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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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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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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The property comprises 141 guest rooms and suites and 18 private villas, thoughtfully planned across a master layout inspired by the nearby Minnan village. Guests move between spaces by foot, by bridge or even by boat. The villas, in particular, are a nod to secluded estate living, complete with private piers, pools and gardens. From the very first sketch, BLINK founder Clint Nagata sought to weave a living narrative of place and memory, pulling from the distinctive architectural language and craftsmanship of Lingnan mansions. “The long history, poetry and traditions of these venerable villages have faded from view during Dongguan’s rush to become first a factory to the world and, more recently, China’s Silicon Valley,” says Nagata. “Our aim was to create an atmosphere in which guests can not only experience the service and international design of a top hotel during their stay but also immerse themselves in Lingnan culture, which really is exceptional and must be preserved.”

Throughout the resort, every detail is a modern reinterpretation of tradition. Intricate lattice screens, carved panels and ceiling features reference vernacular artistry, echoing the ancestral halls and cloth mills that once defined the region. BLINK infused spaces with design cues inspired by Chinese ink to evoke calm and contemplation. Rich materials like marble, aged timber and rattan are paired with textiles that draw from traditional Lingnan weaving techniques, including the intricate guancao method. These elements appear not only in the public areas but also carry through into the guestrooms, suites and villas, where asymmetrical headboards, woven furniture and soothing tonal palettes create a sensory, tactile experience. In the villas, the design mirrors the layout of classic Lingnan mansions, reinterpreted with the comforts of a modern resort that includes private onsens and open courtyards. The spa is inspired by Dongguan’s eaglewood markets, and the space is perfumed with the resinous scent, as well as filled with warm natural textures and soothing soundscapes from traditional singing bowls.

Dining spaces follow suit. Ming Yue, the hotel’s all-day restaurant, plays with geometric screens and sculpted wood details to frame glimpses of the lake. Meanwhile, Bai Yun offers an elevated take on Cantonese cuisine, set in an expansive dining hall with 270-degree views.

Photography by Lit Ma

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The hotel’s courtyard is utterly charming, with a fountain adorned in colourful tiles that transports visitors to a wildly romantic hacienda. Seating is upholstered in red fabric trimmed with white piping, while blue-and-white striped parasols gently hint at the nearby sea. The tabletops are made from multicoloured, undulating tiles that offer a playful, yet refined take. Inside, each room draws inspiration from a different semi-precious stone: aventurine green, citrine yellow, lapis lazuli blue, carnelian red and morganite pink. The walls are kept deliberately neutral to create a calm atmosphere, with colour subtly introduced through fabrics, furnishings and decorative accents. 

Geyer has thoughtfully curated a collection of unique objects for each space, such as the woven raffia heads by artist Natalia Brilli, modernist tapestries by Marc Baumann and the striking Cronos and Manon lamps from Heaps & Woods. Rugs by Élitis and Edelgrund, together with Pierre Frey fabric blinds, provide structure and warmth.

In the bathrooms, a chic touch is added with basins adorned in intricate floral and celestial motifs. The common areas also add to the overall charm. In the reading room, the ceiling is painted by hand with wooden slats in a rainbow pattern that brings an uplifting and joyful energy to the space. The sofa from Popus Editions, upholstered in fabric by Maison Thevenon and paired with curtains from the same brand, adds a chic, ethnic twist to the decor. In the living room, the Wenceslas sofas from Heimat – Geyer’s own furniture collection – along with striped orange-and-white fabric from Manuel Canovas, create a warm and inviting atmosphere.

In the kitchen, the saffron-yellow tiles on the backsplash add a playful and welcoming touch. At the centre of the room, a 1960s Roger Capron table lends character to the space, while a linen painting above the fireplace, ‘The Lemon Bowl’ by artist Gordon Hopkins, adds another curated detail by the designer. Finally, the Waldemar Rothe hammock from Rosenthal, a piece from 1974 displayed by Morentz Gallery, stands as a key focal point in the room, inviting moments of contemplation.

Photography by Matthieu Salvaing

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Marbella’s distinctive scenery, often evoked in Andalusian poetry, serves as a guiding thread, with an emphasis on weaving lush vegetation and natural elements throughout the space. The design captures the greens of the landscape, the blues of the sea and sky, and the warmth of golden sunlight, creating a dynamic yet harmonious environment. Additionally, the works of Málaga-born Picasso and other Spanish artists influence the project, particularly in the use of curves, colour contrasts and ceramic craftsmanship, given a bold, modern twist. While drawing from Mediterranean tradition, the design also incorporates a 1970s-inspired touch that reflects the building’s original architecture from that era. This influence is evident in the use of geometric patterns, built-in niches and light-filtering elements. In the lobby and lounge areas, guests are welcomed by a warm and inviting ambience with a white Mediterranean background, wooden elements and colourful furnishings inspired by the ‘70s. Hand-painted murals inspired by Picasso add an artistic touch, evoking the home of an art enthusiast. This philosophy carries into the lounges and library, which host an eclectic, artsy warmth shaped by crafted objects, bold carpets and wooden sliders that provide flexible privacy. 

The existing Andalucian Patio, one of the hotel’s original and essential elements, is enhanced with a Mediterranean material palette, where a central sculptural water element becomes the focal point. The Azul Bar – a Marbella icon since 1962 – features an updated design that embraces a ‘blue’ theme, featuring a striking central bar crafted with 3D ceramic elements. Large hand-painted murals, where shades of blue take centre stage and Picasso-inspired feminine forms come to life, add a creative touch to various seating areas, transforming them into intimate, artful corners full of character. The space effortlessly balances elegance and ease, creating a seamless day-to-night atmosphere that feels both vibrant and refined. The pool area has been reimagined with a topography-inspired design, where a warm white backdrop enhances the refreshing natural turquoise tones of the water. Multi-level platforms blend in organically, resulting in a vibrant and colourful atmosphere with a vintage, chic vibe that invites relaxation. Nestled on one of these platforms, the Costa Club pool bar stands out with its terracotta tiles and latticework. A wooden pergola filters the light, casting playful shadows that evoke the essence of an authentic Mediterranean retreat. 

The Escondido Rooftop is a bold and glamorous rooftop bar designed with slightly stepped platforms that create distinct zones for an elevated experience. The upper level hosts a chic rooftop bar infused with a ‘70s twist – with bold geometric patterns and terracotta hues, setting the tone for a stylish escape. Descending to the lower level, a panoramic pool framed by retro tile motifs stretches toward the splendid Mediterranean views. During the day, the space offers a casual, laid-back vibe; by night, it transforms into a sophisticated, elevated experience.

Photography by Veerle Evens

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The Aluminium Toolbox reimagines Vitra’s 2010 design by Arik Levy using RIMOWA’s signature anodised aluminium. Representing a commitment to sustainability, the interior compartments are lined with recycled fabric. Only 100 pieces are available in the same colour options as the stool – sold exclusively in Europe via RIMOWA.com and globally through Vitra.

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The hotel preserves the geometric elegance of deco while absorbing the climatic and material sensitivities of Bawa’s modernism

Originally built in 1924 as a merchant’s villa, The Charleston reopened its doors a century later, in 2024, as a nine-room boutique hotel. A rare example of Sri Lankan Art Deco, the property has been carefully restored to honour its heritage while embracing contemporary codes. Amid the predominantly Dutch colonial vernacular of Galle Fort – with its baroque gables, weighty teak columns and whitewashed masonry – The Charleston stands apart as a singular local expression of a global style, one that took root in Sri Lanka during the 1920s and ’30s as part of the broader influx of European architectural currents under British rule.

While Art Deco’s presence in Sri Lanka was modest, its legacy is significant, seen most notably in Colombo’s cinemas, civic buildings and residential enclaves. These imported motifs eventually gave way to a more regionally responsive idiom in the mid-20th century, most famously articulated through the work of Geoffrey Bawa and the emergence of tropical modernism. The Charleston, then, sits at an architectural intersection: it preserves the geometric elegance of deco while absorbing the climatic and material sensitivities of Bawa’s modernism. 

Upon arrival, guests pass over honeycomb Carrara mosaic flooring, flecked with brass terrazzo inlay – an expression of preservation and polish. Upstairs, on the pool terrace, plasterwork is subtly etched with vertical lines: a trace of the streamlined geometries of Art Deco. Here, whitewashed walls and gently finished timber detailing establish a sense of calm, making this an ideal setting for that first-morning coffee overlooking the sea or an afternoon pause by the lap pool. The vertical wooden panels that punctuate the façade, echo the formal repetition of Art Deco while drawing on the climate-conscious logic of tropical modernism. Inside and out, the original structure breathes through its contemporary expression.

Club-style stools clad in tan leather are framed in clean-lined brushed-metal casing

At the heart of The Charleston is Charlie’s Bar & Bistro, a moody and magnetic space named in homage to Charles Hulse – a much-loved Galle Fort figure known for his warmth and taste. The design here is an ode to him. Interiors evoke cinematic elegance: club-style stools clad in tan leather are framed in clean-lined brushed-metal casing, while a gently arched brass bar brings a flourish of old-world glamour to the space. Entry is via sliding glass doors bordered in bold black metalwork that retains the graphic symmetry of 1930s design. The material palette – leather, wood and brass – is rich in contrasts; such textures are softened by potted palms and the whirr of overhead fans. A teal, velvet couch forms a counterpoint to otherwise restrained hues, while carved timber armchairs, wrapped in plush sand-toned cushions, circle around a chessboard. Contemporary gestures converse with historical elements, as seen in the sculptural concrete side tables and the light installation that floats above the bar like a constellation of transparent bubbles.  Along the corridors, contemporary Sri Lankan art lends a deeper register. Among the highlights is ‘Colourism’, a dreamlike mixed-media series by multidisciplinary artist Malki Jayakody. Her works explore themes of beauty, identity and bias, adding a conceptual layer to the hotel’s purposeful visual language.

Four-poster beds, pared back to their essential lines, are reimagined in matte black metal, mirroring the industrial edge of the overhead fans

The guest rooms at The Charleston continue the hotel’s conversation between eras. Four-poster beds, pared back to their essential lines, are reimagined in matte black metal, mirroring the industrial edge of the overhead fans. Glass orb sconces, suspended from burnished brass fixtures, lend an ambient glow to crisp white walls. The palette throughout is understated but thoughtful: ivory and soft beige are grounded by natural wood and accented with notes of marble and matte gold. Elegance is rooted in proportion and poise. Bathrooms are sheathed in floor-to-ceiling veined marble, and bathed in flattering, layered lighting. In the courtyard bedroom, carved timber doors open onto a private terrace and the rhythms of Fort life. Here, the sounds of monkeys and peacocks drift in while the surrounding foliage offers privacy and softens the boundary between indoors and out.

Taken as a whole, The Charleston brings together multiple histories – colonial, modernist and regional – in a design language that feels both contextually rooted and undoubtedly refined.

Photography by Aiste Rakauskaite

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