Magzoid Magazine: Luxury Magazine in the Creative Space | April 2026 |

April 2026

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Art That Matters

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EDITORIAL

Saleha Khanam

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“The city is not a backdrop, it is a language of experience.”

— Richard Sennett

In every issue, there is a thread that connects the stories we tell. For our April 2026

edition, that thread runs through the shifting relationship between culture, value, and

the environments we move through daily.

This issue is centered on a simple but significant idea: that art and commerce are

no longer separate spheres, but increasingly interwoven systems shaping how cities are

built, how objects are understood, and how experiences are valued. From urban planning

and heritage preservation to interiors, hospitality, and mobility, cultural production

is now embedded in the fabric of everyday life.

Across disciplines, we are witnessing a quiet expansion of what is considered “collectible.”

It is no longer limited to artworks or rare objects, but extends to design languages,

spatial experiences, and even technological forms. Value is increasingly defined

by context, where something exists, how it is encountered, and the narrative it

carries over time.

At the same time, cities across the region and beyond are positioning themselves

as cultural platforms, where museums, design fairs, and creative districts operate not

just as destinations, but as active engines of exchange. Interiors become extensions of

exhibition spaces, hospitality adopts curatorial thinking, and mobility and technology are

reframed through the lens of design authorship.

This issue explores these overlaps between seeing and consuming, between owning

and experiencing, between permanence and transition. It looks at how collectors think

today, how designers are responding to new forms of cultural demand, and how the idea

of value itself is being redefined in real time.

As you move through these pages, we invite you to consider a shift already underway:

that culture is no longer something we simply observe. It is something we inhabit, circulate

through, and ultimately collect; not only in objects, but in memory and experience.

Editor in Chief

Saleha Khanam

WHAT’S

10

ARTIST

Artist Spotlight - Ahmed

BaFadhl

08

ARCHITECTURE

The Architecture of Stillness:

A Final Walkthrough of the

Saadiyat Vision

16

CULTURE

Flag Island, Sharjah

12

ABOUT TIME

The Audemars Piguet ‘Neo-

Frame’ Jumping Hour

46

18

DESIGN

Mobility Becomes Design:

Škoda reimagines mobility as

a cultural experience at Milan

Design Week 2026

INTERVIEW

The Modern Creative Portfolio:

Navigating Art and Opportunity

in the UAE

24

ABOUT TIME

The Omega ‘Milano Cortina’

Seamaster 300M

54

22

SALONE DEL MOBILE

From Milan to Dubai: How

Salone Shapes Regional

Interiors

CULTURE

The Modern Heritage Register:

Protecting the UAE’s ‘Nostalgic

Concrete’

INSIDE

ARCHITECTURE

8 April 2026

www.magzoid.com

THE ARCHITECTURE

OF STILLNESS

A FINAL WALK-

THROUGH OF THE

SAADIYAT VISION

The Saadiyat Vision has long been

a “pipeline story,” but as we move

through 2026, it has officially transitioned

into an “operational reality.”

The district is no longer a collection of blueprints

and cranes; it is a breathing architectural

organism designed to counter the frenetic

pace of modern life.

The Editorial Core: Museum as a Monument

The Zayed National Museum, which opened

its doors in late 2025, serves as the anchor

for this final stage. Spanning 88,870 sqm,

the Foster + Partners-designed landmark

is easily recognized by its five aerodynamic

steel towers. These aren’t just aesthetic

flourishes; they function as “thermal chimneys,”

drawing cool air through the structure

to create a natural, quiet climate, a literal

breath of fresh air that facilitates the “Slow

Looking” philosophy.

As we look toward the final months of

2026, the focus shifts to the Guggenheim

Abu Dhabi. Nearing completion, this Frank

Gehry masterpiece will be the largest Guggenheim

in the world, covering approximately

80,000 sqm. Its design a tumble of plaster

cones and titanium is intended to mirror the

chaotic beauty of the desert wind, yet inside,

the 28 galleries are curated to provide a

meditative sanctuary for contemporary art.

AT A GLANCE: THE GI-

ANTS OF SAADIYAT

INSTITUTION AREA (SQM) ARCHITECT KEY DESIGN FEATURE

Zayed National Museum 88,870 Foster + Partners Wing-shaped thermal chimneys

Guggenheim Abu Dhabi 80,000 Frank Gehry Asymmetrical cones & wind towers

Louvre Abu Dhabi 24,000 Jean Nouvel “Rain of Light” dome

Editor’s Angle: Urban Serenity

Abu Dhabi’s pivot from “tourist destination”

to “Global Sanctuary” is a calculated move

in urban psychology. While other global

hubs compete for height and speed, Saadiyat

is competing for stillness.

The architecture here isn’t just about housing

artifacts; it’s about creating a “sanctuary

for thought.” By integrating passive cooling,

massive open plazas, and the rhythmic

“Rain of Light” at the Louvre, the district

forces a physical deceleration. It is an urban

experiment in whether a city can provide the

same spiritual replenishment as a remote

retreat, while remaining at the center of the

global art conversation.

“The architecture of Saadiyat is not a shell

for art; it is the first exhibit. It asks the visitor

to stop walking and start seeing.”

With the arrival of the Natural History Museum

and teamLab Phenomena, the district

is now a fully realized archipelago of intellect.

As we walk through these final stages

in 2026, the vision is clear: Abu Dhabi isn’t

just building museums; it’s building a new

pace of life.

www.magzoid.com April 2026

HOW DO YOU FEEL

THESE MASSIVE,

“MONUMENTAL” SPAC-

ES AFFECT YOUR

ABILITY TO ACTUALLY

CONNECT WITH THE

ART INSIDE?

9

ARTIST

ARTISTSpotlight

10 April 2026 www.magzoid.com

For Ahmed BaFadhl, art is a structural

pursuit. As a Creative Director and artist

from the UAE, BaFadhl has carved

out a unique space where the precision

of civil engineering meets the boundless

freedom of digital world-building. Today, his

work defines the visual identity of major national

campaigns, yet his journey began with

a simple pencil and a relentless drive to document

the world around him.

From Civil Engineering to Creative Direction

BaFadhl’s background often surprises observers.

He studied Civil Engineering at the

University of Sharjah, a discipline he credits

with shaping his artistic perspective.

“When I look at a composition, I think about

structure, what is carrying the weight,

and what is just decoration. That is the engineer

in me.„

A “hustle„ mentality defined his early career.

In 2019, while performing live portrait

drawing at the International Government

Communication Forum, he would finish his

sets and head straight to university to sit for

midterm exams. Despite initial skepticism

from those who couldn‘t see a bridge between

engineering and art, BaFadhl persisted.

Today, as the Creative Director at Ma’an

studio, he creates key visuals for institutions

like Brand Dubai, DIFC, and MBRCGI.

accompanied by a gazelle and the Burj Khalifa. This piece exemplifies his

ability to merge surrealism with Emirati cultural symbols, creating a sense of

wonder that appeals to all generations.

The Vision: Legacy Through Digital Worlds

Whether he is representing the UAE internationally at the Tokyo Tower or

being featured in documentaries for the French Embassy, BaFadhl remains

focused on one goal: Legacy.

His transition from early coffee-stain portraits to high-end digital environments

has granted him the freedom to build “the worlds in his head.„ For

BaFadhl, the objective is to ensure that his work genuinely represents the

current era of UAE culture, ensuring it remains etched in the collective memory

long after the physical campaigns have concluded.

AHMED

BAFADHL

PHOTOGRAPHY BY HUMOUD MOSABIH

Deep Dive: Iconic National Commissions

BaFadhl’s portfolio is a testament to his ability

to blend cultural nostalgia with modern

cinematic scale, specifically through highprofile

collaborations with Brand Dubai and

DIFC.

Zayed & Rashid – The Gate, DIFC

One of BaFadhl’s most significant public art

commissions involved a large-scale installation

on the facade of the DIFC Gate building.

In collaboration with Brand Dubai, this

work honored the legacy of Sheikh Zayed

and Sheikh Rashid. The scale of the project

was underscored by HH Sheikh Mohammed

bin Rashid‘s attendance at its unveiling. Ba-

Fadhl’s “behind-the-scenes„ documentation

of this project resonated deeply with the

community, garnering thousands of engagements

and highlighting the technical complexity

of scaling digital art to monumental

architecture.

Hatta Winter 2025

BaFadhl was responsible for the primary key

visual of the Hatta Winter 2025 campaign.

Organised under the direction of HH Sheikh

Ahmed bin Mohammed bin Rashid Al Maktoum,

the artwork became the face of the

initiative, displayed on advertising billboards

across the city. The piece successfully captured

the rugged beauty of the Hatta landscape

through a polished, modern lens.

Eid in Dubai Campaign

In a lighter yet equally impactful collaboration

with Brand Dubai, BaFadhl created a viral

key visual featuring a child in a white kandura

sailing a paper boat through the clouds,


11

ABOUT TIME

NEO-FRAME

JUMPING HOUR

A SCULPTURAL REVIVAL

OF THE JUMPING HOUR,

BLENDING ART DECO

HERITAGE WITH

CUTTING-EDGE

MECHANICAL

INNOVATION

12 April 2026

www.magzoid.com

The Audemars Piguet Neo-Frame

Jumping Hour represents one of the

most significant shifts in the brand’s

creative direction for 2026. Unveiled

as the foundational piece for the new “Neo-

Frame” collection, this timepiece signals a

move away from the omnipresent octagonal

lines of the Royal Oak toward a more intellectual,

design-led aesthetic.

FEATURE

Case Material

Dimensions

SPECIFICATIONS &

AVAILABILITY

DETAILS

18k Pink Gold / Black Sapphire

32.6 mm x 34 mm (8.8 mm thick)

Historical DNA and Design

The watch draws its primary inspiration from

a rare 1929 jumping hour model (pre-Model

1271). Its rectangular 18-carat pink gold

case, measuring 32.6 mm by 34 mm, is a

masterclass in Streamline Moderne. This late

Art Deco style is evident in the bold vertical

“gadroons” (ridges) that flank the case and

taper seamlessly into integrated lugs.

The most striking feature is the “dial-less”

front. Audemars Piguet has replaced the traditional

metal dial with a single, continuous

sheet of black PVD-treated sapphire crystal.

Two gold-framed apertures break the glossy

surface:

• 12 o’clock: An instantaneous jumping

hour window.

• 6 o’clock: A trailing (rotating) minute disc.

Movement

Power Reserve

Strap

Price

Calibre 7122 (Self-winding, 4Hz)

52 Hours

Black textured calfskin leather

approx. $71,200 / £56,100

By launching the Neo-Frame as a permanent collection rather than a

limited [RE]Master edition, Audemars Piguet is clearly positioning “guichet”

(aperture) displays and shaped cases as a third pillar of its modern

identity. It is a watch for the collector who values the quiet complexity

of early 20th-century watchmaking, reimagined with 21st-century materials.

Mechanical Innovation

Beneath the sapphire surface beats the

new Calibre 7122, the brand’s first-ever

self-winding jumping hour movement. Developed

specifically for this collection, it is

based on the ultra-thin Calibre 7121 (from

the Royal Oak “Jumbo”).

To ensure the “jump” remains precise and

durable for daily wear, AP integrated a patented

shock-protection system. The movement

utilizes lightweight materials, a titanium

hour disc, and an aluminum minute disc to

reduce inertia and protect the mechanical

components during impact.


13

INTERIOR

COLOUR

AS

ARCHITECTURE

THE NEW LANGUAGE OF CONTEMPORARY

INTERIORS

CASSINA AND THE DESIGNERS

REDEFINING COLOUR, FORM, AND

COLLECTIBLE INTERIORS

In the evolving landscape of contemporary design, colour is no

longer a finishing touch, it is becoming a foundational element.

Today’s interiors are not simply styled; they are composed.

Tone, texture, and material now work in tandem to shape atmosphere,

transforming spaces into immersive environments rather

than static settings.

This shift marks a departure from stark minimalism and monochromatic

restraint. In its place emerges a more nuanced palette,

one that embraces contrast without excess. Soft neutrals are layered

with warmer hues such as ochre, terracotta, and deep reds,

while controlled infusions of blue and green introduce depth and

dimension. The effect is subtle yet intentional, allowing spaces to

feel expressive without overwhelming the senses.

At the forefront of this chromatic evolution is Cassina, whose

design philosophy, The Cassina Perspective, reimagines the

home as a complete atmosphere. Within this framework, colour

is not applied, it is integrated. Upholstery, finishes, and materials


work cohesively to create a unified visual language, where each

element contributes to the overall composition rather than competing

for attention.

This philosophy is echoed in the work of leading designers

shaping contemporary interiors. Figures such as Patricia Urquiola,

Virgil Abloh, and Ronan Bouroullec approach furniture not

as isolated objects, but as parts of a broader spatial narrative.

Their work explores how form, surface, and material interact, how

textures absorb light, how tones shift through the day, and how

composition shapes perception.

The result is an interior language that feels both curated and

cohesive. Upholstery, lighting, and sculptural elements are no

longer selected independently; they are considered in relation to

one another, forming a dialogue that unfolds across the space.

Designing an interior, in this sense, begins to mirror the act of

curating a collection.

This alignment between design and collectibility is increasingly

significant in today’s luxury landscape. As limited-edition furniture

and design-led objects gain prominence, interiors are treated as

curated environments, spaces where each piece carries aesthet-

ic, cultural, and often collectible value. The boundaries between

art and function continue to blur, giving rise to objects that exist

as both utility and expression.

Nowhere is this evolution more visible than in the global conversations

surrounding Salone del Mobile. Long regarded as the

epicentre of contemporary design, Salone continues to shape industry

direction, with a growing emphasis on material exploration

and chromatic refinement rather than visual excess.

Within this framework, colour operates as structure rather than

decoration. It defines hierarchy, sets mood, and enhances material

depth. It also introduces a sense of permanence, anchoring

interiors in balance and proportion rather than trend-driven

change.

Ultimately, this new chromatic language signals a more considered

approach to interiors: one that values cohesion over contrast,

atmosphere over statement, and longevity over immediacy.


15

CULTURE

FLAG

ISLANDSHARJAH

16 April 2026

www.magzoid.com

Rising from the waters of Sharjah, The

Flag Island is a premier destination

that perfectly blends national heritage

with modern lifestyle. It was

established to honor the unity of the United

Arab Emirates, symbolized by its massive

flagpole. Standing at 123 meters tall, this

landmark was the seventh tallest in the world

when it opened on December 2, 2012. Today,

it serves as a central hub for design,

fitness, and leisure for both residents and

tourists.

A Tribute to the Union

The island’s design is deeply symbolic. The

flagpole is surrounded by a unique lighting

arrangement featuring seven GRC stands.

Each stand represents one of the seven

emirates, illuminating the area with a golden

glow. The walkways leading to the center are

lined with 4.2-meter-high lights, making the

island a stunning sight for an evening walk.

Grocer, a high-end food emporium. Visitors

can explore a walk-in cheese room and a

gourmet deli or enjoy a meal at the contemporary

café. With its comfortable outdoor

seating, it is a favorite spot for family brunches

and relaxing dinners.

If you are looking for entertainment, the

Amphitheatre is the place to be. It can seat

up to 1,000 people and offers breathtaking

views of the Sharjah skyline. It serves as the

primary venue for National Day celebrations,

cultural festivals, and live concerts.

A Space for Creativity

Design enthusiasts should not miss 1971 –

Design Space. This creative hub is dedicated

to all forms of contemporary art, including

furniture, graphic design, and new technologies.

By working closely with local schools

and architects, it offers a rotating schedule

of exhibitions and programs that inspire the

next generation of designers.

Dining and Culture

For food lovers, the island hosts Jones the


17

DESIGN

MOBILITY

BECOMES

DESIGN

18 April 2026

www.magzoid.com

ŠKODA REIMAGINES MOBILITY

AS A CULTURAL EXPERIENCE

AT MILAN DESIGN WEEK 2026


19

DESIGN

20 April 2026

www.magzoid.com

At Milan Design Week, mobility is increasingly

being reframed as a cultural and spatial

discipline rather than a purely industrial

one. Within this evolving context, Škoda

Auto presents a dedicated brand exhibition that positions

automotive design at the intersection of creativity,

innovation, and contemporary experience.

Hosted from 21 to 26 April at Palazzo del Senato

in Milan, the installation occupies the courtyard of

the historic Baroque building, transforming it into a

layered environment where physical design, digital

media, and architectural context intersect. Developed

in collaboration with Spanish architect and

digital artist Ricardo Orts, the space introduces a

visual language inspired by sculptural forms, colour,

and material experimentation, creating a deliberate

contrast with its historic surroundings.

At the centre of the exhibition is the Škoda Epiq,

positioned not as a conventional product reveal, but

as the narrative anchor of the entire experience. The

Epiq represents Škoda’s direction in electric mobility,

reflecting a design approach that prioritises accessibility,

clarity, and modern usability. Its presence

within the installation is intended to shift perception

away from static automotive display toward a more

immersive reading of mobility as an integrated design

experience.

Alongside the vehicle, the exhibition introduces

the Epiq Sculpt, extending the conceptual language

of form and transformation. Both elements

are embedded within a curated spatial journey that

includes interactive zones, digital projection environments,

and open seating areas designed to encourage

movement and engagement through the

space rather than passive observation.

The installation also incorporates additional experiential

layers, including a digital corner that explores

Škoda’s design philosophy through motion

graphics and interactive content. A Škoda Elroq is

reimagined as a mobile café, reinforcing the idea

of mobility extending beyond transport into lifestyle

and spatial utility. Select programming, including

Epiq Talks, provides insight into the creative and design

thinking behind the project.

Rather than presenting the vehicle in isolation, the

exhibition situates it within a broader narrative of design

evolution. The courtyard becomes a staged environment

where material, form, and storytelling operate

as equal components in shaping perception.

Through this presentation, Škoda positions itself

within a growing movement at Milan Design Week

where automotive brands are no longer defined

solely by performance or engineering, but by their

ability to construct immersive cultural environments.

The Epiq, in this context, becomes more than a concept

vehicle; it becomes a spatial and conceptual

centrepiece within a designed experience.

The result is an exhibition that reframes mobility

as something experienced, interpreted, and inhabited,

placing the car at the centre of a wider design

conversation that extends well beyond the road.


21

CULTURE

THE MODERN

HERITAGE

REGISTER

PROTECTING THE UAE’S ‘NOSTALGIC CONCRETE’

PRESERVING THE ARCHITECTURE THAT SHAPED

A NATION’S MODERN IDENTITY

22 April 2026

www.magzoid.com

While the global architectural conversation

often fixates on the

“next big thing,” Abu Dhabi is

proving that its soul resides in

the milestones already achieved. The Department

of Culture and Tourism Abu Dhabi

(DCT Abu Dhabi) recently took a definitive

step in this direction, listing more than 40

new sites under its Modern Heritage Register.

This expansion builds upon an initial set

of landmarks identified in 2022 and follows

extensive research and documentation in

recent years. It represents a sophisticated

shift in heritage conservation, moving beyond

ancient archaeology to protect mid- to

late-20th-century structures that witnessed

the birth and rapid ascent of the United Arab

Emirates.

More Than Just Brick and Mortar

Abu Dhabi’s cultural heritage protection

framework governs the Modern Heritage

Register, treating these sites not as relics,

but as vital assets. For His Excellency Saood

Abdulaziz Al Hosani, Undersecretary of DCT

Abu Dhabi, these sites are the “cornerstone

of cultural identity,” acting as a bridge between

a nostalgic past and a high-velocity

future.

By formally registering these locations,

the emirate ensures they receive priority for

maintenance and rehabilitation. This isn’t

merely about preventing demolition; it’s

about “placemaking,” maintaining the visual

and social continuity of the city so that future

generations can physically walk through the

story of their nation’s development.

The Icons of the Era

The new additions to the register are remarkably

diverse, reflecting the multifaceted

growth of a young nation:

• Aviation Landmarks: The former Abu

Dhabi International Airport (Terminal 1),

inaugurated in 1982, remains one of the

most recognizable structures in the emirate.

Its inclusion underscores its role as

the original gateway connecting Abu Dhabi

to the world.

• Civic Foundations: The Former Nation-

al Consultative Council building (1968)

stands as a monument to early governance

and the diplomatic dialogues that

shaped the federation.

• Cultural Pioneers: The Al Ain Museum,

founded in 1969, is honored as one of the

UAE’s earliest cultural institutions, alongside

the Al Murabaa Police Museum.

• Urban Whimsy: Not all heritage is heavy

with politics. The list includes the charming

Abu Dhabi Geneva Flower Clock and

the Cedar Fountain, elements that have

defined the city’s public aesthetic for decades.

A Registry of Daily Life

What makes this modern list unique is its inclusion

of “functional” heritage: the schools,

post offices, and utility structures that residents

interact with daily. From the Madinat

Zayed Bus Station and the Corniche Hospital

to notable educational institutions across

Abu Dhabi and Al Ain, these sites are woven

into the personal histories of thousands of

families.

Even industrial infrastructure has found

a place in the register. Water storage facilities

and utility structures across the emirate

have been recognized for their architectural

and infrastructural significance, proving that

heritage can be found in the most utilitarian

corners of the desert.

A Shared Collective Responsibility

DCT Abu Dhabi’s approach is notably inclusive.

While the Modern Heritage Nomination

Committee leads the technical side, there is

a growing call for residents to take an active

role in identifying and nominating sites.

The department acknowledges that the true

value of modern heritage often lies in the

“nostalgic significance” it holds for the community.

Private owners of these newly listed buildings

have been formally notified, balancing

the rights of property holders with the collective

benefit of preservation. As Abu Dhabi

continues to evolve into a global hub for the

arts and tourism, this registry serves as a reminder

that a city’s forward trajectory is only

as strong as its history.

New Registry Highlights:

Education: SABIS® International School (Al

Bateen), Al Jouri Kindergarten, and Islamiya

English School.

• Public Services: Emirates Post branches

in Khalidiya, Hamdan, and Al Ain.

• Urban Spaces: Capital Park Urban Ensemble

and Hili Archaeological Park Garden.

• Historic Clinics: Former Al Ain City Center

Town Clinics and the Al Ain City Municipality

Campus.

In documenting these 40+ sites, Abu Dhabi

is ensuring that the “Modern” in its heritage

is never forgotten, even as the skyline

continues to reach for the stars.


23

ABOUT TIME

‘MILANO CORTINA’ SEAMASTER 300M

AN ALPINE-INSPIRED SEAMASTER BLENDING

OLYMPIC HERITAGE WITH DIVE PRECISION


The Omega Seamaster Diver 300M

‘Milano Cortina 2026’ is a masterclass

in thematic design, blending

professional-grade dive specs with

an aesthetic inspired by the alpine landscapes

of Northern Italy. Released to mark

Omega’s role as the Official Timekeeper for

the XXV Winter Olympic Games, this edition

leans into a “cold-weather” palette that sets

it apart from the traditionally nautical Seamaster

lineup.

Architectural Materials

The watch features a 43.5 mm case crafted

from polished and brushed white ceramic, a

material choice that mirrors the stark, pristine

snow of the Dolomites. To ensure durability

and a lightweight feel, the unidirectional bezel

is forged from Grade 5 titanium and features

a white ceramic ring with a 60-minute

diving scale in positive relief. This interplay

of titanium and ceramic gives the watch a

technical, contemporary edge while maintaining

the silhouette of a classic tool watch.

The “Icy” Visuals

The dial is where the commemorative theme

truly comes alive. Using laser ablation,

Omega has created a frosted finish on the

white ceramic dial, mimicking the texture of

a freshly groomed ski slope. The traditional

wave pattern is replaced by a subtle, geometric

“finger trace” motif that incorporates

elements of the Milano Cortina 2026 emblem.

The only punch of color is found on

the central seconds hand, which features a

blue-to-light-blue gradient, providing a sharp

contrast against the monochromatic background.

Precision Engineering

Despite its commemorative styling, the

watch is a serious maritime instrument. It is

powered by the Co-Axial Master Chronometer

Calibre 8806, which is visible through a

sapphire crystal caseback adorned with the

Milano Cortina 2026 logo.

Resistance: Certified by METAS to withstand

magnetic fields up to 15,000 gauss.

Performance: Features a 55-hour power

reserve and a free-sprung balance with a silicon

balance spring.

Utility: Includes the signature helium escape

valve at 10 o’clock and a water resistance

rating of 300 meters.

Completed with an integrated white rubber

strap and a titanium buckle, the Milano

Cortina 2026 is a refined tribute to winter

sports that maintains the rugged reliability

expected of the Seamaster name.


25

URBAN

THE

‘ART

SIDE’

WALK

A NEW URBANIST BLUEPRINT

FOR DUBAI’S PEDESTRIAN

FUTURE

26 April 2026

www.magzoid.com

PROJECT HIGHLIGHTS

AT A GLANCE:

THE GOAL:

6,000 KM

OF WALKWAYS BY 2040.

THE FIRST STEP:

12 KM

OF WALKWAYS AND 5 KM OF

TRACKS IN AL RAS (2025–

2027).

CONNECTIVITY:

110

NEW BRIDGES/UNDERPASSES

AND LINKS TO MAJOR TRANS-

PORT STATIONS.

CLIMATE STRATEGY:

MISTING

SYSTEMS, SHADING, AND

GREEN CORRIDORS FOR

YEAR-ROUND COMFORT.

CULTURAL IMPACT:

10

NEW ARTISTIC ZONES SHOW-

CASING LOCAL EMIRATI TAL-

ENT.


27

URBAN

For decades, the global image of Dubai has been

defined by the view from a car window: shimmering

skyscrapers blurred by speed, multi-lane highways

stretching toward the horizon, and a cooling system

that begins and ends at the valet stand. It was a city built

for the engine, not the enthusiast. However, a seismic shift

in urban philosophy is currently underway. The Roads and

Transport Authority (RTA) has officially signaled the end of

the car-centric era with the launch of the Dubai Walk Master

Plan, an ambitious blueprint to transform the emirate into

one of the world’s most walkable cities.

At its core, the plan is staggering in scale. By 2040, Dubai

intends to weave a web of over 6,000 kilometers of walkways

across 160 distinct areas. This isn’t merely about laying

pavement; it is a fundamental reengineering of the “Dubai

lifestyle.” More importantly, it reframes walking as an experience,

one that is as much about culture and design as it is

about connectivity.

The 20-Minute Revolution

The ultimate goal, as articulated by Mattar Al Tayer, Director

General and Chairman of the Board of Executive Directors

of RTA, is the realization of the “20-minute city.” This urban

planning gold standard aims to ensure that 80 percent of

residents can access their daily essentials: groceries,

schools, clinics, and parks, within a short journey from their

front door.

To bridge the gaps created by decades of high-speed

road development, the plan includes 110 new pedestrian

bridges and underpasses. These are designed to serve

as “connective tissue,” stitching together neighborhoods

that were previously isolated by asphalt barriers. The target

is clear: increase the share of “soft mobility”, walking and

cycling, from 13 percent today to 25 percent by 2040. Yet,

beyond efficiency, the ambition is experiential. These routes

are envisioned not merely as shortcuts, but as curated journeys.

Starting at the Source: The Al Ras Transformation

While the 2040 vision is broad, the RTA is beginning where

Dubai’s story first started: the historic Al Ras district. As

the centerpiece of Phase I (2025–2027), the Al Ras project

serves as a proof of concept for how a modern metropolis

can honor its heritage while embracing future-proof mobility.

The Al Ras development will introduce 12 km of pedestrian

walkways and 5 km of cycling tracks. Unlike the

sleek, metallic aesthetic of New Dubai, this project utilizes

“context-sensitive” design. The goal is to enhance the area

TURNING EVERYDAY ROUTES INTO CURATED CULTURAL JOURNEYS


without overwriting its soul. The walkways will create a continuous

heritage route, linking iconic landmarks such as Al

Fahidi Fort, the Al Shindagha Historic District, and the Al Ras

Public Library.

In a move that blends infrastructure with inspiration, the

RTA is collaborating with the Dubai Culture and Arts Authority

to rehabilitate ten artistic spaces within the district. Here,

the journey becomes the destination. Walkers will encounter

murals, sculptures, and public art installations curated by

Emirati and local artists, turning a simple commute into a

cultural encounter. In this framework, the city itself begins to

function as an open-air gallery, where each turn offers a new

visual narrative.

Beating the Heat with Intelligence

Of course, the elephant in the room for any Middle Eastern

pedestrian project is the climate. How does a city encourage

walking when summer temperatures soar? The Dubai

Walk Master Plan answers this with “climate-responsive”

architecture.

The walkways of the future will feature integrated misting

systems, advanced shading structures, and “green corridors”

designed to naturally lower ambient temperatures

through lush landscaping. This physical comfort is augmented

by digital intelligence. The network will be embedded

with smart wayfinding, interactive walkways, and real-time

navigation tools that help pedestrians find the coolest, most

efficient routes to their destination. Beyond function, these

elements introduce a layered sensory experience, where

light, texture, and greenery shape the rhythm of movement.

A Multimodal Symphony

The most critical feature of the Al Ras pilot is its integration

with public transport. The new walkways are designed to

connect directly to multiple transport hubs, including metro,

bus, and marine stations. This addresses the “last mile”

challenge, the primary reason many residents choose cars

over trains. By making the walk to the station shaded, safe,

and visually engaging, the RTA is removing the friction that

currently keeps people off public transit.

The Human-Scale Shift

The Dubai Walk Master Plan represents more than just a

construction contract; it is a declaration of intent. It suggests

that the future of luxury in Dubai isn’t just about the fastest

car or the tallest tower, but the luxury of time, health, and

community.

As the project expands from the historic alleyways of Al

Ras to the city’s modern hubs, the “vibe” of Dubai is set to

change. Districts will begin to develop their own visual identities,

shaped not only by architecture but by curated artistic

interventions and public space design. The city is slowing

down so its residents can move forward. By moving toward a

human-scale urban fabric, Dubai is proving that even a city

built for the future can find its greatest strength in the simple,

ancient act of walking.


29

DESIGN

FROM

SOUND TO

SCULPTURE

THE NEW LANGUAGE

OF AUDIO DESIGN

Marking its 100-year legacy with a

limited-edition release priced at

approximately $450,000, Bang

& Olufsen has introduced a new

interpretation of high-end audio, one that

moves beyond performance-led engineering

into the realm of collectible design. While the

centenary provides context for the launch,

the focus of this evolution lies in something

more enduring: the transformation of sound

systems into sculptural, design-led objects.

Across the luxury landscape, audio equipment

is increasingly being reconsidered not

as a hidden utility, but as a visible and intentional

part of interior composition. In this

shift, speakers are no longer designed to

disappear into a room, they are created to

define it. Form, proportion, and materiality

now sit alongside acoustics as equally critical

design drivers.

Bang & Olufsen’s approach reflects this

wider movement. The speaker system is

conceived with a strong emphasis on sculptural

presence, where precision engineering

is matched by a deliberate focus on visual

identity. Surfaces are treated with the same

level of consideration as acoustic performance,

resulting in an object that exists

comfortably between technology and art.

This evolution places sound within the

same cultural trajectory already seen in collectible

furniture and horology: functional

objects elevated into curated design assets.

Much like limited-edition chairs or mechanical

timepieces, high-end audio systems are

now being positioned as pieces with permanence,

value, and authorship, objects

intended not just for use, but for display and

collection.

The material language reinforces this shift.

Finishes, contours, and structural detailing

are no longer purely technical decisions;

they contribute to how the object interacts

with space. The speaker becomes part of an

interior dialogue, engaging with surrounding

furniture, lighting, and architecture to form a

cohesive visual rhythm.

This redefinition of audio design also reflects

a broader change in how luxury is

being consumed. Ownership is no longer

solely about access to performance, but

about participation in a design narrative.

Collectors are increasingly drawn to objects

that embody craftsmanship and identity in

equal measure, where engineering precision

is inseparable from aesthetic intent.

Within this context, sound becomes spatial

rather than purely auditory. It occupies

the room as an object of presence, shaping

atmosphere as much as it delivers clarity.

The result is a category that sits between

product design and collectible art, expanding

the boundaries of what constitutes a luxury

interior object.

As design disciplines continue to overlap,

Bang & Olufsen’s latest release signals a

clear direction: audio is no longer confined

to the background. It is becoming part of the

foreground, an object to be experienced visually,

spatially, and conceptually, as much

as sonically.

30 April 2026

www.magzoid.com

BANG & OLUFSEN AND THE RISE OF COLLECTIBLE

SCULPTURAL AUDIO OBJECTS


31

INTERIOR

FROM

MUSEUM

WALL TO

LIVING

ART BECOMES

ROOMWHEN

INTERIOR

32 April 2026

www.magzoid.com

HOW THE MET X SEDAR IS TRANS-

LATING CULTURAL MASTERPIECES

INTO COLLECTIBLE DESIGN FOR

THE CONTEMPORARY HOME

The boundary between art and interiors

continues to dissolve. What was

once confined to gallery walls is increasingly

finding expression in the

objects and surfaces that shape how we

live. In this evolving design landscape, art

is no longer simply collected and displayed;

it is being integrated into the architecture of

everyday space.

That shift comes into focus through a

new collaboration between The Metropolitan

Museum of Art and Sedar Global, where

iconic works from The Met’s collection are

reinterpreted across a limited-edition range

of interior furnishings for the MENA region.

Wallpaper, blinds, curtains, cushions, and

other made-to-measure elements become

the medium through which museum-grade

art enters the home.

The significance of the collaboration lies

not only in its aesthetic appeal but in what it

signals culturally. It reflects a broader movement

in which interiors are increasingly treated

as curated environments, and domestic

spaces as extensions of personal collecting.

The wall is no longer just a backdrop; it becomes

a canvas.

Works by artists such as Vincent van

Gogh, Claude Monet, J. M. W. Turner, and

Wassily Kandinsky bring distinct visual languages

into the collection, from expressive

brushwork to atmospheric landscapes and

geometric abstraction. Reimagined as textile

patterns, wall treatments, and decorative accents,

these works shift from framed objects

to immersive design elements.

This is where the collaboration resonates

beyond product. It taps into one of the defining

conversations shaping contemporary

design: the rise of functional art. Increasingly,

collectors are seeking pieces that move fluidly

between utility and cultural value, where

design objects carry the narrative weight

once reserved for traditional artworks.

The bespoke nature of the collection reinforces

this shift. Customisation allows each

piece to be tailored to individual dimensions

and finishes, positioning the home not as a

place where art is added, but where art is

embedded into the spatial experience itself.

It also reflects a growing commercial evolution

within the art world, where institutions

and brands are finding new ways to extend

cultural heritage beyond the museum. In this

model, art becomes accessible through design,

while design acquires the intellectual

and emotional resonance of art.

In the context of today’s interiors, where

collectibility increasingly defines luxury, the

collaboration speaks to a changing idea of

ownership. It is no longer solely about possessing

artworks, but about living with them,

allowing them to shape atmosphere, identity,

and daily experience.

From gallery walls to living rooms, the

message is clear: the future of collecting

may not hang in a frame at all. It may be woven

into the very fabric of the home.


33

WELLNESS


THE ART

OF

STILLNESS

A WEEKDAY WELLNESS

ESCAPE AT ADDRESS

DOWNTOWN

In a city defined by pace and precision, luxury is increasingly

being redefined by something far more

understated: stillness. Beyond objects, architecture,

and experience-driven retail, a quieter form of consumption

is emerging: time intentionally set aside for

restoration.

At The Spa, Address Downtown, this philosophy

takes shape through a curated weekday wellness escape

designed to bring balance back into the rhythm

of urban life. Overlooking the dynamic skyline of Downtown

Dubai, the experience offers a deliberate pause

within one of the city’s most energetic districts.

Available from Monday to Thursday between 1:00

pm and 4:00 pm, the experience invites guests to step

away from daily demands and into a slower cadence.

The experience unfolds through a series of tailored

treatments, from restorative massages to refreshing

facials, complemented by access to tranquil pool facilities.

Each element is designed with a focus on balance,

between stimulation and silence, movement and

stillness.

Beyond individual treatments, seasonal rituals deepen

the offering, combining therapeutic techniques with

targeted head and foot therapies that focus on releasing

tension and restoring equilibrium. The emphasis is

not on excess, but on precision and intention.

In this context, wellness becomes part of a broader

cultural shift within luxury hospitality, where spaces are

no longer defined solely by design or service, but by

their ability to create moments of mental clarity. Stillness

is not an absence of activity, but a carefully constructed

experience.


35

ART

THE A/P ROOM AT ALSERKAL AV-

ENUE POSITIONS DESIGN NOT AS

A PRODUCT, BUT AS A CULTURAL

OBJECT


DESIGN AT

FIRST SIGHT

As the boundaries between art, furniture,

and collectibility continue to

dissolve, Dubai’s design landscape

is beginning to reflect a more mature

conversation around objects and authorship.

That shift comes into focus at The

A/P Room, a new space in Alserkal Avenue

positioning itself as the region’s first platform

dedicated to collectible design.

Its inaugural exhibition, At First Sight, on

view until 10 May, offers a considered perspective

on the enduring cultural and material

value of design. Rather than framing objects

through novelty or trend, the exhibition

explores design through longevity, how pieces

accumulate meaning over time through

craftsmanship, presence, and use.

Founded by Christelle Bassila under Atelio,

the exhibition brings together a dialogue

between historic and contemporary works,

placing international and regional voices

within the same curatorial framework. Sculptural

pieces by Rogan Gregory, Vincent

Dubourg, and Faye Toogood sit alongside

mid-century icons, while designers such as

Roham Shamekh, Georges Mohasseb, and

Sayar & Garibe introduce a distinctly regional

perspective.

What makes the exhibition notable is not

simply the roster, but the premise itself.

These are objects situated between function

and contemplation, pieces that resist being

reduced to furniture alone. They ask to be

read not only as utilitarian forms, but as material

expressions of culture, process, and

authorship.

That framing places the exhibition within

one of the defining conversations shaping

contemporary luxury: the rise of collectible

design as a category in its own right. No longer

confined to niche fairs or auction houses,

collectible design is increasingly entering

broader cultural discourse, occupying a

space between the art market, interior design,

and investment.

Within Dubai, that evolution feels particularly

timely. As the city expands its role in

global cultural dialogue, platforms such as

The A/P Room suggest a growing appetite

for slower, more thoughtful engagement with

design, where value is measured not by immediacy

but by permanence.

In that sense, At First Sight is more than an

exhibition. It signals the emergence of a new

design language in the region, one where

objects are valued not simply for how they

function, but for what they hold.


37

TECH

TECH

ARTIFACT AS

MOTOROLA’S RAZR FOLD FIFA WORLD CUP 26 COL-

LECTION SIGNALS A NEW CHAPTER FOR TECHNOLO-

GY AS A CULTURAL OBJECT

38 April 2026

www.magzoid.com

Luxury collecting has long been associated

with watches, furniture, automobiles,

and art. Increasingly, however,

technology is entering the same

conversation. Limited-edition devices are

beginning to move beyond consumer electronics,

positioning themselves as objects of

design, rarity, and cultural relevance.

That shift comes into focus with the launch

of the Motorola Razr Fold, introduced in the

UAE through a collaboration between Motorola

and e&. While the partnership is anchored

to the global momentum of the FIFA

World Cup 2026, the significance of the release

extends beyond sport. It reflects the

growing evolution of tech as a collectible

category.

At its core, the device is positioned not

simply as a smartphone but as a design-led

object shaped by exclusivity and experience.

The foldable form factor itself already

carries a certain architectural appeal, where

precision engineering, material innovation,

and spatial efficiency converge. In this limited-edition

context, those qualities are amplified

by cultural association and scarcity, two

factors central to collectibility.

The device’s design credentials reinforce

that position. With a 6.6-inch external display

unfolding into an expansive 8.09-inch

2K LTPO internal display, the Razr Fold is

built around transformation, an object that

physically changes form through interaction.

Combined with integrated AI tools,

advanced imaging capabilities, and one of

the largest batteries in its category, performance

remains central, but it is the object’s

symbolic value that shifts the narrative.

This is where the device enters a broader

luxury conversation. Like limited-edition

timepieces or collectible audio systems, the

value proposition is no longer purely functional.

It lies in authorship, rarity, and cultural

timing. The inclusion of a FIFA World Cup

2026 ticket as part of the launch further

pushes the object into experiential territory,

merging product ownership with access.

That convergence of design, technology,

and experience is increasingly shaping how

premium devices are positioned. Consumers

are no longer simply buying specifications;

they are engaging with objects that

carry narrative and identity.

Within this framework, the limited-edition

device becomes more than a product

launch. It becomes evidence of a larger

shift, one where technology is no longer

confined to utility, but enters the world of collectible

objects.

As design disciplines continue to overlap,

releases like the Razr Fold suggest that the

future of collecting may not stop at art, furniture,

or horology. It may extend to the devices

we carry every day.


39

ARTIST

40 April 2026

www.magzoid.com

ARTIST

SPOTLIGHT

EMAN

ALRASHDI

Emirati visual artist Eman Alrashdi is redefining public art in the UAE. As a

visual historian, she captures the delicate threads of heritage and identity

through murals that transcend mere decoration. Her practice is a

sophisticated blend of realism and symbolism, focusing on the emotional

resonance of the human presence.

Career Highlights

Alrashdi’s portfolio marks her as a leading voice in the regional art scene, featuring

prestigious government collaborations and major festival executions.

PROJECT / VENUE

FOCUS

Sikka Art & Design Festival

Mural Execution (2025 & 2026)

Book of the Journey 2025

Digital Art for Dubai Media Office

Ajman Heritage District

Public Space Murals

National Portraits

Official works for MOFA & Ministry of

Culture

Featured Work: Al-Majlis

Theme: Year of the Family (2026)

In her latest masterpiece, Al-Majlis, Alrashdi pays tribute to 2026 as the “Year of

the Family.” The mural captures a traditional coffee gathering, elevating a daily

ritual into a symbol of social bonding.

“The work captures a daily moment where warmth, intimacy, and cultural identity

come together in a single scene.”

Artistic Approach

Alrashdi utilizes strategic contrast to guide the viewer’s emotional response:

• Heightened Realism: Applied to faces to emphasize the wisdom and safety

passed down through generations.

• Stylized Simplification: Surrounding elements are simplified to keep the focus

strictly on the human connection.

At the 13th Sikka Art & Design Festival, she continues this exploration with ‘A

Heritage of Night’, reimagining Emirati identity through a lens inspired by Van

Gogh’s Starry Night. By isolating the emotional core of her subjects, Alrashdi

ensures the family remains the central pillar of the nation’s enduring values.


41

EVENT

ALSERKAL

ART MONTH

42 April 2026

www.magzoid.com

IN A DEFINITIVE MOVE

THAT UNDERSCORES

THE FORTITUDE OF THE

MIDDLE EASTERN CRE-

ATIVE SCENE, ALSER-

KAL HAS OFFICIALLY

LAUNCHED ALSERKAL

ART MONTH. TRADI-

TIONALLY A HIGH-OC-

TANE WEEK OF PRE-

VIEWS, THE INITIATIVE

HAS EXPANDED INTO

A 30-DAY COLLECTIVE

EXPRESSION OF CUL-

TURAL ENQUIRY, RUN-

NING FROM APRIL 18 TO

MAY 18.


43

EVENT

44 April 2026

www.magzoid.com

Against a backdrop of global uncertainty,

the expansion serves as a

vital lifeline for the UAE’s arts ecosystem,

offering a sanctuary for dialogue,

connection, and sustained engagement.

Under a Shared Canopy: “Still A Sky We

Hold”

The month’s conceptual heartbeat is found

in the Yard. Inspired by Shilpa Gupta’s “Still

They Know Not What I Dream”, originally

commissioned by the Alserkal Arts Foundation,

a new iteration titled Still A Sky We Hold

provides the thematic premise for the entire

month. It is a poetic reminder of the shared

space and common aspirations that bind the

regional creative community together.

The Highlights: What to Experience

The five-week program is a dense tapestry

of exhibitions, “warehouse takeovers,” and

architectural interventions.

1. Déjà Vu at Concrete (Opening April 25)

A flagship collaborative exhibition curated

by Kevin Jones, Nada Raza, and Zaina Zaarour.

Featuring artists from 18 of the UAE’s

leading galleries, Déjà Vu explores the uncanny

absurdity of repetitive acts and the

existential strain of our current times.

Don’t Miss: The accompanying Majlis

Talks, curated by Nadine Khalil, which promise

deep dives into the “perpetual recurrence”

of the modern human experience.

2. The Foundation’s “Studio Takeovers”

Alserkal Arts Foundation has pivoted its focus

to local practitioners facing practical

hurdles. The result is an intimate look at the

creative process:

Open Studios: Engage with Alla Abdunabi

and Maryam Ahli.

Live Sessions: A performance by Asareh

Ebrahimpour and reading groups led by Chafa

Ghaddar.

The Grant: The Foundation has notably

established a fund offering grants of up to

AED 10,000 to help research-led projects

reach completion.

3. Blank Space & Multi-disciplinary Collectives

Bridging the gap between fine art and functional

design, the Blank Space initiative

brings emerging creatives in craft, music,

and design into the Avenue, fostering a

“maker” culture that thrives on public engagement.

Closing Movements: The Art Dubai Partnership

The month concludes with a crescendo

from May 12–17, coinciding with Art Dubai

2026.

“Moving”: A four-day screening program

of moving image works, displayed simultaneously

at Alserkal Avenue’s Yard and the

Art Dubai fair site at Madinat Jumeirah.

The Round Table: On May 16, Alserkal Advisory

will convene key stakeholders and institutions

to discuss the future impact of arts

organizations on their communities.

A Tribute to Fortitude

“Alserkal Art Month is a tribute to the resilience and fortitude of the UAE’s arts ecosystem,”

says Vilma Jurkute, Executive Director of Alserkal. “It creates space for collaboration at a time

when that feels especially important.”

With 16 gallery exhibitions and 6 warehouse takeovers, the program is a rigorous display

of ambition. As Basmah El Bittar, Director of Alserkal Avenue, notes, the community has not

just endured, it has continued to produce.


45

INTERVIEW

MANOJ SUREKA

CEO & Managing Partner,

Synergy Fin. Consulting

46 April 2026

www.magzoid.com

LEADERSHIP IN

A FAST WORLD

HABITS OF SUCCESSFUL

BUSINESS OWNERS

EXCLUSIVE INTERVIEW

Manoj Sureka is a seasoned expert in banking, finance, and business growth advisory. As the CEO of Synergy Fin. Consulting,

he specializes in fundraising, strategic growth solutions, mergers & acquisitions, and helping entrepreneurs scale businesses with

the right financial direction. Known for his practical market insight and leadership mindset, he is a trusted voice among business

owners and investors in the region.

Q: What separates successful business owners?

The key difference is the speed of decision-making. Successful

leaders gather facts quickly, trust experience,

and move forward confidently. Many

opportunities are lost not because of competition,

but because of hesitation. In business,

delayed decisions often become lost opportunities.

Q: How important is adaptability?

Adaptability is one of the most valuable qualities

today. Markets shift, technology evolves,

and customer expectations change rapidly.

Strong leaders stay flexible, embrace new

ideas, and continuously upgrade their business

models. Those who resist change get

replaced by those who welcome it.

Q: Discipline or talent?

Talent may create attention, but discipline

creates results. Highly successful entrepreneurs

follow routines, respect time, remain

consistent, and continue even when motivation

is low. Motivation starts the journey. Discipline

finishes it.

Q: How do great leaders handle pressure?

Pressure is a part of growth. Leaders remain

calm during uncertainty and think clearly

when others panic. They focus on solutions,

not excuses, and use challenges as stepping

stones. Calm minds make powerful decisions.

Q: What role does networking play in business success?

Relationships often create opportunities faster than marketing

campaigns. In a relationship-driven market

like Dubai, trust, reputation, and genuine connections

can open doors that money cannot.

Your network can often move faster than your

advertising budget.

Q: Why is personal branding important for

business owners?

Today, clients and investors often trust people

before they trust companies. A strong personal

brand builds authority, attracts opportunities,

and creates confidence in the market.

People invest in people before they invest

in businesses. The best example is Danube

Properties.

Q: Profits or value creation?

Smart leaders focus first on value creation,

customer satisfaction, and long-term reputation.

When value is created consistently, profits

usually follow naturally. Profit is the reward

for solving problems well.

Q: What final advice would you give aspiring

entrepreneurs?

Stay hungry, stay humble, and stay consistent.

The business world rewards people who

keep learning, keep improving, and keep

moving forward when others stop. Winners

are not always the smartest; they are often

the most consistent.


47

AUTOMOBILE

BEYOND

THE

MACHINE

HOW LAMBORGHINI EXTENDS ITS CREATIVE IDENTITY

BEYOND THE AUTOMOBILE

In contemporary luxury culture, the most interesting shift is not happening in performance figures or powertrains, but

in language. Brands are increasingly defined not only by what they build, but by how their identity travels beyond its

original category. Within this context, Automobili Lamborghini is expanding its creative reach far beyond the automobile,

translating its visual and material DNA into a wider ecosystem of objects and experiences.

48 April 2026

www.magzoid.com

Few automotive brands are as instantly recognisable as

Lamborghini. Originating in the world of super sports

cars, its aesthetic vocabulary: sharp proportions, aggressive

geometry, and high-contrast materiality, has

become a defining signature. Rather than diluting this identity

through expansion, the brand treats it as a transferable system,

one that can operate across sport, interiors, lifestyle, and

collectible objects while remaining visually and conceptually

coherent.

At the centre of this approach is the Lamborghini Centro Stile

philosophy, where the car is no longer seen as a closed object,

but as a foundation for broader creative interpretation. As

Design Director Mitja Borkert notes, each collaboration is approached

as a direct continuation of Lamborghini’s core principles,

ensuring that proportion, colour, and material integrity

remain consistent across every expression of the brand.

This philosophy becomes tangible through a growing network

of cross-sector collaborations.


49

AUTOMOBILE

In sport and performance, the Babolat padel collection

(BL001, BL002, BL003) translates automotive engineering

principles into athletic equipment, using carbon fibre construction

and performance-driven weight optimisation. Developed

with processes derived from Lamborghini’s own manufacturing

environment in Sant’Agata Bolognese, the rackets reflect a direct

transfer of structural thinking from car to sport.

In two-wheel performance, collaborations with Ducati reinterpret

models such as the Diavel 1260, Streetfighter V4, and

Panigale V4 through a shared Motor Valley philosophy, where

precision engineering and visual aggression intersect.

In lifestyle mobility, the SEABOB SE63 developed with Cayago

extends this thinking into marine performance, translating

Lamborghini’s aerodynamic cues into a water-based experience

defined by speed, control, and sculptural form.

The brand’s influence continues into interiors and architecture.

Projects such as the collaboration with Dar Global

introduce Lamborghini-inspired residences, where spatial

proportions, materials, and surface treatments echo the same

visual tension found in its vehicles. In audio, the partnership

with Sonus faber results in the Il Cremonese Ex3me Lamborghini

Edition, where exposed carbon fibre and automotive references

shape both acoustic and visual identity.

Even in fashion and craftsmanship, collaborations with Tod’s

reinterpret leatherwork and construction detail through a shared

emphasis on precision and material quality. Meanwhile, collect-

50 April 2026

www.magzoid.com

ibles developed with LEGO and Hot Wheels extend Lamborghini’s

identity into modular and scaled objects, reinforcing its

presence across generational and cultural touchpoints.

What emerges is not a diversification strategy, but a structured

expansion of identity. Each object, regardless of category,

becomes a continuation of the same underlying system of

form, emotion, and precision.

In doing so, Lamborghini positions itself within a broader

shift in luxury culture, where brands are no longer defined by

singular products, but by the ability to project a consistent worldview

across radically different media.


51

COLLECTORS’ CIRCLE

The

WHAT DEFINES VALUE

IN 2026

Collector’s

Eye

52 April 2026

www.magzoid.com

As we cross the threshold of 2026, the global art market

is no longer merely recovering from the contractions

of the early 2020s; it is undergoing a structural recalibration.

The traditional boundaries that once separated

fine art, luxury collectibles, and digital assets are increasingly

porous, giving rise to a more cross-category collecting

model in which value is shaped as much by narrative, liquidity,

and mobility as by aesthetic theory.

The Rise of the Cross-Category Asset

Digital-native collectors from Generations Y and Z now account

for a growing share of buyers at major auction houses. For this

demographic, a Basquiat canvas, a rare Richard Mille timepiece,

and a generative AI work can sit within the same broader

asset conversation. This shift is driven, in part, by what might

be called “narrative velocity”, the speed at which an object can

generate cultural relevance and cross-border demand.

At the accessible end of the market, activity remains robust,

often driven by aesthetic affinity as much as investment logic.

At the prestige end, however, capital has become more selective,

with renewed emphasis on scarcity, provenance, and

historical depth.

The Geopolitical Layer

One of the most disruptive forces shaping value in 2026 is

geopolitical friction. Trade barriers, regulatory complexity,

and compliance burdens are increasingly influencing how art

moves across borders.

In the United States, changing trade classifications and tariff

uncertainty have complicated cross-border transactions,

prompting galleries and collectors to rethink logistics and risk.

In Europe, Regulation (EU) 2019/880 continues to heighten

scrutiny around provenance and lawful export documentation

for certain cultural goods. Together, these pressures are contributing

to a broader redistribution of attention toward comparatively

neutral hubs such as Seoul and Singapore.

Financial Rewriting and the Neo-Deco Reaction

Financially, the landscape has been shaped in part by the U.S.

One Big Beautiful Bill Act (OBBBA), which raised the estate

tax exemption to $15 million per individual beginning in 2026,

reducing pressure for some heirs to liquidate major holdings.

Aesthetically, the year is defined by a retreat into what many

are calling Neo-Deco. In a world of digital instability and trade

uncertainty, collectors are gravitating toward density, tactility,

and material permanence: deep jewel tones, matte metals,

and richly textured furnishings that act as a counterweight to

immaterial culture.

Institutional Signals: De-centering the West

Among the most significant institutional signals is the approaching

opening of the Guggenheim Abu Dhabi, designed

by Frank Gehry. Its focus on West Asia, North Africa, and South

Asia has already sharpened attention around modernists from

these regions, reinforcing the growing influence of institutional

validation in shaping market perception.

As the market settles into this more fragmented landscape,

the successful collector may be defined less by pure connoisseurship

alone and more by the ability to navigate value across

categories, jurisdictions, and cultural signals.


53

SALONE DEL MOBILE

54 April 2026

www.magzoid.com

FROM

MILAN TO

DUBAI

HOW SALONE SHAPES REGIONAL INTERIORS

Milan Design Week as a stage for MENA design narratives, material experimentation,

and cultural positioning


55

SALONE DEL MOBILE

Milan Design Week has always been a sprawling map

of historic palazzos and hidden courtyards, but for

2026, the city’s geography feels increasingly redefined.

While the Salone del Mobile remains a global

anchor attracting over 300,000 visitors, the true pulse of the

season is often found in the Fuorisalone network of exhibitions

and installations.

This year, one of the most visible threads is the growing

presence of designers from the Middle East and North Africa

(MENA). For many, participation is not simply a logistical

exercise, but a layered process shaped by distance, access,

and evolving regional infrastructures. In this context, presence

becomes more than visibility; it becomes authorship within a

global design narrative.

Bridging Heritage and Contemporary Practice

At the Isola Design District, the theme “TEN: The Evolving

Now” marks a decade of the platform’s evolution from grassroots

initiative to international fixture. Within the Isola Design

Gallery, Lebanese designer Roseline Jabbour presents the

Loop Bench, a sculptural steel piece that

translates subtle human movement into

continuous form.

Alongside this, UAE-based Design

Matter presents the Hala Mareehk rug, a

work informed by themes of exploration

and futurism, drawing conceptual reference

from the UAE’s broader space ambitions

and translating them into material

composition through wool and recycled

fibres.

At the Ithra Pavilion, regional designers

continue this dialogue between material

and meaning. Nermin Habib’s Olla

Forms reinterpret traditional clay vessels

through an environmental lens, while Ola

Znad’s Walls of Remembrance reflect on

fragmented urban memory and the emotional

geography of Baghdad.

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www.magzoid.com

The Material as Narrative

In Porta Venezia, the platform THE LINE introduces 7+1 Acts of

Survival, a conceptual exhibition centred around working with a

singular block of black African stone. The project foregrounds

material constraint as a creative framework, positioning design

as a negotiation between permanence and limitation.

Lebanese architect Bernard Khoury presents If Only

Françoise Knew, a monolithic stone work exploring irregularity

and tension, while Palestinian architects Elias and Yousef Anastas

(AAU Anastas) present Maurizio, a structural stone composition

defined by balance and interlocking systems, reflecting

themes of stability and fragility.

Space as Memory

At Palazzo Litta, Lebanese architect Lina Ghotmeh transforms

the historic courtyard with Metamorphosis in Motion, an installation

that reframes the space as a layered reading of history

and form. Her intervention introduces fluid geometries within a

rigid architectural shell, creating a spatial experience that shifts

between archive and imagination.

At the Pinacoteca di Brera, Jusoor Design Collections (Arabic

for “bridges”) brings together designers from Saudi Arabia and

international collaborators, highlighting material experimentation

across disciplines. Works such as hybrid stone-and-metal

lighting systems reflect a broader move toward cross-cultural

and cross-material design dialogue.

A Regional Design Narrative

Across the city, studios such as Etereo, based between Dubai

and Milan, activate multiple venues through material-focused

installations, including explorations of onyx and reinterpreted

glass-block systems. At Nilufar Depot, Georges Mohasseb’s

Cactus Collection translates desert forms into architectural

sculptural objects, blurring the line between furniture and built

environment.

Not every presence is confirmed each year, and participation

across Milan Design Week continues to shift in response

to global conditions, funding, and mobility constraints, underscoring

the fragility and ambition embedded in international

design participation.

What emerges from Milan Design Week is not a single narrative,

but a convergence of many. Increasingly, designers from

the MENA region are not just participating in Salone, they are

shaping its language, contributing material and conceptual

frameworks that extend far beyond the fair itself.


57

RESTAURANTS

ART

IN

DINING

RESTAURANTS AS IMMERSIVE CREATIVE SPACES

In the contemporary design landscape, the

traditional boundary between the “white

cube” of the art gallery and the “white tablecloth”

of fine dining is rapidly dissolving. We

are entering an era of the immersive creative

space, where the meal is no longer the sole

protagonist. Instead, architecture, digital

scenography, and sensory storytelling work

in tandem to transform diners from passive

observers into participants in a living installation.

58 April 2026

www.magzoid.com

This shift reflects a broader change in how

we consume culture. In a world saturated

with digital imagery, the modern diner

seeks more than a meal; they seek narrative.

Nowhere is this evolution more visible than

in the UAE, a laboratory for architectural and

technological experimentation.

The Digital Vanguard: Projection, AI, and Gastro-Theater

KRASOTA Dubai sits at the forefront of this

movement. More theater than restaurant, its circular

dining environment uses 360-degree projections

to immerse just twenty guests within a

choreographed dialogue between visual art and

cuisine. Its “Imaginary Art” concept treats the

dining room as a total environment where lighting,

sound, and visual rhythm move in sync with

each course.

Similarly, Zenon Dubai explores the fusion of

dining and digital visual environments, integrating

generative content and immersive scenography

into the restaurant setting.

The Gallery Crossover

Other venues take a more tactile, community-driven

approach. The Lighthouse in Dubai

Design District merges restaurant, concept

store, and cultural platform, where furniture,

books, and objects are as curated as the menu.

For a more historical counterpoint, XVA Café

embeds dining within the heritage architecture

of Al Fahidi, where contemporary Middle Eastern

art and courtyard intimacy create a slower,

site-specific form of immersion.

The Interactive Palette

At Seven Paintings, immersive dining takes a

participatory turn through 3D visual storytelling,

theatrical presentation, and art-inspired culinary

sequencing, inviting guests into a more active

relationship with the experience.

Meanwhile, The Workshop Dubai continues

to blur the boundaries between gallery, studio,

and café, offering a model where the creative

process itself becomes part of the dining atmosphere.

The Future of the Creative Table

As this movement evolves, interior design is

no longer a static discipline. The restaurants

of tomorrow are increasingly shaped by chefs,

architects, technologists, and artists working in

collaboration.

Whether through the quiet materiality of The

Grey or the artist-led community ethos of Maisan

15, the message is clear: the most compelling

dining spaces today nourish the eye and the

imagination as much as the palate. In these

venues, the menu is only one chapter of a much

larger story.


59

HOTELS


ROOMS

THAT STAY

WITH YOU

DESIGN HOTELS MADE FOR LINGERING

There are hotels you forget as soon as you wheel your

suitcase out of the lobby, and then there are the ones you

carry around in your head for years. In the UAE, that second

category is growing fast, as design-led properties

quietly rewrite what a stay in the Emirates can feel like.

Instead of marble for marble’s sake, these places tell stories:

of historic courtyards, art-filled heritage homes, coastal retreats,

and skyline-facing contemporary icons. Here are five design-led

stays worth checking into this season if you travel for atmosphere

as much as for views.

The Chedi Al Bait

In Sharjah’s old heart, The Chedi Al Bait transforms a cluster

of historic Emirati homes into a low-rise, courtyarded sanctuary

that feels more like a private residence than a resort. Wind towers,

shaded alleyways, and restored architectural details root

the design in place, while GHM’s minimalism keeps the experience

calm and contemporary rather than themed. It is a place

that encourages slower movement, without ever asking you to

notice it.

XVA Art Hotel

Tucked inside Al Fahidi Historical Neighbourhood,

XVA Art Hotel remains one of Dubai’s most

intimate cultural stays. With just 15 individually

designed rooms arranged around shaded courtyards,

it operates as a hybrid of gallery, café, and

boutique hotel. Contemporary art is not a decorative

layer here; it is part of the architecture of the

experience. Staying here feels less like checking

into a hotel and more like inhabiting a quiet, curated

space within the old city.

turning circulation spaces into an evolving visual narrative. The result

is a hotel that feels culturally aware and locally grounded, while still

operating firmly within a modern urban rhythm.

Anantara Santorini Abu Dhabi Retreat

On a quiet stretch of Abu Dhabi’s coastline, Anantara Santorini Abu

Dhabi Retreat borrows the architectural language of the Greek islands

and reinterprets it in a Gulf context. With only 22 rooms, its scale is deliberately

intimate. Whitewashed walls, blue accents, and uninterrupted

sea views create a minimal environment where the horizon becomes

the dominant design element. It is a retreat built around stillness rather

than spectacle.

The Lana, Dorchester Collection

In Business Bay, The Lana, Dorchester Collection represents a more

refined evolution of urban luxury. Opened in 2024, it replaces maximalist

gestures with controlled geometry, curated artworks, and a warm,

architectural palette. Interiors are designed to frame the Dubai skyline

rather than compete with it, giving the hotel a residential calm that contrasts

with the intensity of the city outside.

Together, these stays reflect a broader shift in regional hospitality:

hotels are no longer just places to sleep, but environments designed

to be remembered.

Hotel Indigo Dubai Downtown

Hotel Indigo Dubai Downtown brings a more

contemporary, city-facing interpretation of artled

hospitality. Positioned near the Dubai Canal

and Downtown district, it integrates a curated

selection of regional artworks across its interiors,


61

CULTURAL TRAVEL

ART

JOURNEYS

TRAVELING FOR COLLECTIONS AND CULTURE

Travel has long been shaped by monuments, coastlines,

and cuisine. Increasingly, it is being shaped by collections.

Art tourism is no longer a niche behavior associated

only with curators, patrons, or seasoned collectors. It has

become a defining layer of contemporary travel, driven by a

growing belief that culture is not simply something encountered

during a trip, but often the reason for the trip itself. People now

travel for biennials, museum openings, gallery districts, design

fairs, and cultural seasons with the same intention once reserved

for resorts or shopping capitals.

This shift reflects something deeper than changing leisure

habits. It speaks to a growing desire for travel that offers context,

not just consumption. In a world saturated with speed and digital

repetition, cultural destinations provide something increasingly

rare: attention, meaning, and memory.

Art tourism also carries growing economic and institutional

weight. Museums and cultural districts are no longer seen purely

as civic assets; they are engines of tourism, soft power, and

urban identity. A major museum opening can shape international

visitation. A design fair can reposition a city. A gallery district

can transform an industrial neighborhood into a destination.

This is precisely why cities from Venice to Basel, and increasingly

Dubai and Abu Dhabi, have invested so heavily in cultural

infrastructure. Collections are no longer static repositories. They

are becoming magnets around which hospitality, retail, education,

and creative economies gather.

What makes this evolution particularly interesting is how it has

altered the behavior of the modern traveler. The luxury traveler

today is often as interested in what is on view as where they are

staying. Travel is increasingly built around what can be seen,

understood, or discovered through culture.

This is where the UAE enters a broader global conversation.

The growth of Saadiyat Cultural District, the continued gravitational

pull of Louvre Abu Dhabi, and the organic rise of districts

such as Alserkal Avenue position the Emirates not simply as a

place with cultural attractions, but as part of a wider geography

of art-led travel.

Here, art tourism moves across multiple scales. It can mean

traveling for a major institutional collection, but equally for a gallery

weekend, a design fair, a residency program, or a cluster of


independent spaces. It may begin with a museum, but often extends

into restaurants, public art, architecture, and the broader

creative fabric of a city.

This is what makes art tourism distinct from traditional cultural

tourism. It is not passive sightseeing. It is active engagement

with living cultural ecosystems.

For collectors, this often means traveling to encounter works

before they enter the market. For others, it means traveling to

understand the contexts from which art emerges. In both cases,

the journey is shaped not by landmarks alone, but by ideas.

And perhaps that is the larger shift. We are moving from traveling

to see places, toward traveling to experience perspectives.

In that sense, art tourism is not simply about museums or collections.

It is about the growing belief that culture itself can be

a destination.


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Magzoid Magazine: Luxury Magazine in the Creative Space | April 2026 |

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