< Previous20 commercialinteriordesign.comOpinionMarch 2026 From wellness and storytelling to hybrid spaces, hospitality design enters a more empathetic era, says Pooja Shah-Mulani, managing director – creative at LW Design THE HUMAN SHIFT21 commercialinteriordesign.comOpinionMarch 2026 IN OUR WORK leading hospitality projects around the world, we see a profound shift in guest expectations and design priorities. Today’s travelers seek spaces that feel alive with meaning and care – not polished backdrops but living environments that hold stories, rituals, and rhythms. Luxury is no longer de ned by scale or glamour, but by how a place feels: how it connects guests to culture, to each other, and to well-being. Re ecting these trends, we nd that design in 2026 must be multisensory and human-centric, privileging warmth, intimacy and authenticity over spectacle. This means weaving wellness and context into every detail, and telling a narrative of place in everything from materials to furniture. Well-being has become the throughline of the entire guest experience. Wellness is no longer an isolated amenity or a luxury add-on, but the underlying thread of every design decision. As WATG’s Advisory notes, “Wellness has evolved from luxury to necessity…and the next wave of hospitality wellness design is science-backed and data-driven” – using light, air quality and even neuroscience to shape how guests feel and recover. In practice this means our projects prioritize biophilic cues, clean air, circadian lighting and natural materials throughout – not just in a spa. This philosophy extends to Verdala in Malta, a wellness-focused resort where the architecture itself becomes a restorative medium. Perched atop the limestone ridges of Rabat, Verdala is conceived as a sculpted sanctuary; an environment that nurtures groundedness, presence and emotional clarity through material honesty and geological calmness. Its three- story lobby unfolds like a monumental cavern, cocooning guests in raw stone and ltered light, while the Verdala Spa embraces a wabi- sabi sensibility with textured stone, diffused illumination and an elemental stillness that encourages deep reconnection. Even the guestrooms continue this wellness narrative, using weathered timber, natural plasters and tactile textiles to create spaces that slow the breath and soften the mind. Here, wellness is not a program but a lived atmosphere, an architecture that restores simply by the way it holds light, silence and time. Blending functions Today’s design scope is blurring traditional categories. Guests expect a hotel, a restaurant, a wellness retreat and even a home all in one seamless experience. Food & beverage, now more than ever before, is a central driver of hospitality. Bars and restaurants are being reimagined as third spaces: vibrant, multi- episode venues where guests (and locals) linger, work, and socialise at different times of day. The once-standard all-day dining concept has nearly disappeared altogether, replaced by signature F&B venues led by renowned chefs who now curate all three meals with distinct identities and narrative coherence. Rather than a catch-all venue, properties are moving toward destination dining that evolves throughout the day. Similarly, front-of-house spaces are now designed as uid, multi-functional environments. A hotel lobby may serve as a co-working hub by day and transform into a sophisticated lounge at night. Grosvenor House Dubai illustrates this beautifully: the newly refurbished lobby shifts mood and tempo throughout the day, supported by adaptive lighting, layered seating typologies, and a service choreography that moves effortlessly from café culture to evening social theatre. Likewise, hospitality projects are increasingly conceived as hybrid ecosystems rather than single-use destinations, often blurring into branded living, long-stay formats and lifestyle-led environments. This responds to markets where extended stays, retreat-style living, and residential sensibilities are growing. In this context, F&B outlets, guest rooms, wellness spaces, and living environments are no longer designed as isolated departments, but as parts of one holistic story. Storytelling in design Creative narrative has become the foundation of every concept we design. Each project begins with a story of place, and our role is to translate that story into form, material and atmosphere. The artistic and artisan-driven story becomes even more pronounced in W KAFD, opening in 2026. Here, the project embraces Riyadh’s emerging cultural energy with an elevated focus on contemporary Saudi creatives. Bespoke commissions, local craft reinterpretations and collaborations with regional artists shape a property where every piece carries the imprint of its maker. The hotel becomes a cultural exchange rather than a backdrop, an environment where art is not decoration but a narrative device that connects guests to the evolving identity of KAFD and to the wider creative renaissance of Saudi Arabia. Closely tied to narrative is the treatment of detail and FF&E. Rather than off the shelf packages, every chair, lamp and object must be bespoke to the project’s story. Hotels are increasingly commissioning custom FF&E to create a unique look and feel that re ects local culture and history. In our projects we take this literally – from joinery carved by local artisans to custom ceramics and textiles sourced from indigenous weavers. We also favor materials that age gracefully and have memory: patinated copper, hand-tanned leather and honed stone, which accrue character over time. Reusing vintage and local pieces is another strategy; it gives interiors a “collected, not installed” ambience and brings small histories into each room. In practice this means every element is considered in-house as part of the brief: the coffee table, drapery and even the menu are all handpicked to support the narrative. This discipline elevates hospitality FF&E from mere decoration to craftsmanship that complements the architecture and story of the place. Digital design and new guest rituals Finally, we must align design with behavioral and technological change. Guests today are hyper-connected and data-savvy, so design planning has to anticipate their routines. In practice this means designing “anticipatory” experiences: the guest journey begins not at check-in, but in a personalised digital handshake long before arrival. For example, a booking engine might adjust room recommendations based on a guest’s location or past stays, and in-hotel systems will adjust lighting and climate automatically to a known preference. Our design teams now routinely integrate technology into the architecture from day one. Yet we do so tactfully – the ultimate goal is invisible tech that frees staff to be more human. All of this aligns with the WATG view that “data, design and human emotion intersect” to give hospitality its competitive edge. In short, good design in 2026 anticipates guest needs by leveraging information – it reimagines lobbies, spa waits, even housekeeping as part of a uid, data- informed experience. Looking ahead to 2026, the thread that ties all these trends together is care: caring for guests through sensory-rich, wellness oriented environments; for place through authentic materials and local partnerships; and for the client through operational logic. The most successful hotels will be those that feel deeply personal and human, responding to where guests are in life, what they value, and the unique stories they seek. In our work – from Safari camps & in the wilderness and deserts to high energy gaming hotels in metropolis’ – we are already seeing a new paradigm of hospitality design: one driven by context and wellbeing, guided by data but grounded in craft, and open ended enough to let each guest write their own experience. For us, design now settles the body, nourishes the mind, and connects us to the world. That, to me, is the future we are building.22 commercialinteriordesign.comMarch 2026Made in the UAE What happened when leading voices gathered at the Finasi showroom for the rst edition Made in the UAE: Community Conversations series Rooted & Relevant A s the UAE’s design industry matures, a new question is beginning to shape conversations across studios, construction sites, and client meetings alike: is the country ready for its own design language? Leading voices from architecture, interior design, and tout gathered at the Finasi showroom to explore this very topic. The session marked the rst edition of Finasi’s new Made in the UAE: Community Conversations series, a platform dedicated to examining what it truly means to create in the Emirates today. Moderated by Marina Mrdjen of Intelier, the panel brought together a diverse mix of practitioners, including Sumaya Dabbagh of Dabbagh Architects, Rakan Jandali of KCA International, Milica Didic of ELE Interior Design, Bani Singh of Grounded Design, and Hisham Sultan of Finasi as host. Rather than searching for a single aesthetic de nition, the discussion focused on something deeper: how design in the UAE can move beyond borrowed Western references towards work that is contextual, climate-aware, and grounded in place. In a country de ned by multiculturalism and rapid growth, the panel examined whether a shared design language is even possible. A central theme was the growing shift towards local production and homegrown manufacturing and how closer collaboration between designers and builders is helping re ne both quality and authenticity. The panel also addressed the ne line between cultural reference and cliché. Rooted 23 commercialinteriordesign.comMade in the UAEMarch 2026 design, they agreed, is not about replicating heritage motifs, but about creating spaces that feel intuitive, climate-conscious, and genuinely connected to their surroundings. Saudi architect Sumaya Dabbagh, founder of Dabbagh Architects, brings more than two decades of regional and international experience across architecture and interiors. Having worked in London, Paris, and the Gulf, her portfolio includes culturally signi cant projects such as the Mleiha Archaeological Centre, Gargash Mosque, and the recently opened Al Ain Museum, all de ned by contextual and environmental awareness. During the discussion, Dabbagh addressed the complexity of de ning “local” in the UAE. “Local doesn’t mean just Emirati,” she said. “Local is homegrown, and that identity is evolving. The UAE has its Emirati roots, but it is also a great blend of in uences and nationalities.” She re ected on earlier development phases, when mashrabiyas and wind towers “popped everywhere,” often applied super cially. Instead, what designers have pushed for is to “respond to the place, to the context, to the history and showcase what’s here”. Looking ahead, Dabbagh is optimistic about the industry’s direction. “There are many local designers doing interesting things, and new materials entering the market that are of the place,” she said, adding that the ecosystem is shifting in an exciting way, supported by growing investment in local manufacturing. Award-winning designer Rakan Jandali is Design Principal and Creative Director at KCA International, the studio behind some of the region’s most iconic hospitality destinations. With over 18 years of experience, he leads multidisciplinary teams in shaping projects where concept, strategy, and execution align to create spaces that are both meaningful and memorable. Having lived in Dubai since 2007, Jandali has witnessed the city’s design evolution rst-hand. “Sense of place is becoming an important factor,” he said. “I’ve seen the progression of design develop drastically; how people are approaching design with a different mindset and how you bring a sense of place. This is how successful design nowadays is being perceived.” For Jandali, innovation today is less about stylistic gestures and more about thoughtful storytelling. “When references existed in the past, there was a reason behind them,” he explained. “If you understand that reasoning, you can inject it into your design in a way where people relate and connect to it. It won’t feel forced. Instead, it will feel part of a journey.” Speaking from a hospitality perspective, he emphasised the importance of guest experience. 24 commercialinteriordesign.comMade in the UAEMarch 2026 Projects, he said, must create stories that allow people to experience the essence of the UAE in an authentic way. “I wouldn’t say we should have a signature look,” he added. “What we should have is how these projects make people feel that they belong to the space, to the place they are living in.” Milica Didic, Studio Director at ELE Interior Design, brings over a decade of experience in the region’s residential and commercial design sector. At the Dubai-based multidisciplinary studio, she guides both creative and operational direction, ensuring each project balances re ned aesthetics with functional living. Re ecting on how local design has evolved, Didis saw a clear shift in mindset. “It’s more about intentional design,” she said. “Before, it was more about showcasing what the UAE is. Now there is more depth and storytelling in design, and understanding what truly local design means is actually quite challenging.” Having worked closely with Emirati clients for the past ten years, she has seen lifestyle expectations transform. “Their requirements back then were completely different,” she explained. “Today, it’s less about displaying opulent materials or oversized majlis spaces, and more about creating environments that genuinely support how people live. Design has become more intentional, more connected to how people really live.” Bani Singh is the Founder and Creative Director of Grounded Design, a Dubai-based turn-key interior design and architecture studio she launched in 2017. Known for its Scandinavian sensibility with an international touch, the studio works on bespoke residential projects as well as collaborations with residential developers across the UAE. Singh explained that rising competition has reshaped client expectations. “Because of 25 commercialinteriordesign.comMade in the UAEMarch 2026 the competition now, people want something special. They want it to stand out,” she said, pointing to a clear shift towards discovering and supporting talent within the UAE. “There are so many styles here, so much talent, and everyone brings a different story.” For Singh, meaningful design begins with understanding the individual behind the project. “It’s about listening to the story and what they want to say with their homes,” she explained. She also connected the conversation to sustainability and local production. Singh added: “Made in the UAE, dreamed in the UAE is also about sustainability for me. It’s nice to move from shipping everything to actually doing it here. The UAE is hungry for different perspectives, and that multicultural energy can become something inspiring.” As host of the session, Hisham Sultan re ected on why Made in the UAE was rst introduced at Downtown Design last November and what it represents for the industry today. He said: “The UAE has a lot to offer. There is serious creativity here, and the quality of local production has reached a level we should genuinely be proud of. When we launched Made in the UAE, it was about recognising that shift. Strategically, we invested in manufacturing facilities here. Today, most of what you see in the restaurants and homes we deliver is produced locally.” For Hisham, identity is not just conceptual, it is built through responsibility and execution. “We are building and living in a very particular climate. It’s one thing to have something on the design board, but it’s another to translate it into reality in a way that works and lasts. Our role is to bridge what designers envision with what can be achieved properly, choosing the right materials and ensuring the nal result performs over time,” he added. The discussion demonstrated that the UAE’s design identity is not a xed formula, but an evolving dialogue. As the industry continues to mature, it is this willingness to question, re ne, and build with purpose that may ultimately de ne what a truly Emirati design language becomes. In keeping with the theme, the conversation continued over a traditional Emirati Ragag breakfast offered in the showroom, serving as a quiet reminder that culture is experienced, shared, and built collectively, much like the evolving design language the panel set out to explore.26 commercialinteriordesign.comWomen in DesignMarch 2026 Meet the women leading, innovating and transforming design in the Middle East Meet the women leading, innovating and transforming design in the Middle East ggg TEXTURES OF Leadership27 commercialinteriordesign.comMarch 2026Women in Design To mark International Women’s Day, Commercial Interior Design celebrates the women shaping the region’s built environment. From architects and studio founders to strategists and operators, these leaders are driving a new era of design across hospitality, commercial, residential and brand- driven spaces. Their journeys are diverse, yet shared themes emerge: leadership grounded in empathy, creativity sharpened by commercial insight and the courage to set boundaries, speak honestly and build structured, resilient businesses. They emphasise mentorship, technical uency and visibility, demonstrating that the next generation can aim higher without compromise. Many speak of balance as conscious prioritisation rather than perfection. Across the UAE, Saudi Arabia, and beyond, women are not just participating in design’s evolution, they are driving it. Through strategy, mentorship and purposeful leadership, they are expanding what is possible for women in the Middle East’s creative industries. Alicia Cambra | CEO and Design Director, Cambra Buró I’ve always loved building things. From K’NEX sets as a child to devouring interior design magazines, I learned early that creativity thrives when paired with structure. Interior design isn’t just my career, it’s an extension of who I am. The rst project I led on my own, a four- star hotel in Amsterdam, taught me the con dence of guiding a vision from concept to reality. Launching my own studio added new challenges: balancing creativity, strategy, leadership, and growth. I discovered that clear systems protect creativity, and delegating to the right people allows both me and the team to ourish. Collaboration is essential. I mentor with patience, helping others grow con dence and nd their own voice. Inclusion begins with everyday actions: mentorship, exibility, and fair opportunities. I also believe technology should support design, not compete with it. When systems are subtle and aligned, materials, light, and human experience take centre stage. My goal is to help others design thoughtfully while thriving personally and professionally. Dina Murali | Co-Founder and Design Director, DZ Design I’ve always been drawn to spaces that move people, environments that feel alive, intuitive, and emotionally resonant. Co-founding DZ Alicia Cambra28 commercialinteriordesign.comWomen in DesignMarch 2026 Design in Dubai allowed me to explore this fully, leading hospitality and residential projects that blend creativity, technical rigour, and human experience. Challenges are part of the journey. Early on, I faced rejections as a small studio, but consistency, relationships, and integrity proved stronger than perception. I now see obstacles as opportunities to re ne leadership, resilience, and purpose. Mentorship and collaboration de ne how I work. I encourage curiosity, experimentation, and discipline, helping junior designers nd their voice while ensuring projects meet professional standards. Creating inclusive environments is rooted in empathy and exibility. Women juggle multiple roles, so supporting diverse needs, without compromising creativity, is essential. When people feel valued, they perform at their best. My advice to young women is to trust your perspective. Growth comes from investing in your craft, staying curious, and being intentional. Spaces should not just look beautiful—they should tell stories, support the people who inhabit them, and create experiences that linger. Esra Lemmens | Founder & Design Strategist, Esra Lemmens Agency I don’t believe in balance as a static state. Life and design overlap, and the real skill is moving uidly between creative, commercial, and personal spheres without expecting perfection. As a design strategist, I focus less on producing outcomes and more on creating the conditions for creativity to thrive. Generating ideas is easy; nurturing them while managing teams, clients, and projects requires deliberate time, patience, and discipline. Collaboration is an ecosystem of perspectives. Mentorship is about empowering independent thinkers, helping juniors frame sharper questions and challenge assumptions, rather than simply giving answers. My goal is not followers, but designers capable of interpreting the world and shaping experiences. Dina Murali29 commercialinteriordesign.comWomen in DesignMarch 2026 I’ve learned to let go of the pressure to perform perfectly. Surrounding yourself with people who recognise your strengths, family, collaborators, friends, is essential for clarity and resilience. Growth happens at the intersections of your skills and passions, not in rigidly de ned roles. For young women entering design, my advice is to protect space for exploration, trust your instincts, and embrace challenges as opportunities. Design is not just what you make, it’s how you shape the world. Fiona Webb-Johnston | Interior Design Lead, Nellis Architecture Design has always been central to my life, from interiors to lighting, architecture, and even fashion. Early mentors opened doors for me, encouraging curiosity, growth, and responsibility. They shaped my career, teaching me that con dence and discipline go hand in hand. Working across New Zealand, the U.S., and the UAE broadened my perspective. Exposure to different cultures and ways of working reinforced the importance of collaboration and adaptability. Travel, art, and craft constantly inspire my thinking. I’m proud of the resilience required to relocate my career and family twice and secure milestones in lighting design. Leadership isn’t really about authority, it’s about enabling others, creating safe spaces for learning, and fostering teams that thrive together. Women are already shaping design in the Middle East through leadership, mentorship, and entrepreneurship. Support networks like Fitout Superwomen and Return to Work Mums strengthen the ecosystem, helping women ourish. To stay balanced, I organise time deliberately, protect family and self-care routines, and approach challenges methodically. For young women, I’d say: hone your skills, develop your own voice, and embrace curiosity. Design is demanding, but the reward of seeing spaces transform lives makes every challenge worthwhile. Kristina Brateng | Founder & Principal, B8 Architecture I wouldn’t define my career as interior design alone — I am an architect rst, and I lead a multidisciplinary practice offering full consultancy, from concept design to IFC packages, site supervision, and procurement. My passion for architecture began early. Growing up in Marbella with parents in real estate, I spent weekends visiting villas, analysing layouts, views, and proportions. Architecture felt like the perfect balance of creativity and logic, and over time, my interest naturally expanded into interiors — not as a separate discipline, but as an extension of architecture. Fiona Webb-JohnstonNext >