade by skilled artisans in Kohler’s historic foundry, the pieces are cast in iron and then flame‑sprayed with raw copper before the edges are finished to reveal two unique expressions of copper.

“For the Flamingo Estate Bathhouse, we wanted to explore the relationship between architecture and ecology, how design can create moments of care not just for people, but for the natural world around us,” said Michael Seum, VP of Global Design at Kohler Co. “The pollinator baths translate this idea into sculptural form, drawing from Brutalist principles on the exterior while softening into organic, nature informed surfaces within. It’s a reflection of our belief that design should hold space for both human ritual and environmental stewardship.”

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Located on the same grounds as the historic Sultan Fort, the museum traces over 8,000 years of human habitation in Al Ain and the surrounding region, preserving the area’s archaeological remains, historic structures, and cultural heritage within a contemporary architectural narrative that bridges the past with the present. It now comprises four exhibition galleries, with three constructed around in situ archaeological remains alongside interactive displays and educational spaces spanning prehistoric times to the establishment of the UAE in 1971.

Dabbagh Architects, an internationally recognised architectural design firm led by Saudi architect Sumaya Dabbagh, known for its contemporary and culturally relevant projects across the Gulf, was commissioned in 2018 by the Department of Culture and Tourism Abu Dhabi to lead the redevelopment of the Al Ain Museum. Located adjacent to the Al Ain Oasis within a UNESCO-listed grove of over 147,000 date palm trees within the Harat Al Hosn district, the museum, showcasing over 1,800 artifacts, some dating back 300,000 years presents the region’s rich archaeological and cultural history, including jewellery, ancient tools and remnants from traditional desert life. 

“For us, the architecture was a means to connect the stories,” explains Dabbagh. “You have an oasis, which is thousands of years old, which is really the reason the city of Al Ain exists. It was the source of livelihood for the people of Al Ain. Then you have Sultan Fort next to the oasis. The museum was initially built next to the Fort, and we wanted to keep that connection to the oasis.”

With a gross floor area of approximately 8,000 square metres, the redevelopment incorporates two historically significant structures: the mud-brick Sultan Fort, built in 1910 by Sheikh Sultan bin Zayed the First and the Al Ain National Museum, the first museum in the UAE, founded in 1969 by Sheikh Zayed bin Sultan Al Nahyan. In 2019, during the construction of the Museum’s initial design, several significant archaeological discoveries were uncovered. Through excavations these include a sophisticated network of aflaj (ancient irrigation systems common in Oman and the UAE, dating back thousands of years), wells, and a tomb – all of which shed new light on the historical and cultural context of the region during ancient times. Due to such discoveries, construction was suspended and a team of archaeologists proceeded to research, excavate further and document what they found. In 2020, the discoveries sparked the revision of the project brief, which was undertaken between the client and Dabbagh Architects. 

The discoveries, explained Dabbagh, necessitated a comprehensive redesign of the Museum, which included expanding the site and programmes to make room for and showcase the new archaeological discoveries. 

“What you see now is the result of the second round of design, which included the archaeological galleries,” explains Dabbagh. “These were not part of the original design and really enriched the site because they told older stories than the previous structures. Because we were building on top of archaeology, it was a way to weave together the stories of how people lived thousands of years ago in Al Ain up until recently before the discovery of oil.”

The museum’s modest yet sleek structure eloquently marries local archaeological findings, such as on-site tombs and wells, with its exhibition displays and gallery halls. 

Life prior to the discover of oil was simple. “Water was found underground and used to grow crops, palms and dates and the architecture was woven around those elements,” adds Dabbagh. “To tell the story of Al Ain and the region we needed to literally weave around the archaeological findings and connect them in a way that was meaningful.”

Dabbagh explains how her studio created courtyards between archaeological findings and viewing points onto the discoveries from the diverse galleries, bridges and corridors that unite the various spaces. “We didn’t want the architecture to overshadow what was there,” she adds. “We wanted to add to the story and celebrate what was there.”

Archaeological remains are not new to the museum. When it opened in 1979 there were artifacts on show – traces of ancient settlements in the area. Sultan Fort, the adjacent historic mudbrick structure in Al Ain next to the museum has been an integral part of the museum since its inception. Built around 1910 by Sheikh Sultan bin Zayed Al Nahyan, the son of Sheikh Zayed the First, who lived there before becoming the ruler of Abu Dhabi in 1922, its proximity to the museum evocatively bridges the region’s ancient past with its modern day founding and statehood.

Dabbagh’s extensive renovation and expansion of the Al Ain Museum has transformed the structure into a contemporary cultural hub while preserving its historical legacy. Three elements – the architecture, the archaeology and the artifacts – are presented in the newly reopened Al Ain Museum, aspects that Emirati Shaikha Al Azeezi, Al Ain Museum’s Exhibitions Designer, has incorporated alongside her team to shape the visual and experiential narrative of the structure of the museum. 

 “We wanted to highlight various artifacts that were found in the region while connecting the story of Al Ain’s history and the United Arab Emirates,” she says. “The museum’s exhibition areas have now become vessels of memory.”

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Designed by Dewan Architects + Engineers, the residences are interconnected by what the architects call a “green spine” – a continuous forested corridor running through the community, planted with 70,000 trees. This massive afforestation makes Masaar among the greenest residential projects in the United Arab Emirates offering a lush, natural backdrop for everyday life and reinforcing the development’s commitment to wellness and sustainability.

The first three phases of Masaar – Sendian, Kaya, and Robinia, are now complete and were designed by Dewan Architects + Engineers, who also acted as a supervision consultant, focusing on wellness and integration with nature. Sendian, part of phase 1, included 431 homes, and introduced smart home technology in every unit, alongside immediate access to green parks. Kaya, Phase 2, included 421 homes and was planned according to the principles of Vastu Shastra, the ancient Indian science of architecture and design, aligning homes with natural elements to offer greater wellness, balance and positivity in residents’ lives. Robinia, Phase 3, included 565 homes and continues this approach, blending architecture effortlessly with the surrounding landscape to optimise healthy living. 

Each phase offered additional green parks, walking trails and sports facilities, encouraging residents to get out in nature through physical activities such as forest walks, jogging, cycling and even outdoor meditation amid a verdant environment while staying close to home.

Subsequent phases, include Azalea, Sequoia, Saro, and the ultra-luxury Sarai mansions, will further expand the community while maintaining the same ethos of smart, nature-centric design. Each new phase introduces additional parks, community facilities, and housing options to further create a vibrant, self-contained township that contributes to the sustainable growth of the emirate of Sharjah. Masaar Central, the retail and lifestyle hub at the heart of the development, is currently under construction and scheduled for completion later in 2026, alongside the final three residential phases.

The unique design of Masaar, with its alluring verdant environment, aims to foster a strong sense of community while encouraging a healthy lifestyle. Education is also of importance for the area. The project will be home to Reigate Grammar School Masaar, a branch of one of the UK’s top private schools, due to open in 2027. 

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