The design of The Serai Wing reflects the importance of preservation. The immersive retreat required a challenging renovation, upgrade and repurposing of the two former homes. Dividing them into 12 guest rooms, Anarchitect intricately designed and repurposed the homes and infused them with minimalistic, stylish modern design elements. Each of the rooms is uniquely crafted with its own individual layout drawn from the transformation of the historical buildings and maintains a seamless blend of traditional Emirati design elements from the original edifices alongside original and new materials.

“The whole idea of this project is not just about regeneration, but repurposing,” explains Ashmore. Each room showcases the original coral and limestone mortal walls of the two merchant homes and features high ceilings and teak-wood trellises alongside modern travertine, white-metal accents and a serene palette of neutral hues. “We did not want to create a pastiche to make the building look like it was from the original 1950s buildings,” said Ashmore. “What we wanted to do is take influences from parts of the project that were existing, the forms, the shapes, the volumetrics as well as the materials and the perforations, and translate them into a new series of buildings that showed that this was a new intervention in 2023 that was different from the original build 70 years ago.” 

Devised as an inner city sanctuary in Sharjah’s historic district, the property is thoughtfully layered to comprise remnants of its past with modern design elements of the present. Due to the candidacy of the heart of Sharjah for UNESCO World Heritage Site status, renovations to The Serai Wing were carefully designed to preserve its integration into the historic coastal community of Sharjah, which once served as a major merchant hub along the shores of the Arabian Gulf, one of the oldest maritime routes.

“Historic layers sit harmoniously alongside new contemporary interventions realised in travertine stone and perforated white-metal surfaces that create additional and necessary functionality to facilitate the new hospitality program transcended into the properties,” Ashmore writes in the press release of the project. 

Inside, the rooms are bathed in natural light that emanates through traditional Arabian windows illuminating the space and fostering a serene, intimate atmosphere. The 12 accommodation options, including the 70-sqm duplex Khalid Grand Suite, feature bespoke furniture, luxurious marble-clad bathrooms, and in-room technology, focusing on comfort and privacy. The rooms are designed around a traditional tranquil central courtyard and have direct access to a temperature-controlled swimming pool with lounge seating and unique sculptural shades. Additionally, a Ghaf tree – the national tree of the United Arab Emirates –  is located within the center of the courtyard. Ashmore says his studio had to sensitively design the area around the tree to maintain it. 

Anarchitect’s design of The Serai Wing offers a rare dialogue between heritage and modern design. In November 2025, The Serai Wing won the inaugural RIBA Middle East Award for the Adaptive Reuse for representing a transformative piece of architecture that evocatively reflects the importance of preservation while reimagining a new modern lifestyle destination for regional and global travellers. 

Designed as an escape within the city, The Serai Wing offers a contemporary experience rooted in the heritage of its location. Views of Sharjah can be relished at various intervals throughout the rooms of Bait Khalid bin Ibrahim where strategic design gestures highlight seclusion, privacy and wellbeing. 

The past and present converge in The Serai Wing. As its clean lines meet Emirati traditional architectural components and minimalist design, the structure also offers a gateway to the city’s cultural scene. With the Sharjah Art Foundation just a quick walk away, a further dialogue between the city’s art and timeless architecture can be had.

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For Bensley, known globally for his theatrical, sustainability-driven designs, Mustang offered a rare opportunity. “Our own Shinta Mani Mustang is made from local stone, so it appears to grow naturally out of the landscape,” he shares. “We’ve kept every creature comfort, but celebrated the animism that is so present here, unique to this place. It is like another world.”

The interiors reflect the earthy palette of local clay quarries. Dove grey, terracotta red and ochre beige feature, symbolising prosperity, knowledge and longevity

The project was commissioned by the Sherpa family, who have lodges across the Everest and Annapurna routes, which Bensley’s friend and associate Jason M. Friedman helped consolidate into the Mountain Lodges of Nepal group. In fact, Namgyal Sherpa’s mother, was the first Nepali woman to climb Everest. The family envisioned a lodge that would respect Mustang’s culture while welcoming discerning travellers for three-to-seven-day explorations.

The original hotel structure built in 2017 was designed by Nepalese Architect Prabal Shumsher Thapa. Bensley was later brought in by the owners to reimagine the interiors and landscape before it opened as a Shinta Mani property in 2023.  Bensley sought to embed the lodge in its surroundings through the interiors. Locally sourced stone, slate and timber form the architecture, while interiors reflect the earthy palette of local clay quarries. Dove grey, terracotta red and ochre beige feature, symbolising prosperity, knowledge and longevity. Furniture and fittings were created through Bensley’s signature upcycling: discarded doors, yak furs, Tibetan conch shells and antique finds transformed into bespoke pieces with story and soul.

“An example is the minibar in each suite,” Bensley explains. “There is locally and sustainably sourced yak fur draped over it, while the handles to open the mini bar are in fact a traditional Tibetan conch shell which is engraved. On the wall above, one will find three big organic pieces of slate with sanskrit poems engraved on them. Traditionally, in this northern region, when winter falls and it is bitterly cold, people take refuge inside. It is a quiet time, and so people set to carving these poems and prayers into slate as a form of penance. Then in the summer one sees these prayer stones stacked one above the other outside, atop stone walls, showing years of wintertime penance. It is this unique way of seeing the world which we want to carry throughout the experience.”

Though the lodge’s structure remained intact, Bensley reconfigured the interiors to maximise the mountain views, making them visible from every space. A long central courtyard leads to the lobby – a convivial hub with fire pits on the terrace for stargazing. Flanking the courtyard, the Nilgiri Restaurant and Aara Bar encourage guests to share stories beneath a mural-sized map of the Himalayas, annotated with trekking routes, flora and fauna. One wing houses the 29 suites across two levels, while the other accommodates a multipurpose hall, spa and gym complete with stone jacuzzi, steam and sauna that all frame sweeping views.

The design ethos is as practical as it is poetic. With Mustang’s remoteness limiting supply chains, local sourcing became essential. The sustainability was a bonus. “The key issue was access,” Bensley says. “The solution was to source locally, making the project all the more inclusive of Mustang’s culture.” 

Like all Shinta Mani projects, Mustang is tied to a social mission. Here, it is cultural preservation. “The young leave the valley for Kathmandu and beyond, so their culture is slowly dying,” Bensley reflects. “We would love to be able to generate high-value, low-impact tourism and to lure the talented locals back to the valley. The right (read tiny) form of tourism can help to bring the customs of the ancient society back into practice. We have already seen a number of very unusual festivals happen since we have been there. While most of Nepal could use the helping hand of a Shinta Mani and what that can bring, I was especially thrilled to be able to pitch our flag in Mustang.”

For Bensley, the project was also deeply personal. He first learned of Mustang 35 years ago through his friend Robert Powell, an Australian artist and architect who spent decades in Nepal, painstakingly documenting the region’s vernacular architecture in exquisite watercolours. Powell’s works now line the walls of Shinta Mani Mustang, a tribute to both the artist’s legacy and the fragile beauty of this land.

“While I have been to Nepal perhaps 50+ times for various projects in and around Kathmandu, I never did make it to Mustang before being offered the project in Jomsom. You can imagine how pleased I was!” Bensley says.

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In collaboration with three world-renowned design firms, Hirsch Bedner Associates (HBA), LW Design Group, and IDA Global, Kohler unveiled a one-of-a-kind booth that blends Saudi Arabia’s rich cultural heritage through a fusion of art, design, and cutting-edge innovation for hotels, residential, and commercial spaces. Here’s the quick look:

The Desert Jewel ​by Hirsch Bedner Associates (HBA)

​Reminiscent of the desert’s mineral tones and sculptural stillness, KALLISTA® collections unfolded like rare treasures—quietly revealed within a serene, immersive landscape. Visitors immersed in a space where quiet beauty and stillness converged, and the extraordinary emerged in the most unexpected moments—a place that invited reflection, presence, and the quiet luxury of discovery.

The suite highlighted Bezel, a coveted new KALLISTA collection, featuring a soft square profile with the precise faceting of a gemstone, beckoning to be the jewelry of a bathroom space.

A Sanctuary of Sensory Wellness ​by LW Design Group

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Inspired by the desert’s quiet resilience and the grounding rituals of resort living, this space became a sensory sanctuary, where design transcended aesthetics to evoke emotion and align with intention. Visitors stepped into a retreat shaped by Kohler’s soulful innovations, where every element was thoughtfully crafted to transform the environment into a place of restoration and reconnection—a space that truly invited visitors to explore a deeper sense of self.

This suite featured the pairing of the Anthem smart showering system with the Statement showering collection, delivering an immersive ritual where every drop inspired renewal.​

The Golden Nights ​by IDA Global ​

Immersed in quiet opulence, the lush drama of Italian maximalism met the soulful calm of Arabian nights. The air was rich with oud, golden threads shimmering across flowing fabrics, and music lingering like a memory in the courtyards. Visitors experienced a space where every detail was designed to ground and transport—an invitation to dwell in beauty, stillness, and story.

In this suite, the sleek, minimalist Components collection echoed the mood with bold, confident lines balanced by smooth, curvaceous forms.

Featuring collections from Kohler, KALLISTA, and Kohler x Studio McGee, the showcase reimagined immersive experiences in bathroom spaces elevating everyday rituals, enhancing wellness, and promoting a more sustainable future.

Kohler x Studio McGee

Kohler x Studio McGee is a collection rooted in time-honored craftsmanship, designed exclusively by Shea McGee to pay homage to the legacy of quality fixtures and the luxury of an aesthetic that endures. Throughout the Castia bathroom collection, the products featured a sense of antiquity but are transitional enough to pair with a wide range of styles.

Visionary Design Talks

On the first day of the exhibition, Kohler’s Chief Sustainable Living Officer Laura Kohler also participated in the Visionary Design Talks titled “Saudi Made – Why Culturally Rooted Design Drives Investment Value.” The talk explored how honoring local culture and identity brings authenticity, trust, and lasting value to design. Joining the panellists included Ahmed Zaidan, Founder and CEO, edgearch; Amani Al Ibrahim, Partner – Executive Director, Kristina Zanic Consultants; Tony Archibald, KSA Country Director, X-Architects; and Omar Al Sabbagh, Design Advisor – Director and Strategist, Dar Al Omran.

KOHLER® Signature Store by Bayt Al Ebaa Activations

Kohler also held event activations at the KOHLER Signature Store by Bayt Al Ebaa.

The first event was an accredited master class by the Council for International Accreditation of Architecture (CIAAD) held for aspiring architect students. The session allowed the students to explore how sustainability and innovation converge to shape design education with leading designers.

The master class was followed by an exclusive panel discussion moderated by Laura Kohler, Chief Sustainable Living Officer at Kohler Co., under the topic “Designing for Collective Well-Being.” The talk brought together leaders from the design industry, academia, and government authorities in an important dialogue to explore the shared responsibility of creating wellness spaces that heal both people and the planet.

Explore more at Studio Kohler.

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Designed by LW Design, the architecture draws from the principles of biophilic design, where nature and structure exist in quiet harmony. “Our goal was to elevate the guest experience through the highest levels of design excellence, hospitality and attention to detail, while ensuring that the unique charm, culture and natural beauty of the Masai Mara remained at the heart of the project,” shares Pooja Shah-Mulani, Managing Partner – Creative at LW Design. “Personally, this project holds special significance, as Kenya is not just a destination, it’s home. Being able to combine my global experience with the opportunity to contribute to a place so close to my heart has been an incredibly rewarding journey.”

The camp hosts 20 distinctive hooded tent suites with soft, rounded forms that echo the meandering Sand River. Canvas walls, flowing drapery and indoor-outdoor lounges melt the boundary between room and landscape, creating an environment where the rustle of leaves, scent of rain and calls of the wild move freely through each space. Outside, guests can soak in the views from private plunge pools, outdoor showers and canopy-level stargazing decks. “This is a place that stirs your soul,” shares said Tina Edmundson, President, Luxury at Marriott International.

Inside, the design is a celebration of Kenyan textures and craftmanship, bringing depth and authenticity to every detail. Earthy palettes and tactile materials such as hand-carved wood, semi-volcanic stone and woven textiles handloomed by local women create a rich, understated materiality. Intricate Maasai beadwork, seamlessly integrated into joinery and furnishings, anchors the camp in local heritage. 

Art throughout the camp serves as a powerful storytelling medium, grounding guests in the cultural and natural heritage of the Masai Mara. Dynamic statues of cheetahs mid-sprint by Simon Bannister placed above fireplaces evoke movement, strength and resilience, while photographic portraits of local women by Gian Paolo Tomasi blend documentary realism with emotional depth. Vintage photographs by Carol Beckwith and Angela Fisher document age-old Maasai rituals and ceremonies.

Each suite is paired with a personal Encholiek – a Maasai term meaning “one who walks with you.” Part cultural guide, part intuitive butler, the Encholiek offers guests a rare blend of immersive storytelling and elevated service, ensuring every moment is both deeply rooted and effortlessly refined. 

Sustainability lies at the heart of the Ritz-Carlton Masai Mara experience. The camp is fully solar-powered, operating one of East Africa’s most energy-efficient systems with a 650kW solar farm and 7,000kWh battery storage facility capable of running the property for up to three days. A closed-loop water system recycles greywater and harvests rainwater, while a strict zero-waste-to-landfill policy ensures minimal environmental impact.

Beyond operations, the camp supports the Greater Mara Ecosystem through biodiversity monitoring and habitat restoration, including reforestation along the Sand River. Guests are invited to participate in tree-planting initiatives, linking ecological stewardship with experiential luxury.

The project is also deeply community-focused. Over 70% of the staff are drawn from surrounding villages, with apprenticeship programmes training youth in hospitality careers. Dedicated initiatives empower women through employment as wildlife rangers, artisans and cultural ambassadors, while educational projects, such as book donations and fruit tree planting at Embu Primary School, strengthen long-term community resilience.

Photography: Jiri Lizler

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We spoke with architects and designers across the region, and they voiced that designing to last is less about chasing what is new and more about embedding resilience, honesty and adaptability into the very bones of a project.

Breakout area of an office designed by SAY Studio

When asked how they balance timelessness with evolving trends, the designers all pointed to the same starting point: fundamentals. “We don’t treat trends as design inputs. We design from programme, climate, site and culture,” explains Mohammed Adib, Chief Design Officer at Dewan Architects + Engineers. For him, technology can evolve around strong foundations, but “it never replaces sound proportion, clarity of plan, and material honesty.” Bani Singh, Founder at Grounded Design, takes a similar stance: “Timelessness starts with first principles: proportion, light, flow and an authentic response to context. Trends are useful as accents, not anchors.” For Nemanja Ribic, Senior Interior Designer at SAY Studio, it’s people who ground design: “We therefore anchor spaces in human centric principles: circulation, light and ergonomics. These things are timeless because they will always matter.”

Maysa Saccal, Co-founder

But timeless doesn’t necessarily mean static. Khaled AlShamaa, Co-founder and Director, XYZ Designers, calls it a foundation on which innovation can be layered. “We don’t follow trends; instead, we distil ideas into design elements that can endure and remain relevant well beyond the moment.” For Maysa Saccal, Co-founder, Saccal Design House, timelessness is a balance between adaptation and identity: “As trends evolve, we are always looking for new ideas and opportunities to evolve our designs as well. However, as designers we do have our own aesthetic in design, and honour it through the years to stay true to ourselves and our brand.”

Material Language

If design is to endure, materials must speak of permanence, grace and honesty. “The most sustainable move is an efficient building – orientation, shading, massing and services that work hard,” says Adib. Materials, then, are the inner layer of this efficiency. Adib cites dense stone where appropriate, fired clay products, responsibly sourced timber, lime-based plasters and well-finished metals. “Longevity is the brief,” he declares. Singh favours materials that wear in, not out. She names natural stone, porcelain/sintered slabs, terrazzo with recycled aggregates, responsibly sourced timber, lime-based plasters, and powder-coated metals as some of the materials being used. “In our climate, stability matters – engineered substrates and high-quality composites often outperform softer stones and keep maintenance low. I also look for low-VOC finishes, formaldehyde-free resins, verified EPDs and parts that can be repaired or refinished. Longevity is both physical and emotional: the material should still be wanted in 20 years,” she shares. 

In commercial, residential and hospitality design, Ribic sees different material priorities but insists that durability and responsibility go hand in hand: “We’re seeing a lot of really exciting new materials such as terrazzos incorporating more recycled content, textiles derived from recycled PET or natural wool blends, and bio-based leathers.” For AlShamaa, materiality is as much about experience as endurance: “I don’t shy away from using glass when it allows us to capture natural light and frame views – because creating healthier, more connected environments is also part of building sustainably.” Saccal takes a pragmatic approach: “Reclaimed wood and recycled steel are the most used materials in our projects/designs.”

La Mer by Elie Saab and Dewan Architects + Engineers

Designing for Change

If permanence is one pillar of longevity, adaptability is the other. The designers all affirm the need for flexibility. “We plan for ‘loose fit, long life’,” notes Adib. Ribic stresses the role of adaptability in the workplace: “Easily adaptable environments, multipurpose zones and plug-and-play infrastructure are just some of the non-negotiables for us.” Saccal cautions, however, that adaptability doesn’t erase the challenge: “It definitely helps to be able to come up with a flexible design, yet with the rate that design is evolving, I believe trying to achieve timelessness is getting harder,” she says.

The Case for Building Well

Every ideal collides with reality – tight schedules, budget constraints and shifting priorities. The designers interviewed share that the best way is to weave sustainability and durability into the process from the very beginning. “We make sustainability part of the baseline brief, not an add-on,” shares Adib. “Pre-vetted specifications, early contractor input, clear performance criteria in tender documents, and parallel procurement for long-lead items keep programmes intact.” 

“Decision ‘gates’ stop last-minute swaps that undermine performance,” states Singh. “We keep a pre-vetted library of durable, available materials, bring contractors in early, and run design and procurement in parallel where possible.” For Saccal, coordination is key. “Clear documentation and coordination between architects, engineers, sustainability consultants and contractors avoids rework and often speed up the process,” she says.

Khaled AlShamaa, Co-founder and Director, XYZ Designers

The conversation with clients, too, is shifting. Adib shares, “We frame it as total cost of ownership: fewer replacements, lower energy and maintenance, and higher residual value. We also show how good planning reduces non-lettable/wasted area and optimises structure – savings that fund better envelopes and systems. Most clients accept the logic when the numbers and the comfort outcomes are clear.” Singh connects it to wellbeing and cost of ownership: “We show simple payback models, warranty lengths and maintenance intervals, then highlight the human returns – healthier air, better light, thermal comfort and a calmer, more grounded home. Most clients connect with the idea of building once, building well and leaving something of value to the next generation.” AlShamaa expands the value proposition. “Beyond economics, we emphasise brand value – tenants and buyers increasingly choose projects aligned with sustainability and long-term thinking.”

In an age of speed and disposability, the act of building well and building once, with care and foresight, is perhaps the most radical gesture of all.

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Today, the Dubai studio hosts over 80 professionals providing architecture, interiors, master planning, landscape architecture and technical design. DLR Group’s integrated approach means that multidisciplinary teams collaborate from the earliest project stages, ensuring seamless service delivery. 

“This growth has been both strategic and organic,” shares Henrique Dias, Principal and Middle East Hospitality Design Director for DLR Group. “In 2020, we introduced dedicated interior design leadership and added landscape architecture and urban design services to support fully integrated delivery. We’ve also invested in local talent, strengthened ties with public and private sector clients, and built long-term partnerships that allow us to engage in projects from concept through execution.” 

“We’ve also invested in local talent, strengthened ties with public and private sector clients, and built long-term partnerships that allow us to engage in projects from concept through execution.”

Notable Projects 

What started with retail and hospitality ventures has expanded to encompass complex mixed-use developments, cultural destinations, education facilities, data centres and master plans across the UAE, Saudi Arabia, Iraq and Egypt. Landmark projects include Madinah Gate, Future City in Baghdad, and numerous NEOM developments. Madinah Gate is one of the most ambitious urban developments currently underway in Saudi Arabia, and a key component of the broader Knowledge Economic City (KEC) master plan in Madinah. Strategically located between the Prophet’s Mosque, the Haramain High-Speed Rail Station and the international airport, the project is designed as the first true transit-oriented development (TOD) in the city. Madinah Gate is being developed to support the movement of millions of pilgrims annually while providing a contemporary urban experience that reflects the sacred context of the city. The master plan includes a mix of retail, hospitality, public plazas and cultural amenities, all seamlessly connected through shaded pedestrian networks and multimodal access points. At the heart of the development is a new DoubleTree by Hilton, set to be the tallest habitable building in Madinah and a new landmark for the city. The architecture draws inspiration from local vernacular traditions, reinterpreting the spirit of Madinah’s historic neighbourhoods through clustered massing, natural stone finishes and triangular motifs derived from traditional crafts. 

Ogami

The design emphasises human-scale connections, with intimate village-like clusters arranged along dynamic, walkable pathways. These clusters reflect the journey of the pilgrim, offering moments of pause, reflection and arrival. The integration of spiritual, cultural and practical elements into the urban fabric ensures the project serves not only as a gateway to the holy city but also as a vibrant hub for the local community. This project is a benchmark in how faith-based tourism, urban development and contextual architecture can coexist meaningfully. 

Another project, Ogami, is a coastal destination under development in Ras El Hikma, Egypt. Spanning 1.8 square kilometres (440 acres) along the Mediterranean shoreline, the project is led by master developer SODIC, with DLR Group responsible for master planning and architectural design. 

“Ogami is guided by a design philosophy we call the state of optimal flow – a spatial, sensory and emotional rhythm that connects people, place and purpose,” shares Dias. 

The concept is realised through a highly choreographed layout of cascading terraces, interlinked lagoons, pedestrian promenades and quiet green corridors that follow the natural slope of the site. Nearly 2,000 units, including villas, twin houses, townhouses and chalets, are positioned to maximise views of the sea or water features. The architecture is intentionally understated, blending Mediterranean openness with Japanese minimalism to create a sense of refined calm. North-facing façades allow for optimal daylight and sunset views, while the building palette emphasises natural textures, warm tones and soft transitions between indoor and outdoor environments. 

DLR Group’s diverse portfolio also spans luxury resorts, data centres, cultural districts and residential communities – all united by a belief that design should elevate the human experience. When asked what remains constant, Dias says, “Our belief that design should elevate the human experience. That ethos is embedded in everything we do, from early strategy to final handover, and continues to define our role in shaping the built environment across the Middle East.”  What is common to all these projects is a pervasive ‘sense of place’. Dias emphasises that a genuine sense of place stems from a deep understanding of context, culture, environment and social rhythms. 

“It’s not just about what a place looks like, but how it functions, how people move through it, and what it means to those who use it,” shares Dias. “That means spending time understanding the rhythms of daily life, the climate, the history and how the community interacts with its surroundings. Authentic, intuitive places arise from designs that ask what a place should become, carefully considering layout, orientation and flow.” 

Members of DLR Group’s leadership team (from left) Vaida Buchrotaite, Interior Design Director; Jamal Salem, Middle East Regional Director; Henrique Dias, Hospitality Director and Essam Nabih, Business Development Director

Gearing for Expansion 

DLR Group’s Dubai studio continues to serve as a regional hub, extending design-led expertise across the GCC, North Africa and beyond. Hosting a connected studio model allows the firm to collaborate across time zones and disciplines, setting it apart by deploying tailor-made teams for each client’s unique ambitions. As a global, 100% employee-owned firm with 33 offices worldwide, the draw for clients is a fully integrated, multidisciplinary design service. This includes architecture, interiors, planning, landscape architecture and engineering expertise, delivered seamlessly across geographies. 

Pushing Boundaries in Innovation and Sustainability 

Innovation, as Dias puts it, begins with challenging the conventional. “Not just in how we build, but in how we think,” he shares. “It’s about reimagining the design process from the ground up: questioning assumptions, re-evaluating priorities, and being unafraid to ask why; why are we building this, who is it truly for, and what value will it bring long-term?” 

“Success is not just about what a project looks like, but how it performs, how it ages and how it serves people and place over time”

Sustainability at DLR Group is viewed as regeneration, as opposed to efficiency, achieved by working with the climate, selecting low-impact and local materials, and designing spaces adaptable to changing needs. “It also means knowing when not to build and having the discipline to pursue solutions that add real, lasting value socially, environmentally and culturally – not just to meet a checklist,” shares Dias. He states that close collaboration with engineers, consultants, artisans and local experts is essential for embedding innovation in each project, using digital tools, parametric modelling, circular economy principles and low-carbon systems. “Success is not just about what a project looks like, but how it performs, how it ages and how it serves people and place over time,” shares Dias. “When innovation and sustainability are truly integrated – woven into the narrative rather than layered on top – the result is a project that not only responds to the present but anticipates the future.” 

DLR Group’s evolution in the Middle East is a story of strategic growth, multidisciplinary excellence and a passionate commitment to designing spaces that enrich the human experience, now and into the future.

 

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The project’s vision was anchored in adaptive reuse, rather than reconstruction. OBMI treated the palace as a living archive—a repository of memory whose story could be extended rather than rewritten. Every design choice honoured the building’s original fabric: hand-carved cedar ceilings, restored Moorish arches, preserved zellige tilework, and original terraces that once hosted Tangier’s elite were brought back to life. OBMI’s aim was to cultivate a feeling of “Contemporary Moroccan Splendour”.

The site spanning 3.6 hectares of steep, terraced land was integral to the design approach. Buildings cascade down the hillside in rhythmic layers, interspersed with gardens, pools, and shaded walkways that echo the natural contours of the terrain. This terraced choreography preserves panoramic views and minimises environmental disruption. The surrounding eucalyptus groves, citrus gardens, and water features are not decorative afterthoughts, but essential components of a hospitality experience rooted in cultural and ecological continuity.

The palace’s resurrection demanded both technical mastery and narrative sensitivity. OBMI collaborated with engineers, restoration specialists, and local artisans to retain the building’s original shell while strengthening it to meet modern standards. Years of abandonment had left the structure fragile, while the site’s steep gradients and dense vegetation posed logistical challenges. Rather than fighting the terrain, the design embraced it: hotel wings were sculpted into the hillside, vehicular and service circulation was hidden underground, and the eucalyptus groves were preserved as part of the hotel’s environmental stewardship.Structural retrofitting, passive cooling strategies, and geotechnical modelling ensured that the new works complemented the historic frame. Kitchens, loading bays, and mechanical systems were embedded into the earth so that guest-facing areas could remain uninterrupted and poetic.

The guest journey unfolds as a series of architectural encounters. A central atrium courtyard brings natural light deep into the heart of the original palace. Royal Villas are discreetly nestled into the landscape. The contemporary hammam, inspired by ancient rituals, offers a sensory connection to Morocco’s bathing traditions. Suites and public spaces are dressed in polished tadelakt, woven textiles, and intricately carved metalwork.

Ultimately, the Fairmont Tazi Palace Tangier demonstrates that preservation and progress need not be opposites. With sensitivity and imagination, historic structures can be adapted to serve present-day needs while safeguarding yesterday’s stories. This is architecture as cultural stewardship—measured, respectful, and enduring.

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The hotel pays homage through the use of traditional Moroccan craftsmanship and architecture. Intricate zellige tilework, smooth tadelakt plasterwork and graceful arches flow throughout the property. Yet this reverence for tradition is brilliantly juxtaposed with mid-century modern furnishings and contemporary artistic expression. The walls serve as canvases for exceptional works, including striking photography by renowned artist Mous Lamrabat, creating an inspiring dialogue between Morocco’s past and its creative future.

The rooftop terrace spans multiple levels and unfolds like a secret garden above the bustling medina. The centrepiece 10-metre swimming pool is embraced by lush banana trees and tropical plantings, creating an unexpected jungle ambiance that feels worlds away from the desert city below. The upper rooftop reveals the hotel’s most breath-taking feature: a 360-degree panoramic vista that captures all of Marrakech in one sweeping view. From the snow-capped Atlas Mountains rising majestically in the distance to the labyrinthine streets of the medina spreading out below, this elevated perch offers moments of pure magic. 

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