Shebara is a 73-key hyper luxury eco resort located in Saudi Arabia and developed by Red Sea Global.

The island has a highly diverse environment with dense mangroves, desert flora, dunes, turtle nesting, and some of the most pristine coral reefs in the world.

The exquisite island eco resort offers an off-grid, zero energy, water, waste, educational experience and aims to be a “next generation” eco tourist destination providing an unrivalled eco guest experience in an environmentally sensitive and innovative design, and in line with Saudi Arabia’s Vision 2030 of creating a more sustainable future. Located 25km from the Saudi Arabian shoreline, the whole resort is only accessible by water or air. The design and planning of the project are a direct result of Red Sea Global’s vision and aspiration to develop an exquisite luxury guest-centric destination, setting new standards for sustainable development and hospitality.

Architecture afloat

All villas are entirely constructed, fitted out and commissioned offshore, and are shipped to site as an almost “plug in” to the solar powered zero energy/water infrastructure. The offshore construction methodology aims to preserve the natural environment of the island and minimise any damage to the island, its coral, and wildlife. The design is inspired by the creation from the sea, creating a string of pearls at Shebara in the Red Sea.

Regeneration through design

The entire infrastructural backbone of the project forms part of a visitor experience where guests can be exposed to and learn about the approach that goes into making the project a truly self-sustained human development. There will be an active program on the site, involving guests for regenerative mangrove expansion, coral gardening, and enhancing turtle nesting in educational programmes.

The social responsibility of Shebara island resort is to improve the education and work opportunities for the rural local inhabitants within the area, and in particular, improving diversification and empowering local Saudi women throughout its colleague programme.

Floating into tomorrow

Each villa was constructed off-site to minimise environmental disruption. Inclusive of regenerative mangroves, coral, and fish life to substantially improve the natural surroundings.

The primary goal of the project was to determine the best way to preserve and enhance the biodiversity surrounding the habitat, while offering a luxurious experience that will attract visitors from around the globe and promote Saudi Arabia as a top-tier marine eco-tourism destination.

The LEED-Platinum resort seeks to minimise its environmental and literal environment footprint by cantilevering the accommodation spaces above the regenerative coral gardening within the protected lagoon, and set back over 50m from the natural coral reef with only a few square meters of ground impact at the base of the supporting column. The result is an aerial accommodation pod that almost seems to defy gravity and suspends the guest directly above and within the beauty and untouched marine ecosystem, providing an observation platform for guests to witness the fish, birds, and turtles that thrive in the area.

Fact file:
Project: Shebara Resort
Location: Sheybarah Island, The Red Sea, Saudi Arabia
Architect: Killa Design
Interior Designer: Studio Paolo Ferrari
Project Type: Luxury eco-resort

My journey into architecture began in childhood. I was always drawn to both mathematics and art, and my stepfather, an architect with his own practice specialising in residential developments, exposed me to the field early on. At around 12 or 13, I started spending weekends at his office, where I became immersed in the design process, drafting plans, elevations, and sections.

As I became more involved, I started building models for some of his developments and hospitality projects. There was something incredibly rewarding about translating a design into a physical model, and the fact that I was being paid for it only reinforced my passion. By my later years in high school, I was certain that architecture was my calling, despite my stepfather’s attempts to persuade me otherwise. I researched universities and ultimately pursued my degree in architecture, determined to push the boundaries of design.

I arrived in Dubai in 1998 from South Africa, joining Atkins as an architect. Over 16 years, I grew into the role of Regional and then Global Director of Architecture, leading the studio and working on some of the city’s most iconic projects. One of the earliest and most transformative experiences was contributing to the Burj Al Arab, a landmark that reshaped Dubai’s identity. For someone from Cape Town, transitioning from small to medium-scale projects to working on groundbreaking, high-profile developments was a major leap that shaped my career.

In conversation with GQ South Africa, Killa opens up about designing landmarks that changed global architecture, the pressure of building in Dubai’s hyper-competitive landscape, why sustainability became non-negotiable long before it was trendy, and the project that still feels the most personal to him.

Founding Killa Design in 2015 was a defining moment in my career. Within weeks, we won two major competitions, the Museum of the Future and the Address Beach Resort, propelling us from a one-person firm to a thriving studio of 30 architects in just a few months.

Since then, we’ve continued to expand, designing landmark projects such as The Museum of the Future, Shebara Resort in Saudi Arabia, a hyper-luxury eco-retreat operating entirely off-grid with zero emissions, water, and waste, exemplify our commitment to groundbreaking design and environmental responsibility. Jumeirah Marsa Al Arab, which opened on the 14th of March, 2025, redefines luxury hospitality and the Address Beach Resort, with the world’s highest occupied sky bridge and infinity pool.

While Killa Design’s roots are in Dubai, our reach extends across the globe, with projects in the Maldives, Angola, the United States, Iceland, Saudi Arabia, South America, and beyond. Whether it’s pioneering cultural landmarks, transformative masterplans, or hyper-luxury resorts, our goal remains the same, to create architecture that not only inspires but also reshapes how we interact with our environment.

My philosophy has always been to create architecture that is emotionally powerful, deeply contextual and purposeful. I don’t believe in imposing a singular style onto every project. Each building should emerge from its place, its culture, its climate and the experience it is meant to create.

Inspiration always begins with place, understanding the landscape, the light, the culture and the emotional character of a site. But it also comes from experience. Sailing, in particular, has always been a strong influence for me. Being out on the water, you become very aware of balance, movement and your relationship with natural forces. That sense of fluidity and responsiveness often finds its way into how I approach design.

Beyond that, inspiration comes from nature, travel, and even moments of stillness. Often it’s the space between what we understand and what we imagine that sparks the most powerful ideas.

At Killa Design, we are passionate about architecture that moves people, architecture that feels effortless, yet is underpinned by rigorous thinking. Sometimes that results in fluid, expressive forms; at other times it leads to something more restrained and sculptural. The common thread is always meaning.

I would also say that sustainability must become second nature. It should not be treated as a specialism, but as a fundamental part of good design. At the same time, never lose sight of the human side of architecture. Buildings are ultimately about people, how they live, move, connect and feel.

If you stay committed to excellence, continue learning, and are prepared to work through challenges, this region offers the chance to be part of projects that can genuinely shape the future.

I’ve never believed in having a singular architectural style that gets applied to every project. For me, each building should emerge from its place, its culture, its climate, and the experience it’s meant to create. What remains consistent is the way I think about design. I’m always trying to create architecture that is emotionally powerful, deeply contextual, and purposeful. It’s not just about how something looks, it’s about what it means, how it feels, and how it enhances the lives of the people who experience it. Ultimately, I want the work to feel timeless and to stand the test of time.

What probably differentiates my work is the balance between expression and rigour. I’m interested in pushing boundaries, both aesthetically and technically, but that ambition always has to be grounded in performance, sustainability, and human experience. Some projects become more fluid and expressive, others more restrained, but they are always driven by the same intent. The goal is to create architecture that feels effortless, even when there is a high level of complexity behind it. For me, it’s about finding that balance between innovation and responsibility, and creating buildings that connect people to place while contributing something meaningful to the built environment.

One of the biggest challenges is balancing creative ambition with the realities of delivery, particularly as projects become more complex, more global, and more demanding in every sense. As a studio grows, another challenge is protecting the integrity of the design vision while also creating a culture that allows others to contribute, evolve and lead.

I would like Killa Design to continue pushing the conversation forward, not only in terms of form and innovation, but in terms of responsibility, experience and legacy. We want to help shape an architecture for the UAE that is bold yet human, globally relevant yet rooted in place.

The next chapter of architecture here should be defined by regeneration, cultural meaning and exceptional quality of life. I see Killa Design contributing to that through projects that challenge convention, advance sustainable thinking, and create places people genuinely connect with.

Few architects working today have shaped the visual identity of modern cities quite like Killa Design founder Shaun Killa. From Dubai’s instantly recognisable Museum of the Future to the Bahrain World Trade Centre, the world’s first large-scale integration of wind turbines into a building, Killa has spent nearly three decades pushing architecture beyond aesthetics and into cultural conversation.

But for Killa, architecture has never been about spectacle alone. His work sits at the intersection of sustainability, innovation and human experience, creating spaces that don’t just dominate skylines, but redefine how people interact with cities. Whether it’s a zero-energy luxury resort in Saudi Arabia or the world’s first occupied 3D-printed office building, every project carries the same ambition: to challenge convention while creating something deeply meaningful.

In conversation with GQ South Africa, Killa opens up about designing landmarks that changed global architecture, the pressure of building in Dubai’s hyper-competitive landscape, why sustainability became non-negotiable long before it was trendy, and the project that still feels the most personal to him.

GQ: You’ve spent nearly three decades shaping skylines. What still excites you about architecture today that did when you first started?

Shaun Killa: Architecture has the ability to uplift entire urban environments, to create identity, and to generate long-term value for communities. Buildings like the Museum of the Future go beyond their physical form; they become part of a city’s narrative, contributing to its cultural and economic evolution.

Whether it’s a cultural landmark, a hyper-luxury resort, or a branded residential development, architecture has the power to set new benchmarks, not just for design, but for how cities and countries position themselves on a global stage.

Ultimately, it’s about creating something that people connect with, something that leaves a lasting impression, both on the individual and on the city itself.

GQ: Your work often challenges traditional architectural norms. What’s a rule in architecture you’ve always felt was worth breaking?

SK: We’ve always challenged ourselves to push boundaries, not for the sake of difference, but to create something meaningful. Projects should elevate their surroundings, contribute to their communities, and offer something new.

For me, design is born from purpose. It begins with understanding the context, the culture, and the experience you’re trying to create.

If you stay true to that, each project naturally finds its own identity whether holding or challenging the rules.

GQ: Sustainability sits at the core of what you do. When did low-carbon design shift from being a consideration to something non-negotiable?

SK: Sustainability has always been at the core of my thinking, even from early projects like the Bahrain World Trade Centre.

What made that project important wasn’t just the integration of wind turbines, but the message it sent. In an oil-rich region, it became a catalyst for change, shifting the conversation towards reducing carbon footprint and embedding sustainability into design thinking.

Today, that approach has evolved further. Every one of our projects incorporates passive and active systems as standard, and more recently, developments like Shebara Resort in KSA, takes that to another level, operating as a zero-energy, zero-water, zero-waste resort, setting new global benchmarks for sustainable eco-tourism.

For me, sustainability is not a layer, it’s fundamental. It’s about designing with empathy, for place, for people, and for the environment.

GQ: The Museum of the Future has become one of the most recognisable buildings in the world. What did you want people to feel the first time they saw it?

SK: Curiosity, intrigue, and a sense of possibility.

The Museum represents more than architecture, it reflects a vision. Conceptually, it’s made up of three elements: the landscape, representing the earth and our past; the form, representing human innovation; and the void, representing the unknown.

That void is central, it’s a space for discovery, for ideas that don’t yet exist. The building itself becomes a vessel for innovation, a place that brings together thinkers, creators, and future generations.

For me, it was about creating something that inspires people to think differently about the future and their role within it.

GQ: You founded Killa Design in 2015. What kind of culture were you intentional about building from day one?

SK: From the beginning, it was important to create an environment where people feel comfortable sharing ideas, challenging each other, exploring new thinking and having fun. It also had to be a place people genuinely enjoy being in, that’s when you get the best out of a team.

Architecture is a collaborative process, and the strength of the work comes from that exchange. But it’s not just about generating ideas, it’s about making sure they lead to something meaningful. For me, it’s about creating a studio where people enjoy what they’re doing but are also focused on producing work that has depth and relevance.

GQ: You’ve been ranked among the most powerful architects in the Middle East more than once. How do you stay grounded while operating at that level?

SK: Staying close to the design process is important, but equally, stepping away from it helps maintain perspective. For me, that often comes through sailing, being out at sea simplifies things and gives you a different kind of clarity.

GQ: There’s a strong focus on mentoring in your studio. What do younger architects today understand that your generation didn’t?

SK: There’s a greater sense of freedom today, particularly in how ideas are expressed and challenged.

Younger designers are more comfortable questioning ideas and contributing regardless of hierarchy, and that openness leads to stronger, more innovative outcomes.

At Killa Design, we encourage that exchange. It’s important that everyone feels they can contribute, because that’s what ultimately pushes the work forward.

GQ: Dubai has become a global playground for ambitious architecture. How has the city shaped the way you think and design?

SK: Dubai has given me the freedom to think at a much larger scale, but it’s also one of the most competitive environments in the world.

We’re constantly competing against leading global firms, which means the only way to succeed is to be more innovative, more expressive, and to create projects with deeper meaning and stronger narratives.

At the same time, Dubai’s rapid growth has created a unique opportunity to shape entire districts and contribute to the city’s evolving identity, where architecture plays a role not just in design, but in economic and cultural development.

GQ: Projects like the Office of the Future feel like a glimpse into what’s next. What do you think architecture will look like in 20 years?

SK: We’ll see major advances in technology, automation, modularisation, and robotics transforming how we design and build.

At the same time, there will be a stronger focus on sustainability and ecological responsibility, reducing waste and improving efficiency.

But fundamentally, architecture will become more human-focused. Experience will come first, how people live, work, and interact with space, and that will ultimately define successful design.

GQ: Across your work, from luxury resorts to cultural landmarks, how do you balance commercial pressure with creative integrity?

SK: We take on projects that push design thinking further, even if they are more challenging commercially. In others, we refine the process to create more successful developments.

Architecture ultimately needs to be economically viable as well as meaningful. If you achieve both, you create something that not only performs well commercially but also contributes positively to the city and its people.

GQ: When you look at your body of work so far, is there one project that feels the most personal to you, and why?

SK: The Museum of the Future is probably the most personal.

It was the first project we won as Killa Design, and in many ways, it defined the direction and ambition of the studio from the outset. Beyond that it represents something much larger, a connection between past, present and future thinking, and a platform for innovation at a national and global level.

What makes it truly meaningful is the journey from concept to reality. Seeing something so complex and ambitious come to life is incredibly rewarding but the most important moment is when it opens and people begin to experience it. That’s when the building moves beyond architecture and becomes something more, a place that inspires, engages and evolves through the people who inhabit it.

This Milan Design Week, HMA Living by Al Shamsi in collaboration with the Italian Brand Turri and Killa Design, an internationally renowned architecture studio, unveiled LŪNA – a sofa collection influenced by the phases of the moon.

South African architect – about new technological opportunities and the modern generation of urban planners.

Architect Sean Killa, founder of the Killa Design bureau, promotes a human-centered approach in the urban environment. Its sustainable and innovative projects (including the Museum of the Future and the world’s first skyscraper with wind turbines) fit seamlessly into the natural and economic context. He is one of the authors of the modern look of Dubai and the founder of the architectural studio Killa Design.

In an interview with Vedomosti. To the city” Sean Killa told why there are no universal approaches in green construction and what projects could be in demand in Russia.

What inspired you to do architecture and how do you evaluate your professional path?

I’ve always been attracted to both mathematics and art. My stepfather, an architect, the owner of his own practice in the design of residential facilities, introduced me to this field early. At the age of 12-13, I was already spending the weekend in his office, gradually immersing myself in the process: drawing plans, facades, sections.

Over time, he began to make layouts for his residential and hotel projects. There was something particularly exciting in turning an idea into physical form, and the fact that they also paid for it only strengthened interest. By the time I was in high school, I knew for sure: architecture is mine.
In 1998, I moved from South Africa to Dubai and joined Atkins (an international engineering and design company, one of the world leaders in architecture, infrastructure and urban planning. – Note. “Vedomosti. Cities”). For 16 years, he made his way to the regional and then global director of architecture, headed the studio and participated in the creation of a number of landmark projects for the city.

One of the first and most decisive was Burj Al Arab, a project that largely shaped the international image of Dubai. For me, a native of Cape Town, it was a serious transition – from small and medium-sized projects to large-scale and ambitious ones. This step largely determined my future career.

Over the years, I have been lucky enough to receive international recognition, including the ENR News Maker Award in New York and the Global Holcim Award in the field of sustainable construction.

The founding of Killa Design in 2015 was an important milestone. Already at the initial stage of our activities, we won two major competitions – for the project of the Museum of the Future and for a resort with two towers in Jumeirah Beach Residence.

Your architecture often goes beyond the usual framework. Does this complicate work in more traditional markets, such as Europe?

Rather the opposite. Although we are known primarily for projects such as the Museum of the Future in Dubai, we are not tied to the same style. Context is important – landscape, culture and people for whom we create space. We work equally confidently with both restrained, minimalist architecture and more plastic, expressive forms.

It is important for us not to impose visual language, but to react exactly to the place. Now we are conducting several resort and mixed-use projects – both in the Middle East region and beyond, where we apply a more calm, modern approach.

In Europe, we are also considering a number of opportunities and expect to strengthen our presence in the near future. Working in the European market does not require simplifying ideas – on the contrary, it is an opportunity to apply our principles of innovation, sustainable development and human-centered design in a new way. This is the most interesting task for us. We do not work according to the template: every project starts from scratch, and the key requirement is that the result is organic and exactly correspond to the place.

You have been working in international architecture for more than 30 years. How has your understanding of sustainable design changed during this time?

Sustainable development today is no longer an additional factor, but the basis of the design process itself. If earlier it was often perceived as a technical superstructure applied to an already finished project, now it is laid at the start and forms the whole architectural idea.

The main change is in the approach itself. It is no longer about simply reducing the negative impact, but about creating buildings that actively interact with the environment. We are talking about the design of regenerative spaces: they minimize the impact on nature and at the same time improve the quality of life, perception and connection of a person with the environment.

I believe that sustainable development should be considered as a holistic, integrated concept in which form, functionality and user experience are inseparable and work as a single system.

You were behind a number of landmark projects that shape the modern look of Dubai. How is the architecture of the city developing today? What awaits him in the future?

Dubai architecture is now entering a more mature and meaningful phase. There was a period when the city was formed at the expense of bright, iconic objects – I was lucky to be a part of this process: from early participation in the Burj Al Arab project to buildings such as Dubai Opera, Address Boulevard and Almas Tower. Each of them influenced the commercial and cultural appearance of the city in its own way.

Now we are seeing a clear shift. The focus is gradually moving away from individual “icons” to a more integral, human-oriented environment – spaces where it is comfortable to live, work and interact with each other. Projects are becoming multifunctional, pedestrian-friendly and better integrated into the landscape and climate.

Sustainable development plays an important role in this new stage. For example, in the Museum of the Future project, it was laid down from the very beginning – from passive solar solutions and energy-efficient systems to the use of renewable energy sources. In Jumeirah Marsa Al Arab, the same approach is implemented through energy optimization and environmentally friendly integration into the environment, so that comfort and efficiency work together.

In the next five years, I believe, Dubai will continue to move towards architecture, which feels the place better, takes into account the climate and is more closely connected with nature. It’s not so much about creating individual symbols as about forming a sustainable, thoughtful environment that really improves the quality of life.

How much are developers willing to invest in low-carbon and environmentally friendly solutions today and why is it relevant in general?

There is a clear shift in thinking. Sustainable development is increasingly perceived not just as an environmental responsibility, but as an integral part of the long-term value of an asset. Developers are increasingly aware: buildings that function effectively are able to adapt over time and improve the quality of life, and as a result turn out to be more sustainable and economically viable.
The focus is gradually shifting from short-term solutions to creating projects that are designed for the long term and retain their value over time.

Why haven’t such decisions become widespread yet?

They can’t just be taken and scaled: not every platform allows you to implement this approach. In architecture, it is important not to copy technologies, but to select environmental solutions that really work in a specific context. In one case, it can be solar energy, in another – a well-thought-out shading system or passive cooling. There are optimal tools for each climate and environment.

You are actively engaged in mentoring young architects. What qualities are most important for a new generation of specialists?

Curiosity is the basis. It is important not to be afraid to ask questions, try new things and continue to learn throughout your career. But discipline is no less important: architecture is not only about creativity, but also about understanding how everything is arranged and works in reality. Strong ideas are always born from a good understanding of the context and how buildings live with time.

I also like that the new generation has a more aware attitude to responsibility – especially in matters of sustainable development and quality of life. It’s very inspiring.

Ultimately, it is important to understand not only what you are designing, but also why. When there is this understanding, the architecture turns out to be more meaningful, whole and alive.

What global trends will determine architecture in the next 10-15 years?

Cities in the future will no longer be determined by scale, but by quality – by the way people live, move and interact with each other. We are moving towards a more holistic and humane environment. The focus will be on three key areas: sustainable development, human well-being and adaptability. The architecture will become more flexible, sensitive to change and closely integrated with the natural landscape.

Have you considered the possibility of working on projects in Russia? What would be most interesting to you?

I am most attracted by the opportunity to work in a context with a strong cultural and natural component. Projects that involve a dialogue between heritage, climate and modern design always turn out to be the most meaningful. It is about creating an architecture that feels authentic and reflects the character and identity of the place.

If we talk about the future of cities, how do you see the ideal balance between building density, ecology and quality of life?

We are talking about finding balance through integration. Building density is important, but requires an attentive and thoughtful approach. Successful cities are those where density enhances dynamics and vitality without reducing the level of comfort. Where nature, public spaces and pedestrian accessibility are organically woven into everyday life. Ultimately, the quality of the city is determined not by the scale of its growth, but by how convenient and favorable it is for the people who live in it.

These are the stunning landmarks from the UAE with striking architecture.

Museum of the Future

The evocative torus-shaped structure of the Museum of the Future in Dubai, an unmissable structure that opened in Downtown Dubai in February 2022, has become one of the city’s architectural masterpieces, symbolizing humanity’s capacity to continuously innovative – one of Dubai’s defining characteristics. Designed by Killa Design, the building features a green hill representing the earth, symbolizing permanence, its stainless-steel structure represents humanity or strength and the central void for which it is known reflects the idea of surrendering to the unknown future and the exciting opportunities it will bring. Covering the façade of the building is Arabic calligraphy acting as glass windows, presenting quotes on the idea of the future by Sheikh Mohammed bin Rashed Al Maktoum, Prime Minister of the United Arab Emirates. One notable one reads: “We might not live for hundreds of years, but the products of our creativity can leave a legacy long after we are gone.”

Shaun Killa speaks with The Collection Magazine on the inspiration and design ethos surrounding Jumeirah’s Marsa Al Arab, the latest addition to Dubai’s iconic skyline and completing the operator’s trilogy of hotels.

With worlds ultra-yachts as the inspiration, we wanted to create the same sense of being in water through curvatures, almost like a yacht going out to sea. – Shaun Killa

At Milan Design Week 2026, HMA Living brought together Turri and Killa Design to unveil LŪNA, a collaboration that moves beyond furniture into something more spatial, almost atmospheric. Marking Turri’s centenary, the project looks forward rather than back, opening a dialogue between craftsmanship, architecture, and regional identity.

Inspired by the phases of the moon, LŪNA is built around a quiet but precise idea: form can remain constant while perception continuously shifts. Light, shadow, and movement become active elements in the design, shaping how the piece is experienced rather than simply observed.

The modular sofa can be composed of two, three, four or more seaters, accompanied by an armchair and a series of pebble-like side tables. Its continuous, flowing silhouette carries an architectural clarity, yet avoids rigidity. Instead, it balances opposites, structure and softness, strength and comfort, creating a form that feels both grounded and fluid. Each curve is deliberate, designed not just to support the body but to hold space.

This approach reflects Killa Design’s broader philosophy, where objects are conceived as environments rather than isolated pieces. The result is a composition that invites interaction, encouraging gathering, conversation, and movement within it. It does not dictate how it should be used, but adapts to how it is inhabited.

Turri’s contribution lies in its material mastery. Known for its precision and heritage, the Italian house brings a level of artisanal detailing that anchors the project. Surfaces are refined, tactile, and controlled, reinforcing the idea of permanence within an otherwise shifting visual experience.

HMA Living’s role extends far beyond facilitation. As the originator of the collaboration, HMA actively shaped the dialogue between Killa Design and Turri, identifying the shared language between architectural thinking and Italian craftsmanship. Acting as both curator and cultural mediator, HMA guided the project from concept to execution, ensuring that it was not only visually cohesive but contextually relevant. Their involvement brought a distinct perspective rooted in the Middle East, translating regional ways of living, gathering, and occupying space into the design itself. In this sense, LŪNA is not simply a collaboration supported by HMA Living, but one orchestrated through its vision, where global design expertise is reframed through a regional lens.

First presented in Milan, LŪNA continues its trajectory in Dubai, where it will be officially launched at HMA Living’s Jumeirah showroom. The move feels intentional. If Milan represents heritage and global design discourse, Dubai becomes the site of application, where the piece enters everyday life.

In LŪNA, nothing is static. The form remains, but the experience shifts, through light, through movement, through presence. It is not just something to sit on, but something to move around, to live with, and to see differently each time.

There’s a conundrum at the heart of modern hospitality. How do you make sure a person is taken care of at every moment of their day while still allowing them to be on a journey? Can comfort weigh down a person trying to achieve the promise of travel—ascending to an improved version of themselves? Hotels today pour millions of dollars into crafting authentic experiences to envelop guests from the moment they arrive to the moment they leave. But do you see the tension there, between crafting and authentic? It rhymes with what we all experience when we travel. We want to be on an adventure. We also want to be accommodated.

Jumeirah Marsa Al Arab

Go read about who built the Jumeirah Marsa Al Arab building, read about the world-renowned chefs that run the restaurants, read about the wonderful spa program. It’s easy enough—that’s all stuff the website will tell you. This is what you actually ought to know: the Jumeirah Marsa Al Arab is elegant and soft in a way we’ve never known the city-state to be. The building was designed without hard edges. Walk through the lobby and notice that the walls aren’t straight lines—they meander back and forth, creating nooks to settle into with a coffee. Outside, there’s always a little spot for a world-class drink by the pool, always an open beach chair in the sun. The result? The whole place feels like it’s yours, even when the in-house nightlife spot is hot and the cars of Dubai’s well-known and well-to-do are valeted outside. The sprawling views of Jumeirah beach, the Arabian Gulf, or downtown Dubai—yours. The marina full of yachts—yours. One architectural choice and somehow it feels as though the property has been here for a millennium and you’re the first person to discover it.

Photo Credit: Rupert Peace

The 1,004-room Ciel Dubai Marina may have claimed the title of the World’s Tallest Hotel at 1,237 feet, but the city’s most compelling hotel to open in 2025 isn’t defined by scale.

It’s Jumeirah Marsa Al Arab, a sinuous new seafront resort designed by Shaun Killa, the architect behind Dubai’s Museum of the Future and the UFO-like silvery pods of Shebara resort in the Saudi Red Sea.

Jumeirah Marsa Al Arab is the final piece in a maritime trio of luxury resorts that includes the sail-shaped Jumeirah Burj Al Arab—a landmark that put Dubai on the global luxury map in 1999—and the wave-like Jumeirah Beach Hotel. But there’s more to Jumeirah Marsa Al Arab than its iconic architecture. It’s set on the loveliest sweep of beach in the city.

Its service is both warm and efficient, as welcoming to holidaymaking families as to solo staycationers. Its light-filled rooms all have outdoor space and its restaurants are exceptional, with hyper-seasonal Japanese ingredients on the menu at Umi Kei, and excellent Greek mezze with a side of Burj views at beachside Iliana.

Above all, the resort captures Dubai’s current zeitgeist, drawing a mix of Emiratis and well-heeled world travelers with its exciting energy, unmatched sense of style, and sprinkling of swagger.