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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Starting from a shell-and-core unit with no existing infrastructure, Motif’s team delivered the complete design concept, technical documentation, MEP coordination, full fit-out and furniture package across 22,000 square feet. It is one of the studio’s most comprehensive mandates to date, and the result is a workspace that competes as much on atmosphere as it does on functionality.

Centrum already operated a business centre in Dubai. For Abu Dhabi, the ambition was to go further. The client’s vision was to launch a new branch at Reem Mall, one of the UAE capital’s most active retail and lifestyle destinations, and following several workshops and collaborative sessions, a concept was agreed and the brief was set.

“When we started designing the space, the goal was clear from the client’s brief: to create a productive workspace that would attract companies and professionals to work from here,” says Charlie Speechley, VP sales at Motif Interiors. “The design has to draw people in. The look and feel of the space has to be really attractive to prospective tenants.”

The brief called for a full spectrum of workspace typologies reflecting how professionals actually work today: a relaxed café zone at the entrance, open hot desks and shared workstations, acoustic phone booths for focused calls, private offices for companies needing dedicated space, and formal boardrooms in two configurations.

Following collaborative workshops with Centrum, Motif Interiors settled on a concept rooted in Japanese design principles, a deliberate counterpoint to the glass and steel aesthetic that dominates the region’s coworking landscape.

The signature piece is a monumental mural installed across the main lounge feature wall. Dark walnut panelling, curved archways, fluted wall treatments and curated shelving build architectural depth throughout, while cognac leather seating and marble surfaces bring material warmth to the workstations and social zones.

“We introduced several key design elements, the arches and the customised wallpapers, and brought them together to create a strong visual identity and give Centrum its own statement within the space,” explains Rita Estephan, Chief Operating Officer at Motif Interiors. “The overall intention was to create a space that feels refined, welcoming, productive and unique to Centrum.”

Sultan Holding, part of the group behind Centrum, also operates a marble supplier, and Motif’s designers were given access to an exceptional stone selection. The result is striking white-and-green marble countertops at the café bar and reception desk, features that establish the quality of the space from the moment a visitor arrives.

Lighting became both a technical and experiential priority. The unit’s depth and layout meant natural light was limited throughout. Motif responded with stretch ceiling lighting across the café, the bar area and within the phone booths, calibrated to replicate the quality of natural light and sustain a warm, comfortable ambience across the workspace.

Space planning presented an additional layer of complexity. As a licensed business centre, Centrum is subject to Abu Dhabi Municipality regulations governing minimum square metreage per cabin, desk counts and spatial configurations. Motif’s team developed a layout that satisfied all regulatory requirements while preserving the intuitive circulation and atmosphere that the space needed to function as a premium environment.

“It was a bit of a jigsaw to fit everything in,” Estephan says. “You still need the space to flow nicely, corridors at the correct width, but also hit the required numbers. That was probably one of the biggest space planning challenges on the project. The client was very supportive throughout these circumstances, and together we managed to overcome the challenges successfully,” she shares.

Photography by Intelier

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At a time when interiors are moving away from fast-changing aesthetics toward more meaningful choices, wood has emerged as one of the defining materials shaping the way we live today. More than a design trend, it represents authenticity, longevity, and a desire to reconnect with spaces that feel calm, natural, and enduring.

This direction resonates particularly during the summer season; a time when homes become a place to slow down, recharge, and spend more meaningful moments indoors. Through lighter palettes, organic textures, and understated sophistication, the collection offers a sense of warmth without heaviness and comfort without compromise.

Designed for customers who appreciate quality and timeless design, the collection embraces what Chattels & More stands for: interiors that evolve with life rather than follow passing moments. “Wood has always been one of the most powerful materials in design. It brings warmth, character, and permanence into a space. With this collection, we wanted to reinterpret it in a way that feels contemporary yet timeless — creating homes that feel elevated, welcoming, and lived in” says Simon Zoghbi, CEO of Chattels & More.

The collection is now available at Chattels & More locations across the UAE, or online at www.chattelsandmore.com.

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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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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.

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This is where the distinction between surface and structural biophilia comes in. A green wall on its own does very little if it’s not connected to sightlines, daylight, air quality, and spatial experience. Structural biophilia, by contrast, embeds natural principles into the environmental and sensory logic of a building, shaping how spaces feel over time.

Workplaces and Cognitive Performance

In workplace environments, the evidence base is both extensive and precise. Studies by the Human Spaces found that employees working in environments enriched with natural elements experienced a 15% increase in wellbeing and a 6% increase in productivity. Research from the Harvard T.H. Chan School of Public Health demonstrates that improved indoor air quality, including lower carbon dioxide levels and reduced pollutants, can enhance cognitive performance by up to 61%. This shifts the conversation away from simply adding plants as decoration to thinking about ventilation strategies, material selection, and spatial planning.

Visual connection to nature matters just as much. People with direct views of greenery consistently report lower stress and higher satisfaction, but only if those views are thoughtfully integrated. In the UAE, developments such as Masdar City explore shaded courtyards and internal green corridors, offering a model for maintaining this connection within a climate that often necessitates enclosure.

Education and Cognitive Development

In schools, the conversation shifts from recovery to development, yet the underlying principles remain the same. The University of Salford HEAD Project found that classroom design can influence student progress by up to 16%, with daylight, air quality, and thermal comfort identified as key contributors. These are not peripheral considerations but are fundamental to how students learn. Beyond light and air, acoustic comfort becomes increasingly significant. Natural materials and spatial configurations that absorb sound help reduce cognitive fatigue and improve concentration. Even slight variations in temperature can support alertness better than completely static environments. 

In the UAE, schools are beginning to reinterpret these ideas within a desert context. Shaded outdoor learning areas, courtyards, and passive cooling strategies create opportunities for environmental variation without direct exposure to extreme heat. This reflects a more nuanced approach to biophilia.

Biophilia in the Gulf Context

Across the Gulf, the challenge is both environmental and cultural. The real opportunity lies in rethinking how buildings mediate between indoors and outdoors. Transitional spaces, filtered light, and internal landscapes can reintroduce thoughtful natural components without compromising performance. In this context, biophilia becomes less about replication and more about interpretation.

Ultimately, biophilic design operates at the intersection of science and spatial experience. It demands more than visual gestures. It requires a deep understanding of how light, air, material, and spatial orientation influence human biology. When these principles are embedded into the architecture itself, the impact is not only measurable but transformative.

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In the same spirit of dialogue, a few months ago, AlNassar opened his studio to the public at Alserkal; only this time with an additional gallery space downstairs with the workspace stationed upstairs. The gallery is conceived not as a conventional retail space, but as an evolving spatial narrative where collectible pieces, furniture, and objects are presented with the same level of intention and storytelling found in the studio’s architectural and interior work. Located on the ground floor and open to the public, it invites visitors to discover distinctive and thoughtfully curated design finds. “As designers, we’re constantly sourcing, referencing, and collecting, but those pieces rarely get a life outside of the spaces we design. The gallery became a way to give those objects a platform of their own, and for visitors to experience what we are able to create without being a client of ours,” says AlNassar. When asked what lens he uses to curate the pieces, he says, “The curatorial lens is quite instinctive. It’s less about trends and more about emotional resonance, material honesty, craftsmanship, and how an object sits within a space.”

Upstairs on the first floor, the studio overlooks an internal courtyard defined by skylights and an abundance of natural light. This setting creates a quiet, immersive atmosphere, one that feels distinctly removed from the surrounding industrial fabric of the neighborhood. 

Along with the shift of the studio to Alserkal, arrived a change in brand identity. This has been reflected throughout the space in subtle touches that are uncovered layer by layer. AlNassar worked with several partners to achieve this. He partnered with Delta light on the lighting and worked with Bauwerk lime wash which is the main finish of the entire interior space. “We used a color called ‘House’ which seems very fitting.” Shared AlNassar. For the exterior façade, AlNassar and his team worked with SLO ceramics that custom-made navy-blue tiles with the studio’s monogram. “There are so many details and collabs that really helped shape the space, we are so grateful for our supplier friends that really showed up. But my favorite would be the wallpaper in our powder room, by Material Library, an incredible supplier here in Dubai, it’s my favourite!” he says.

A cheeky dog bar is a crowd favourite – something thoughtful and much needed within the arts and culture community that is pet-friendly. “It came from something very personal, my own relationship with my dog, and how naturally he becomes part of any space I occupy,” shares AlNassar. “But also, we wanted the studio and gallery to feel welcoming, not just for people, but for the way people actually live. In Dubai, a lot of spaces still overlook that. The dog bar adds a sense of warmth and informality. It softens the experience.”

Together, the two levels of the space operate in quiet dialogue. The studio remains appointment-based, maintaining a degree of privacy, while the gallery below stays open as an accessible, evolving platform. Between them, the practice finds a new rhythm: one that moves between making and sharing, between working and inviting, and increasingly, between the studio and the community.

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At its core, self.space was designed for those who feel uncomfortable in front of a camera. Guests step into a private studio, take a remote, and create unlimited portraits in front of a full-length mirror, directing every moment themselves. There is no photographer present only the individual, the space, and the freedom to experiment. Expressions, poses, and timing are adjusted intuitively, allowing each image to emerge naturally.

The experience is powered by in-house AI technology that delivers natural, editorial-looking portraits without heavy filters or over-editing. Subtle enhancements smooth and balance images while preserving identity, with results processed instantly and delivered to a secure, password-protected personal gallery. “You’re the photographer. The mirror is your camera. And only you see your pictures,” defines the ethos of the studio, a shift from observation to ownership.

Yet beyond the technology lies a deeper intention. The space was designed to remove pressure and invite calm, creating an atmosphere where guests can feel at ease. Lighting, sound, materials, and spatial flow were carefully calibrated to support this sense of comfort. Every detail contributes to an environment that encourages people to pause, explore, and engage with themselves without external judgement.

The interiors by bleek.bureau reflects this balance. Soft, curved architectural volumes counter the rigidity of the industrial shell, while a restrained palette of concrete, metal, and deep matte green establishes visual calm. Textiles and velvet surfaces soften the materiality, absorbing sound and adding warmth. Sculptural lighting introduces moments of visual interest, while furniture from curved sofas to metal-and-leather chairs, shapes intimate zones within the open plan.

Design, technology, and human experience converges to create a setting that is as introspective as it is innovative, allowing self-expression to unfold quietly, naturally, and entirely on one’s own terms.

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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 unique method has been extracted from the path that has enabled the company to define a distinctive, authentic and coherent design language, thanks to a rich and layered heritage of colours, fabrics, rugs, materials and surfaces. More than 40 shades have been identified, all inspired by nature and translated into the company’s textile and material vocabulary.

Each colour family brings together all the materials available for creating Paola Lenti products – fabrics, cords, weaves, lava stone surfaces, concrete and ceramics. Once a chromatic direction has been identified, it is possible to move freely within it, exploring all its possible combinations and shades. This approach makes each designed space exclusive and unmistakable.It took over a year of research to transform this complexity into a functional tool for designers—a definitive guide to navigating an intricate creative universe defined by its profound depth and nuance.

Colour groups can also interact with one another: different chromatic tones blend, creating more complex combinations with contrasts and resonances, hence amplifying the expression of the primary tone. Furnishing elements, such as rugs, side tables or armchairs, become chromatic and material accents capable of giving rhythm and depth to the overall composition. The result is an almost infinite spectrum of possibilities, always unique and personal. The Chromatic Alphabet, thanks to the wide range of colours and materials capable of dialoguing with the landscape without overwhelming it, accompanies the design of outdoor spaces at every stage, from the individual product to the overall atmosphere.

Paola Lenti’s local distributor in the UAE is through Purity.

Photography by Maurizio Natta

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