The journey began at ‘Taiyaar,’ a ready-to-go section offering curated drinks, flowing seamlessly into Batch Your Own Brew, an innovative tap system serving rotational, pre-batched pour-overs hot or iced. Guests can watch bespoke designs materialise at the ‘Subko Singularity’ 3-D printing station before entering ‘Don’t Be Sensitive, Be Sensory,’ a coffee cupping and cacao tasting room. Here, the Single Origin VR experience transports visitors to smallholder farms across the Indian Subcontinent, grounding every sip in its origin.

Subculture by Subko houses ‘Dukaan,’ showcasing design-led objects, publications, and merchandise inspired by Asian diaspora craft. The adjacent open production areas the roastery with a custom Giesen roaster, cacao transformation room, dough lamination kitchen, and hot kitchen blend functionality with visual storytelling, keeping guests immersed in the art of making. ‘Taufah’ completes the experience, offering curated specialty gifting that mirrors Subko’s design-first philosophy.

The mezzanine, Quoz Quarters Café, evokes whimsical nostalgia and modernity, a maze of thematic rooms celebrating community and discovery. ‘Mehfil’ hosts earthy gathering spaces, while Zubaan celebrates Indic typography. The Wheat Room traces flour from farm to table, the Coffee Corridor explores bean-to-cup processes, and the Cacao Room highlights raw origins. Raw Humanity Corridor and The Last Supper gallery foster reflection, ending in playful interaction with a custom carrom board, connecting tradition to experience.

Subko’s debut in Dubai reframes the Indian Subcontinent as a world-class origin for coffee, cacao, and baking, proving that meticulous craft and thoughtful design can transform every visit into a sensory exploration.

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At a time when uncertainty looms over the creative sector, Alserkal Avenue continues to offer vital infrastructure for artists. Renowned for providing warehouse spaces during challenging periods, the venue ensures creative projects can thrive. With Blank Space, it strengthens its ongoing commitment to nurturing new voices across design, craft, music, and visual arts, reinforcing the UAE’s local creative ecosystem.

Basmah El Bittar, Director of Alserkal Avenue, explained: “Blank Space came about as a response to the pressures that emerging creatives in the UAE are experiencing. The initiative is designed to encourage creative practitioners from different disciplines to come together and benefit from being part of an established creative infrastructure without the financial pressure of a physical space.”

Applications for Blank Space are open via email until 12PM on 10 April 2026. Collectives are invited to submit proposals of no more than ten slides, outlining their members, practices, project concepts, and how their work will benefit the wider creative community. Proposals should include a four-week activation plan, a public-facing component such as a showcase, performance, screening, or open studio, and minimal alterations to the space.

Alserkal Avenue’s team will review submissions and select three collectives to use the warehouse for a month. Selected groups receive full utilities, necessary materials and equipment as outlined in their proposals, and marketing and communications support to amplify their reach.

Through Blank Space, Alserkal Avenue continues to provide a platform that nurtures emerging talent, fosters collaboration, and cultivates innovation within the UAE’s vibrant creative landscape.

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Over time, I’ve noticed that periods of disruption often give rise to the most meaningful work. The experiences that challenge us tend to shape what comes next. Your best work may still be ahead of you, and identity can’t wait to be your witness. We continue to support the industry and our partners through these uncertain times.

With that in mind, this issue looks both ahead and around us.  We explore innovations in design in the lead up to Milan Design Week. Peruse through the pages to have a look at what awaits you at Salone del Mobile.Milano, Fuorisalone and EuroCucina. As always, identity is proud to be present at the fair as a media partner from the region – do follow @identityae on Instagram to see the highlights.

In our cover story, we feature the interiors at the Zayed National Museum by Agata Kurzela Studio. The project is a masterclass in dialogue between contemporary materials, spatial, and artistic language. Completed in close collaboration with Emirati and international designers on a series of bespoke pieces; it is a particularly compelling story to tell. This spirit of exchange continues in our Saudi Setting section, where we explore Japanese architectural influences on Saudi projects. We also revisit some of the UAE’s most iconic spots through the lens of architecture. In trying times, it becomes even more important to notice the beauty between moments.

Perhaps my main lesson is this: there is rarely art that matters without dialogue. The most meaningful work emerges when there is space for exchange and respect for each other’s craft.

Read the magazine on ISSUU

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Al Huzaifa furniture steps into its fiftieth year with a collection that signals more than celebration; it marks a confident evolution in design. Unveiled as part of Ramadan, the collection reflects a season of reflection and gathering, aligning the spirit of togetherness with interiors designed for contemporary living. Rooted in decades of craftsmanship and global expertise, the brand introduces interiors that feel sculptural yet inviting, expressive yet enduring a considered response to the way modern homes are lived in today.

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Launched by the Palace Group, a respected name in the UAE’s luxury real estate sector, the development has been thoughtfully designed by award-winning architects John McAslan + Partners and features just 70 thoughtfully designed one- and two-bedroom residences spread across 12 elegantly crafted floors. Residences feature open-air terraces, pockets of verdant landscape and spatial transitions between buildings to offer boutique-style residential living in the heart of Jumeirah Garden City.

Inside each residence the design journey continues with thoughtfully designed spaces created to encourage a sense of calm and reflection. Natural materials are incorporated alongside soft organic curves and an abundance of natural lighting to create welcoming and intuitive living environments connected to nature. The open-plan layouts of each space cater to versatility, allowing for both private and intimate areas as well as more communal spaces for collective gathering. At the same time, extended balconies provide moments for quiet escape. 

AYA offers walkable, centrally connected living within one of Dubai’s rising, sought-after districts, providing easy access to Dubai International Financial Centre and Downtown Dubai with the calm of a thoughtfully planned residential community. As Dubai continues to develop, this new residence offers a harmonious escape within the heart of a bustling, ever-evolving metropolis. 

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That was the challenge given to Sawsan Chammas Haber, founder and Creative Director of UAE-based studio Dipiugi. The brief was concise: “This had to be a fully turnkey project – even down to the last accessory – as the client made it clear they would not have time to do anything when they arrived in the country. Dipiugi did the interiors, the exteriors, the landscaping – everything!”

Chammas Haber describes the project as a “very tough challenge: a very short timescale, and with very high expectations” – but she has always been highly motivated, having begun her career in 1995 while still studying, aged just nineteen. She became Chief Designer at Robert Chouchani Interiors in Beirut and in 1999 graduated with a Bachelor’s Degree in Interior Architecture from the Lebanese University of Fine Arts. Just one year later, she got married and moved to Dubai.

In 2003, she set up her own company: K-Kids. “Rather than competing with the big companies I decided to do something niche. I specialised in kids’ bedrooms, nurseries – all interior design relating to children – and created a furniture line.” Chammas Haber estimates the company had designed around 300 bedrooms by 2013. Dipiugi was set up at the end of 2004 and quickly established a reputation for outstanding design and exacting standards. “It has been a beautiful journey,” says the company founder, “because I started from scratch, on my own – I really had to believe that my capabilities, fresh ideas and passion would enable me to succeed.” She looks back on that time as a ‘golden era’, and recommendations from delighted clients kept the project pipeline flowing.

Today, Dipiugi has employees in Dubai and abroad and is, says Chammas Haber, “A couture studio for interior design. I want each client to have their own experience; a home that reflects their lifestyle – and I am humbled but also proud that people want my company to design their homes.”

Total transformation

Chammas Haber believes the personal approach taken by Dipiugi paid dividends during this project. “Every client is different – I might say that I’m not only a designer, but also a psychologist,” she says. “For every project, I get to know them and their personality, lifestyle, routines, demands, expectations and emotional attachments. This is the starting point for delivering homes that are personal, but also aesthetically and architecturally strong.”

Those values shine through in Sobha Villa, a large five-bedroom property in Dubai. Yet the villa that Chammas Haber saw when she met the client in person (the only time before the project began) was devoid of all character. “It was totally empty and everything was very rigid, very plain.”

The client asked that this lifeless shell be transformed by Dipiugi into a luxurious home for him and his young family. Within a month, the design work had been undertaken and the client’s go-ahead received, giving Chammas Haber and the Dipiugi team just four months to complete the project. “It was a crazy schedule – we worked day and night,” she says. “Each of us in the team working on this villa lost around six or seven kilograms!” With the client being abroad, they were kept informed of progress via reports and videos shared by WhatsApp.

Balance and proportion

Upon entering the villa, any visitor will be struck by the double-height volumes of the dining area and living area, complete with jaw-dropping chandeliers of impressive scale. These spaces were challenging, as Chammas Haber explains: “Balance and proportion were vital – the two areas are architectural features but are also warm and inviting. The extra height is celebrated, with the two libraries, tinted mirrors and high-reaching joinery and cladding giving an elongated feel to the wall, but low-level furniture produces a cosy feel to the living area. The skill is to blend what could be disproportionate elements into the volume.”

This skilful blending can be seen throughout the villa. “When I use any mixture of colour, I always go with colours that last – I use a lot of subtle green in my projects, such as that in the living area. There are strong browns, but not too much – it needs to pop out. It’s about how you balance homogeneity and contrast. Each room is like a painting – blended together but with something of interest that draws attention,” the designer states.

The villa also clearly reflects Chammas Haber’s approach for using lasting materials such as wood, marble, stones and metals. “I try not to go ‘crazy’ with fixed things, and I don’t follow trends – for example, if a certain wood or veneer is ‘trending’, then it’s likely to look old-fashioned in a few years when that trend is ‘dead’. The same is true for colours. If I go ‘crazy’, it’s with an item of furniture – such as a chair or a floor lamp – that can act as a statement element. This means that a client – or the new owner – can make changes without ripping it all down.”

The designer says she had a vivid validation of this approach recently: “I visited a project that we handed over in 2006. It still looks great – in fact, the client had a guest there who thought it has just been done!” That’s not to say that improvisation is not required sometimes: “The staircase of Sobha Villa was originally designed to be black marble, but as the project evolved and I saw the walls I realised it needed something different. So I went to the marble supplier and searched for the right stone – even though I didn’t know exactly what I was looking for. The staircase is now quartzite, and the combination of colours is beautiful.”

Embracing illumination

Lighting is found everywhere in the villa – from gentle background illumination around wall components and in storage areas to perfectly judged lighting either side of the lift, underneath each stair and within the brass stair handrails, which were electroplated to ensure a rich, sophisticated tone. The villa’s chandeliers are true statement pieces, which take time to perfect, as Chammas Haber explains: “The shape, size, location and height of each one is unique. I am always there when they’re being put in place – I fix them piece by piece – as that’s the only way I can judge how they look and feel, even if 3D models have been produced. I see it from every angle – just like occupants and visitors will. This is why a chandelier can take two full days to get right; I treat them like sculptures. But I enjoy it – it’s like creating art and putting my personal touch on the project.”

Attention to the smallest detail

One stand-out aspect of this project, Chammas Haber says, is how completely Dipiugi was involved. “This was not just about finishing the structure – we styled this villa! Everything in it – right down to the figurines and the accessories – was specified and sourced by us. Virtually all furniture came from abroad, with most pieces being produced in Portugal and Italy. There were many problems with shipping from Europe at the time – another challenge to overcome so that handover was not delayed.”

There were some stipulations, notably around technology and entertainment: “As the client trades and is online a lot, it was extremely important that his office [part of the master suite that also includes a bedroom, walk-in closet, sitting area and massage room] was designed in a certain way, to accommodate several screens and discreet electrical and data connections, which were also needed for entertainment and digital art. He also wanted a TV in each room, which is challenging to accommodate while creating a special appearance and ambiance, and for the specific surround sound system to reach every area of the home – including the bathrooms and the garden!” Throughout the home, the invisible inclusion of technology extends to the curtains and the lighting, which can all be controlled through the home automation system.

A compact space, a big challenge

Despite its relatively compact size, the garden was transformed into the ‘small Maldives’ that the client wanted, complete with a gazebo and a small beach. Here, there was a huge challenge: “To fully achieve the desired look and feel, we included palm trees and a huge olive tree; with the garden being at the back of the villa, this was a challenge; we had to use a crane to put everything in place,” recalls Chammas Haber.

The crane was also used to lift a single, large piece of precious marble into place in the first-floor office. “It was too large to go up the staircase or in the lift, and utilising the crane allowed us to keep a single piece, with no joins; we wanted to fix it as a single piece; we did not want to cut it.” The success of Dipiugi’s transformation of Sobha Villa was confirmed immediately at an emotional handover. “The clients said ‘Thank you for giving us our dream home’ – it was beautiful to see that level of satisfaction in their eyes,” reflects Chammas Haber.

Images: Dipiugi

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Bordered by Saudi Arabia and the United Arab Emirates, Oman stands resolute in its commitment to preserving its national history. Whether it is the strict building codes that ensure traditional aesthetics are maintained, or the more than 500 forts and watchtowers that are diligently protected, the country offers a trip back in time, complete with contemporary comforts. Blending timeless elegance with raw natural beauty, Oman Odyssey captures the essence of a nation where living traditions meet modern grace, sharing a rare glimpse into one of the most extraordinary corners of the world. www.assouline.com

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Royale Smart Clean is a premium interior emulsion that blends aesthetic appeal with everyday convenience. Designed with a smooth silk finish, it stands out for its exceptionally easy stain removal properties, helping walls stay clean and vibrant long after they are painted. It is especially recommended for high-traffic areas such as kitchens, corridors, dining rooms and children’s play spaces.

At the heart of Royale Smart Clean is its innovative Water Beading Technology. Instead of water spreading or penetrating the surface, droplets bead up and roll off, helping prevent stains before they set. The result: walls that resist scuffs, splashes and accidental smudges, which are all easily refreshed with a simple wipe. The superior washability of Royale Smart Clean provides added peace of mind. Homeowners can clean everyday marks such as food splatters or fingerprints with ease, and the formula is kid-safe, low-odour and fortified to resist fungus, for a healthier indoor environment.

Beyond ease of cleaning, Royale Smart Clean is formulated with Lumino Technology to deliver bright, striking colours with excellent opacity and a rich, smooth finish. Its special binder creates an elastic coating that maintains brightness over time, while crack-bridging qualities help conceal minor surface imperfections. With more than 1,650 shades available, homeowners can choose from calming neutrals, bold accents or serene pastels to suit any style or mood.

Royale Smart Clean brings a sense of ease to the home, keeping walls fresh with less effort so that families can focus on meaningful moments. It is the smart, stylish choice for anyone looking to renew their space – this Ramadan and beyond.

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At a private gathering in the city, Luxtop presented NOOR, a mihrab-inspired Quran Corner conceived in the spirit of Ramadan and reimagined for the contemporary family home. Drawing from the sacred verse “Remember Me, and I will remember you” (Qur’an 2:152) etched into the space and reflected through bespoke accessories, the design translated spiritual meaning into material presence and spatial calm. The corner wasn’t merely functional; it invited pause, reflection, and togetherness, allowing families to gather in stillness and shared purpose. Beneath its serene surfaces, a discreet offline Quran recitation feature had been integrated, enabling surahs to be activated on demand without internet, so that technology receded into the background and intention took the foreground.

The unveiling of NOOR, created in honour of the UAE’s Year of the Family, felt like a quiet manifesto one that positioned the home as a sanctuary where faith was lived naturally and values were passed on with grace.

Alongside this spiritual sanctuary, Luxtop also revealed Majlis Couture: The Seven Expressions, its architectural rethinking of the traditional majlis. Each of the seven expressions carried its own character distinct yet united by shared values of hospitality, dialogue, and connection and together they reframed the majlis as the emotional heart of contemporary domestic life.

Through refined materials and an architectural language both restrained and rich, Luxtop Home Couture invited visitors to imagine homes as places where stories unfolded slowly, meaning was embedded in every corner, and beauty was inseparable from intention and memory.

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