Salvar História do Instagram

@SceneNowUAE: A skateboard, a basketball hoop, a Hollywood celebrity, an ancient Armenian folk song—disparate elements, but all recurring motifs in the work of Stephany Sanossian.

Her mixed-media collages don’t just challenge the boundaries between East and West, tradition and modernity, memory and reinvention—they dismantle them entirely.

Born and raised in Aleppo, Syria, of Armenian descent, and currently creating art between the Emirates and Lebanon, Sanossian’s work is shaped by a profound sense of movement—across places, histories, and identities. Her pieces ask urgent questions: What does it mean to belong? How does nostalgia shape identity? And what are roots, if not connections?

A multidisciplinary artist and designer, Sanossian moves fluidly between collage, installation, digital art, and traditional Syrian craftsmanship. One moment, she’s reconstructing Aleppo’s souq with superimposed images of Kim Kardashian; the next, she’s collaborating with a craftsman in Damascus to create handmade Syrian marquetry. Nothing is off-limits in her world—except artistic stagnation.

Her latest installation, Beneath the Ashes, which debuted at the ‘Next Chapter Edition 1’ exhibit by Iris Contemporary Space at Foundry Downtown in Dubai, draws on the poetry of Adonis, the legendary Syrian-Lebanese writer. The piece is rooted in displacement and memory, weaving in the lines:

“Beneath the ashes, I search for my roots,
For the first tales the sun wrote on the face of trees.”

“Identity is both inherited and created,” Sanossian says. “I wanted to explore what it means to hold on to something that constantly shifts.”

Read our full interview with Sanossian on SceneNow.com or download the #SceneNow app (link in bio).

🖊️ Mariam Elmiesiry

@SceneNowUAE: A skateboard, a basketball hoop, a Hollywood celebrity, an ancient Armenian folk song—disparate elements, but all recurring motifs in the work of Stephany Sanossian.

Her mixed-media collages don’t just challenge the boundaries between East and West, tradition and modernity, memory and reinvention—they dismantle them entirely.

Born and raised in Aleppo, Syria, of Armenian descent, and currently creating art between the Emirates and Lebanon, Sanossian’s work is shaped by a profound sense of movement—across places, histories, and identities. Her pieces ask urgent questions: What does it mean to belong? How does nostalgia shape identity? And what are roots, if not connections?

A multidisciplinary artist and designer, Sanossian moves fluidly between collage, installation, digital art, and traditional Syrian craftsmanship. One moment, she’s reconstructing Aleppo’s souq with superimposed images of Kim Kardashian; the next, she’s collaborating with a craftsman in Damascus to create handmade Syrian marquetry. Nothing is off-limits in her world—except artistic stagnation.

Her latest installation, Beneath the Ashes, which debuted at the ‘Next Chapter Edition 1’ exhibit by Iris Contemporary Space at Foundry Downtown in Dubai, draws on the poetry of Adonis, the legendary Syrian-Lebanese writer. The piece is rooted in displacement and memory, weaving in the lines:

“Beneath the ashes, I search for my roots,
For the first tales the sun wrote on the face of trees.”

“Identity is both inherited and created,” Sanossian says. “I wanted to explore what it means to hold on to something that constantly shifts.”

Read our full interview with Sanossian on SceneNow.com or download the #SceneNow app (link in bio).

🖊️ Mariam Elmiesiry

@SceneNowUAE: A skateboard, a basketball hoop, a Hollywood celebrity, an ancient Armenian folk song—disparate elements, but all recurring motifs in the work of Stephany Sanossian.

Her mixed-media collages don’t just challenge the boundaries between East and West, tradition and modernity, memory and reinvention—they dismantle them entirely.

Born and raised in Aleppo, Syria, of Armenian descent, and currently creating art between the Emirates and Lebanon, Sanossian’s work is shaped by a profound sense of movement—across places, histories, and identities. Her pieces ask urgent questions: What does it mean to belong? How does nostalgia shape identity? And what are roots, if not connections?

A multidisciplinary artist and designer, Sanossian moves fluidly between collage, installation, digital art, and traditional Syrian craftsmanship. One moment, she’s reconstructing Aleppo’s souq with superimposed images of Kim Kardashian; the next, she’s collaborating with a craftsman in Damascus to create handmade Syrian marquetry. Nothing is off-limits in her world—except artistic stagnation.

Her latest installation, Beneath the Ashes, which debuted at the ‘Next Chapter Edition 1’ exhibit by Iris Contemporary Space at Foundry Downtown in Dubai, draws on the poetry of Adonis, the legendary Syrian-Lebanese writer. The piece is rooted in displacement and memory, weaving in the lines:

“Beneath the ashes, I search for my roots,
For the first tales the sun wrote on the face of trees.”

“Identity is both inherited and created,” Sanossian says. “I wanted to explore what it means to hold on to something that constantly shifts.”

Read our full interview with Sanossian on SceneNow.com or download the #SceneNow app (link in bio).

🖊️ Mariam Elmiesiry

@SceneNowUAE: A skateboard, a basketball hoop, a Hollywood celebrity, an ancient Armenian folk song—disparate elements, but all recurring motifs in the work of Stephany Sanossian.

Her mixed-media collages don’t just challenge the boundaries between East and West, tradition and modernity, memory and reinvention—they dismantle them entirely.

Born and raised in Aleppo, Syria, of Armenian descent, and currently creating art between the Emirates and Lebanon, Sanossian’s work is shaped by a profound sense of movement—across places, histories, and identities. Her pieces ask urgent questions: What does it mean to belong? How does nostalgia shape identity? And what are roots, if not connections?

A multidisciplinary artist and designer, Sanossian moves fluidly between collage, installation, digital art, and traditional Syrian craftsmanship. One moment, she’s reconstructing Aleppo’s souq with superimposed images of Kim Kardashian; the next, she’s collaborating with a craftsman in Damascus to create handmade Syrian marquetry. Nothing is off-limits in her world—except artistic stagnation.

Her latest installation, Beneath the Ashes, which debuted at the ‘Next Chapter Edition 1’ exhibit by Iris Contemporary Space at Foundry Downtown in Dubai, draws on the poetry of Adonis, the legendary Syrian-Lebanese writer. The piece is rooted in displacement and memory, weaving in the lines:

“Beneath the ashes, I search for my roots,
For the first tales the sun wrote on the face of trees.”

“Identity is both inherited and created,” Sanossian says. “I wanted to explore what it means to hold on to something that constantly shifts.”

Read our full interview with Sanossian on SceneNow.com or download the #SceneNow app (link in bio).

🖊️ Mariam Elmiesiry

@SceneNowUAE: A skateboard, a basketball hoop, a Hollywood celebrity, an ancient Armenian folk song—disparate elements, but all recurring motifs in the work of Stephany Sanossian.

Her mixed-media collages don’t just challenge the boundaries between East and West, tradition and modernity, memory and reinvention—they dismantle them entirely.

Born and raised in Aleppo, Syria, of Armenian descent, and currently creating art between the Emirates and Lebanon, Sanossian’s work is shaped by a profound sense of movement—across places, histories, and identities. Her pieces ask urgent questions: What does it mean to belong? How does nostalgia shape identity? And what are roots, if not connections?

A multidisciplinary artist and designer, Sanossian moves fluidly between collage, installation, digital art, and traditional Syrian craftsmanship. One moment, she’s reconstructing Aleppo’s souq with superimposed images of Kim Kardashian; the next, she’s collaborating with a craftsman in Damascus to create handmade Syrian marquetry. Nothing is off-limits in her world—except artistic stagnation.

Her latest installation, Beneath the Ashes, which debuted at the ‘Next Chapter Edition 1’ exhibit by Iris Contemporary Space at Foundry Downtown in Dubai, draws on the poetry of Adonis, the legendary Syrian-Lebanese writer. The piece is rooted in displacement and memory, weaving in the lines:

“Beneath the ashes, I search for my roots,
For the first tales the sun wrote on the face of trees.”

“Identity is both inherited and created,” Sanossian says. “I wanted to explore what it means to hold on to something that constantly shifts.”

Read our full interview with Sanossian on SceneNow.com or download the #SceneNow app (link in bio).

🖊️ Mariam Elmiesiry

@SceneNowUAE: A skateboard, a basketball hoop, a Hollywood celebrity, an ancient Armenian folk song—disparate elements, but all recurring motifs in the work of Stephany Sanossian.

Her mixed-media collages don’t just challenge the boundaries between East and West, tradition and modernity, memory and reinvention—they dismantle them entirely.

Born and raised in Aleppo, Syria, of Armenian descent, and currently creating art between the Emirates and Lebanon, Sanossian’s work is shaped by a profound sense of movement—across places, histories, and identities. Her pieces ask urgent questions: What does it mean to belong? How does nostalgia shape identity? And what are roots, if not connections?

A multidisciplinary artist and designer, Sanossian moves fluidly between collage, installation, digital art, and traditional Syrian craftsmanship. One moment, she’s reconstructing Aleppo’s souq with superimposed images of Kim Kardashian; the next, she’s collaborating with a craftsman in Damascus to create handmade Syrian marquetry. Nothing is off-limits in her world—except artistic stagnation.

Her latest installation, Beneath the Ashes, which debuted at the ‘Next Chapter Edition 1’ exhibit by Iris Contemporary Space at Foundry Downtown in Dubai, draws on the poetry of Adonis, the legendary Syrian-Lebanese writer. The piece is rooted in displacement and memory, weaving in the lines:

“Beneath the ashes, I search for my roots,
For the first tales the sun wrote on the face of trees.”

“Identity is both inherited and created,” Sanossian says. “I wanted to explore what it means to hold on to something that constantly shifts.”

Read our full interview with Sanossian on SceneNow.com or download the #SceneNow app (link in bio).

🖊️ Mariam Elmiesiry

@SceneNowUAE: A skateboard, a basketball hoop, a Hollywood celebrity, an ancient Armenian folk song—disparate elements, but all recurring motifs in the work of Stephany Sanossian.

Her mixed-media collages don’t just challenge the boundaries between East and West, tradition and modernity, memory and reinvention—they dismantle them entirely.

Born and raised in Aleppo, Syria, of Armenian descent, and currently creating art between the Emirates and Lebanon, Sanossian’s work is shaped by a profound sense of movement—across places, histories, and identities. Her pieces ask urgent questions: What does it mean to belong? How does nostalgia shape identity? And what are roots, if not connections?

A multidisciplinary artist and designer, Sanossian moves fluidly between collage, installation, digital art, and traditional Syrian craftsmanship. One moment, she’s reconstructing Aleppo’s souq with superimposed images of Kim Kardashian; the next, she’s collaborating with a craftsman in Damascus to create handmade Syrian marquetry. Nothing is off-limits in her world—except artistic stagnation.

Her latest installation, Beneath the Ashes, which debuted at the ‘Next Chapter Edition 1’ exhibit by Iris Contemporary Space at Foundry Downtown in Dubai, draws on the poetry of Adonis, the legendary Syrian-Lebanese writer. The piece is rooted in displacement and memory, weaving in the lines:

“Beneath the ashes, I search for my roots,
For the first tales the sun wrote on the face of trees.”

“Identity is both inherited and created,” Sanossian says. “I wanted to explore what it means to hold on to something that constantly shifts.”

Read our full interview with Sanossian on SceneNow.com or download the #SceneNow app (link in bio).

🖊️ Mariam Elmiesiry

@SceneNowUAE: A skateboard, a basketball hoop, a Hollywood celebrity, an ancient Armenian folk song—disparate elements, but all recurring motifs in the work of Stephany Sanossian.

Her mixed-media collages don’t just challenge the boundaries between East and West, tradition and modernity, memory and reinvention—they dismantle them entirely.

Born and raised in Aleppo, Syria, of Armenian descent, and currently creating art between the Emirates and Lebanon, Sanossian’s work is shaped by a profound sense of movement—across places, histories, and identities. Her pieces ask urgent questions: What does it mean to belong? How does nostalgia shape identity? And what are roots, if not connections?

A multidisciplinary artist and designer, Sanossian moves fluidly between collage, installation, digital art, and traditional Syrian craftsmanship. One moment, she’s reconstructing Aleppo’s souq with superimposed images of Kim Kardashian; the next, she’s collaborating with a craftsman in Damascus to create handmade Syrian marquetry. Nothing is off-limits in her world—except artistic stagnation.

Her latest installation, Beneath the Ashes, which debuted at the ‘Next Chapter Edition 1’ exhibit by Iris Contemporary Space at Foundry Downtown in Dubai, draws on the poetry of Adonis, the legendary Syrian-Lebanese writer. The piece is rooted in displacement and memory, weaving in the lines:

“Beneath the ashes, I search for my roots,
For the first tales the sun wrote on the face of trees.”

“Identity is both inherited and created,” Sanossian says. “I wanted to explore what it means to hold on to something that constantly shifts.”

Read our full interview with Sanossian on SceneNow.com or download the #SceneNow app (link in bio).

🖊️ Mariam Elmiesiry

#SceneNowUAE: Bait Elowal isn’t just a restaurant—it’s a passage through time.

Stepping into this newly opened cultural haven in Sharjah feels like crossing a threshold where the past and present blend seamlessly. The scent of saffron and cardamom drifts through the air, mingling with the low hum of conversation, the gentle splash of water from a courtyard fountain. Here, history isn’t just remembered—it’s lived.

Founded by Sheikha Bodour bint Sultan Al-Qassemi, Bait Elowal—meaning ‘Home of the Traveler’—honors Sharjah’s legacy as a historic trading hub. Designed to reflect the emirate’s deep connections to the Silk Road and Maghrebi influences, it is more than a dining experience; it’s a tribute to centuries of movement, exchange, and hospitality.

At Al-Atlas (Supper Club), guests embark on a sensory journey through time. The menu is an odyssey of flavors—Persian Borani-e Esfenaj, Moroccan Mast-o-Khiar, Mughlai Saffron Phirni, and Italian Arborio Risotto—inspired by the very trade routes that once passed through Sharjah’s shores.

But Bait Elowal is more than a restaurant. It is a living museum of tradition and craftsmanship. The Soghat Elowal gallery showcases handcrafted textiles, ceramics, and slow fashion pieces, offering visitors a tangible connection to Emirati artistry. Kutubkhana (Library) is a sanctuary for literary explorers, stocked with Arabic and English works that trace the Silk Road’s legacy.

Above it all, the Al-Marmas tea terrace provides an open-air retreat for conversation and storytelling—an Emirati majlis reimagined. Over delicately spiced teas and date-studded sweets, guests gather in the same spirit of exchange that defined Sharjah for centuries.

As Sheikha Bodour puts it: “Bait Elowal is a tribute to the values of care and hospitality shared by Emirati people and embodies the essence of our identity.”

For the full experience head to www.SceneNow.com (link in bio) or download the #SceneNow App.

🖊 Ahmed Amin

#SceneNowUAE: Bait Elowal isn’t just a restaurant—it’s a passage through time.

Stepping into this newly opened cultural haven in Sharjah feels like crossing a threshold where the past and present blend seamlessly. The scent of saffron and cardamom drifts through the air, mingling with the low hum of conversation, the gentle splash of water from a courtyard fountain. Here, history isn’t just remembered—it’s lived.

Founded by Sheikha Bodour bint Sultan Al-Qassemi, Bait Elowal—meaning ‘Home of the Traveler’—honors Sharjah’s legacy as a historic trading hub. Designed to reflect the emirate’s deep connections to the Silk Road and Maghrebi influences, it is more than a dining experience; it’s a tribute to centuries of movement, exchange, and hospitality.

At Al-Atlas (Supper Club), guests embark on a sensory journey through time. The menu is an odyssey of flavors—Persian Borani-e Esfenaj, Moroccan Mast-o-Khiar, Mughlai Saffron Phirni, and Italian Arborio Risotto—inspired by the very trade routes that once passed through Sharjah’s shores.

But Bait Elowal is more than a restaurant. It is a living museum of tradition and craftsmanship. The Soghat Elowal gallery showcases handcrafted textiles, ceramics, and slow fashion pieces, offering visitors a tangible connection to Emirati artistry. Kutubkhana (Library) is a sanctuary for literary explorers, stocked with Arabic and English works that trace the Silk Road’s legacy.

Above it all, the Al-Marmas tea terrace provides an open-air retreat for conversation and storytelling—an Emirati majlis reimagined. Over delicately spiced teas and date-studded sweets, guests gather in the same spirit of exchange that defined Sharjah for centuries.

As Sheikha Bodour puts it: “Bait Elowal is a tribute to the values of care and hospitality shared by Emirati people and embodies the essence of our identity.”

For the full experience head to www.SceneNow.com (link in bio) or download the #SceneNow App.

🖊 Ahmed Amin

#SceneNowUAE: Bait Elowal isn’t just a restaurant—it’s a passage through time.

Stepping into this newly opened cultural haven in Sharjah feels like crossing a threshold where the past and present blend seamlessly. The scent of saffron and cardamom drifts through the air, mingling with the low hum of conversation, the gentle splash of water from a courtyard fountain. Here, history isn’t just remembered—it’s lived.

Founded by Sheikha Bodour bint Sultan Al-Qassemi, Bait Elowal—meaning ‘Home of the Traveler’—honors Sharjah’s legacy as a historic trading hub. Designed to reflect the emirate’s deep connections to the Silk Road and Maghrebi influences, it is more than a dining experience; it’s a tribute to centuries of movement, exchange, and hospitality.

At Al-Atlas (Supper Club), guests embark on a sensory journey through time. The menu is an odyssey of flavors—Persian Borani-e Esfenaj, Moroccan Mast-o-Khiar, Mughlai Saffron Phirni, and Italian Arborio Risotto—inspired by the very trade routes that once passed through Sharjah’s shores.

But Bait Elowal is more than a restaurant. It is a living museum of tradition and craftsmanship. The Soghat Elowal gallery showcases handcrafted textiles, ceramics, and slow fashion pieces, offering visitors a tangible connection to Emirati artistry. Kutubkhana (Library) is a sanctuary for literary explorers, stocked with Arabic and English works that trace the Silk Road’s legacy.

Above it all, the Al-Marmas tea terrace provides an open-air retreat for conversation and storytelling—an Emirati majlis reimagined. Over delicately spiced teas and date-studded sweets, guests gather in the same spirit of exchange that defined Sharjah for centuries.

As Sheikha Bodour puts it: “Bait Elowal is a tribute to the values of care and hospitality shared by Emirati people and embodies the essence of our identity.”

For the full experience head to www.SceneNow.com (link in bio) or download the #SceneNow App.

🖊 Ahmed Amin

#SceneNowUAE: Bait Elowal isn’t just a restaurant—it’s a passage through time.

Stepping into this newly opened cultural haven in Sharjah feels like crossing a threshold where the past and present blend seamlessly. The scent of saffron and cardamom drifts through the air, mingling with the low hum of conversation, the gentle splash of water from a courtyard fountain. Here, history isn’t just remembered—it’s lived.

Founded by Sheikha Bodour bint Sultan Al-Qassemi, Bait Elowal—meaning ‘Home of the Traveler’—honors Sharjah’s legacy as a historic trading hub. Designed to reflect the emirate’s deep connections to the Silk Road and Maghrebi influences, it is more than a dining experience; it’s a tribute to centuries of movement, exchange, and hospitality.

At Al-Atlas (Supper Club), guests embark on a sensory journey through time. The menu is an odyssey of flavors—Persian Borani-e Esfenaj, Moroccan Mast-o-Khiar, Mughlai Saffron Phirni, and Italian Arborio Risotto—inspired by the very trade routes that once passed through Sharjah’s shores.

But Bait Elowal is more than a restaurant. It is a living museum of tradition and craftsmanship. The Soghat Elowal gallery showcases handcrafted textiles, ceramics, and slow fashion pieces, offering visitors a tangible connection to Emirati artistry. Kutubkhana (Library) is a sanctuary for literary explorers, stocked with Arabic and English works that trace the Silk Road’s legacy.

Above it all, the Al-Marmas tea terrace provides an open-air retreat for conversation and storytelling—an Emirati majlis reimagined. Over delicately spiced teas and date-studded sweets, guests gather in the same spirit of exchange that defined Sharjah for centuries.

As Sheikha Bodour puts it: “Bait Elowal is a tribute to the values of care and hospitality shared by Emirati people and embodies the essence of our identity.”

For the full experience head to www.SceneNow.com (link in bio) or download the #SceneNow App.

🖊 Ahmed Amin

#SceneNowUAE: Bait Elowal isn’t just a restaurant—it’s a passage through time.

Stepping into this newly opened cultural haven in Sharjah feels like crossing a threshold where the past and present blend seamlessly. The scent of saffron and cardamom drifts through the air, mingling with the low hum of conversation, the gentle splash of water from a courtyard fountain. Here, history isn’t just remembered—it’s lived.

Founded by Sheikha Bodour bint Sultan Al-Qassemi, Bait Elowal—meaning ‘Home of the Traveler’—honors Sharjah’s legacy as a historic trading hub. Designed to reflect the emirate’s deep connections to the Silk Road and Maghrebi influences, it is more than a dining experience; it’s a tribute to centuries of movement, exchange, and hospitality.

At Al-Atlas (Supper Club), guests embark on a sensory journey through time. The menu is an odyssey of flavors—Persian Borani-e Esfenaj, Moroccan Mast-o-Khiar, Mughlai Saffron Phirni, and Italian Arborio Risotto—inspired by the very trade routes that once passed through Sharjah’s shores.

But Bait Elowal is more than a restaurant. It is a living museum of tradition and craftsmanship. The Soghat Elowal gallery showcases handcrafted textiles, ceramics, and slow fashion pieces, offering visitors a tangible connection to Emirati artistry. Kutubkhana (Library) is a sanctuary for literary explorers, stocked with Arabic and English works that trace the Silk Road’s legacy.

Above it all, the Al-Marmas tea terrace provides an open-air retreat for conversation and storytelling—an Emirati majlis reimagined. Over delicately spiced teas and date-studded sweets, guests gather in the same spirit of exchange that defined Sharjah for centuries.

As Sheikha Bodour puts it: “Bait Elowal is a tribute to the values of care and hospitality shared by Emirati people and embodies the essence of our identity.”

For the full experience head to www.SceneNow.com (link in bio) or download the #SceneNow App.

🖊 Ahmed Amin

#SceneNowUAE: Bait Elowal isn’t just a restaurant—it’s a passage through time.

Stepping into this newly opened cultural haven in Sharjah feels like crossing a threshold where the past and present blend seamlessly. The scent of saffron and cardamom drifts through the air, mingling with the low hum of conversation, the gentle splash of water from a courtyard fountain. Here, history isn’t just remembered—it’s lived.

Founded by Sheikha Bodour bint Sultan Al-Qassemi, Bait Elowal—meaning ‘Home of the Traveler’—honors Sharjah’s legacy as a historic trading hub. Designed to reflect the emirate’s deep connections to the Silk Road and Maghrebi influences, it is more than a dining experience; it’s a tribute to centuries of movement, exchange, and hospitality.

At Al-Atlas (Supper Club), guests embark on a sensory journey through time. The menu is an odyssey of flavors—Persian Borani-e Esfenaj, Moroccan Mast-o-Khiar, Mughlai Saffron Phirni, and Italian Arborio Risotto—inspired by the very trade routes that once passed through Sharjah’s shores.

But Bait Elowal is more than a restaurant. It is a living museum of tradition and craftsmanship. The Soghat Elowal gallery showcases handcrafted textiles, ceramics, and slow fashion pieces, offering visitors a tangible connection to Emirati artistry. Kutubkhana (Library) is a sanctuary for literary explorers, stocked with Arabic and English works that trace the Silk Road’s legacy.

Above it all, the Al-Marmas tea terrace provides an open-air retreat for conversation and storytelling—an Emirati majlis reimagined. Over delicately spiced teas and date-studded sweets, guests gather in the same spirit of exchange that defined Sharjah for centuries.

As Sheikha Bodour puts it: “Bait Elowal is a tribute to the values of care and hospitality shared by Emirati people and embodies the essence of our identity.”

For the full experience head to www.SceneNow.com (link in bio) or download the #SceneNow App.

🖊 Ahmed Amin

#SceneNowUAE: Bait Elowal isn’t just a restaurant—it’s a passage through time.

Stepping into this newly opened cultural haven in Sharjah feels like crossing a threshold where the past and present blend seamlessly. The scent of saffron and cardamom drifts through the air, mingling with the low hum of conversation, the gentle splash of water from a courtyard fountain. Here, history isn’t just remembered—it’s lived.

Founded by Sheikha Bodour bint Sultan Al-Qassemi, Bait Elowal—meaning ‘Home of the Traveler’—honors Sharjah’s legacy as a historic trading hub. Designed to reflect the emirate’s deep connections to the Silk Road and Maghrebi influences, it is more than a dining experience; it’s a tribute to centuries of movement, exchange, and hospitality.

At Al-Atlas (Supper Club), guests embark on a sensory journey through time. The menu is an odyssey of flavors—Persian Borani-e Esfenaj, Moroccan Mast-o-Khiar, Mughlai Saffron Phirni, and Italian Arborio Risotto—inspired by the very trade routes that once passed through Sharjah’s shores.

But Bait Elowal is more than a restaurant. It is a living museum of tradition and craftsmanship. The Soghat Elowal gallery showcases handcrafted textiles, ceramics, and slow fashion pieces, offering visitors a tangible connection to Emirati artistry. Kutubkhana (Library) is a sanctuary for literary explorers, stocked with Arabic and English works that trace the Silk Road’s legacy.

Above it all, the Al-Marmas tea terrace provides an open-air retreat for conversation and storytelling—an Emirati majlis reimagined. Over delicately spiced teas and date-studded sweets, guests gather in the same spirit of exchange that defined Sharjah for centuries.

As Sheikha Bodour puts it: “Bait Elowal is a tribute to the values of care and hospitality shared by Emirati people and embodies the essence of our identity.”

For the full experience head to www.SceneNow.com (link in bio) or download the #SceneNow App.

🖊 Ahmed Amin

#SceneNowUAE: Bait Elowal isn’t just a restaurant—it’s a passage through time.

Stepping into this newly opened cultural haven in Sharjah feels like crossing a threshold where the past and present blend seamlessly. The scent of saffron and cardamom drifts through the air, mingling with the low hum of conversation, the gentle splash of water from a courtyard fountain. Here, history isn’t just remembered—it’s lived.

Founded by Sheikha Bodour bint Sultan Al-Qassemi, Bait Elowal—meaning ‘Home of the Traveler’—honors Sharjah’s legacy as a historic trading hub. Designed to reflect the emirate’s deep connections to the Silk Road and Maghrebi influences, it is more than a dining experience; it’s a tribute to centuries of movement, exchange, and hospitality.

At Al-Atlas (Supper Club), guests embark on a sensory journey through time. The menu is an odyssey of flavors—Persian Borani-e Esfenaj, Moroccan Mast-o-Khiar, Mughlai Saffron Phirni, and Italian Arborio Risotto—inspired by the very trade routes that once passed through Sharjah’s shores.

But Bait Elowal is more than a restaurant. It is a living museum of tradition and craftsmanship. The Soghat Elowal gallery showcases handcrafted textiles, ceramics, and slow fashion pieces, offering visitors a tangible connection to Emirati artistry. Kutubkhana (Library) is a sanctuary for literary explorers, stocked with Arabic and English works that trace the Silk Road’s legacy.

Above it all, the Al-Marmas tea terrace provides an open-air retreat for conversation and storytelling—an Emirati majlis reimagined. Over delicately spiced teas and date-studded sweets, guests gather in the same spirit of exchange that defined Sharjah for centuries.

As Sheikha Bodour puts it: “Bait Elowal is a tribute to the values of care and hospitality shared by Emirati people and embodies the essence of our identity.”

For the full experience head to www.SceneNow.com (link in bio) or download the #SceneNow App.

🖊 Ahmed Amin

#SceneNowUAE: Bait Elowal isn’t just a restaurant—it’s a passage through time.

Stepping into this newly opened cultural haven in Sharjah feels like crossing a threshold where the past and present blend seamlessly. The scent of saffron and cardamom drifts through the air, mingling with the low hum of conversation, the gentle splash of water from a courtyard fountain. Here, history isn’t just remembered—it’s lived.

Founded by Sheikha Bodour bint Sultan Al-Qassemi, Bait Elowal—meaning ‘Home of the Traveler’—honors Sharjah’s legacy as a historic trading hub. Designed to reflect the emirate’s deep connections to the Silk Road and Maghrebi influences, it is more than a dining experience; it’s a tribute to centuries of movement, exchange, and hospitality.

At Al-Atlas (Supper Club), guests embark on a sensory journey through time. The menu is an odyssey of flavors—Persian Borani-e Esfenaj, Moroccan Mast-o-Khiar, Mughlai Saffron Phirni, and Italian Arborio Risotto—inspired by the very trade routes that once passed through Sharjah’s shores.

But Bait Elowal is more than a restaurant. It is a living museum of tradition and craftsmanship. The Soghat Elowal gallery showcases handcrafted textiles, ceramics, and slow fashion pieces, offering visitors a tangible connection to Emirati artistry. Kutubkhana (Library) is a sanctuary for literary explorers, stocked with Arabic and English works that trace the Silk Road’s legacy.

Above it all, the Al-Marmas tea terrace provides an open-air retreat for conversation and storytelling—an Emirati majlis reimagined. Over delicately spiced teas and date-studded sweets, guests gather in the same spirit of exchange that defined Sharjah for centuries.

As Sheikha Bodour puts it: “Bait Elowal is a tribute to the values of care and hospitality shared by Emirati people and embodies the essence of our identity.”

For the full experience head to www.SceneNow.com (link in bio) or download the #SceneNow App.

🖊 Ahmed Amin

@StartupSceneME: Mohamed Mokhlef, an industrial engineer by trade, has been in the water treatment industry for more than a decade. Starting out in the family business, IWTE - a regional water treatment engineering and solutions company - Mokhlef led the firm from having only a dozen employees to now having over 50, multiplying its revenue tenfold. But that journey also led him to one key question.

“I had always wondered: why don’t the small companies in this industry ever transform into large corporations?” Mokhlef tells StartupScene. In Egypt, Mokhlef says the industry is composed of a few large multinationals and many smaller SMEs that struggle to procure manufactured inputs at the same price point because they do not benefit from economies of scale. So, along with co-founder and CTO Samah Abdullah, Mokhlef founded Meyahh in 2024 to balance the equation in favour of SMEs and the industry as a whole.

At its core, Meyahh is a digital B2B platform that connects suppliers and manufacturers in the water treatment industry with service providers and contractors (such as IWTE) that work on projects concerning everything from hospitals to factories and farms.

To read the full feature on Meyahh, head to www.thestartupscene.me (link in bio) or download the SceneNow app.

🖊️ Serag Heiba

@StartupSceneME: Mohamed Mokhlef, an industrial engineer by trade, has been in the water treatment industry for more than a decade. Starting out in the family business, IWTE - a regional water treatment engineering and solutions company - Mokhlef led the firm from having only a dozen employees to now having over 50, multiplying its revenue tenfold. But that journey also led him to one key question.

“I had always wondered: why don’t the small companies in this industry ever transform into large corporations?” Mokhlef tells StartupScene. In Egypt, Mokhlef says the industry is composed of a few large multinationals and many smaller SMEs that struggle to procure manufactured inputs at the same price point because they do not benefit from economies of scale. So, along with co-founder and CTO Samah Abdullah, Mokhlef founded Meyahh in 2024 to balance the equation in favour of SMEs and the industry as a whole.

At its core, Meyahh is a digital B2B platform that connects suppliers and manufacturers in the water treatment industry with service providers and contractors (such as IWTE) that work on projects concerning everything from hospitals to factories and farms.

To read the full feature on Meyahh, head to www.thestartupscene.me (link in bio) or download the SceneNow app.

🖊️ Serag Heiba

@StartupSceneME: Mohamed Mokhlef, an industrial engineer by trade, has been in the water treatment industry for more than a decade. Starting out in the family business, IWTE - a regional water treatment engineering and solutions company - Mokhlef led the firm from having only a dozen employees to now having over 50, multiplying its revenue tenfold. But that journey also led him to one key question.

“I had always wondered: why don’t the small companies in this industry ever transform into large corporations?” Mokhlef tells StartupScene. In Egypt, Mokhlef says the industry is composed of a few large multinationals and many smaller SMEs that struggle to procure manufactured inputs at the same price point because they do not benefit from economies of scale. So, along with co-founder and CTO Samah Abdullah, Mokhlef founded Meyahh in 2024 to balance the equation in favour of SMEs and the industry as a whole.

At its core, Meyahh is a digital B2B platform that connects suppliers and manufacturers in the water treatment industry with service providers and contractors (such as IWTE) that work on projects concerning everything from hospitals to factories and farms.

To read the full feature on Meyahh, head to www.thestartupscene.me (link in bio) or download the SceneNow app.

🖊️ Serag Heiba

@StartupSceneME: Mohamed Mokhlef, an industrial engineer by trade, has been in the water treatment industry for more than a decade. Starting out in the family business, IWTE - a regional water treatment engineering and solutions company - Mokhlef led the firm from having only a dozen employees to now having over 50, multiplying its revenue tenfold. But that journey also led him to one key question.

“I had always wondered: why don’t the small companies in this industry ever transform into large corporations?” Mokhlef tells StartupScene. In Egypt, Mokhlef says the industry is composed of a few large multinationals and many smaller SMEs that struggle to procure manufactured inputs at the same price point because they do not benefit from economies of scale. So, along with co-founder and CTO Samah Abdullah, Mokhlef founded Meyahh in 2024 to balance the equation in favour of SMEs and the industry as a whole.

At its core, Meyahh is a digital B2B platform that connects suppliers and manufacturers in the water treatment industry with service providers and contractors (such as IWTE) that work on projects concerning everything from hospitals to factories and farms.

To read the full feature on Meyahh, head to www.thestartupscene.me (link in bio) or download the SceneNow app.

🖊️ Serag Heiba

@StartupSceneME: Mohamed Mokhlef, an industrial engineer by trade, has been in the water treatment industry for more than a decade. Starting out in the family business, IWTE - a regional water treatment engineering and solutions company - Mokhlef led the firm from having only a dozen employees to now having over 50, multiplying its revenue tenfold. But that journey also led him to one key question.

“I had always wondered: why don’t the small companies in this industry ever transform into large corporations?” Mokhlef tells StartupScene. In Egypt, Mokhlef says the industry is composed of a few large multinationals and many smaller SMEs that struggle to procure manufactured inputs at the same price point because they do not benefit from economies of scale. So, along with co-founder and CTO Samah Abdullah, Mokhlef founded Meyahh in 2024 to balance the equation in favour of SMEs and the industry as a whole.

At its core, Meyahh is a digital B2B platform that connects suppliers and manufacturers in the water treatment industry with service providers and contractors (such as IWTE) that work on projects concerning everything from hospitals to factories and farms.

To read the full feature on Meyahh, head to www.thestartupscene.me (link in bio) or download the SceneNow app.

🖊️ Serag Heiba

@StartupSceneME: Mohamed Mokhlef, an industrial engineer by trade, has been in the water treatment industry for more than a decade. Starting out in the family business, IWTE - a regional water treatment engineering and solutions company - Mokhlef led the firm from having only a dozen employees to now having over 50, multiplying its revenue tenfold. But that journey also led him to one key question.

“I had always wondered: why don’t the small companies in this industry ever transform into large corporations?” Mokhlef tells StartupScene. In Egypt, Mokhlef says the industry is composed of a few large multinationals and many smaller SMEs that struggle to procure manufactured inputs at the same price point because they do not benefit from economies of scale. So, along with co-founder and CTO Samah Abdullah, Mokhlef founded Meyahh in 2024 to balance the equation in favour of SMEs and the industry as a whole.

At its core, Meyahh is a digital B2B platform that connects suppliers and manufacturers in the water treatment industry with service providers and contractors (such as IWTE) that work on projects concerning everything from hospitals to factories and farms.

To read the full feature on Meyahh, head to www.thestartupscene.me (link in bio) or download the SceneNow app.

🖊️ Serag Heiba

@StartupSceneME: Mohamed Mokhlef, an industrial engineer by trade, has been in the water treatment industry for more than a decade. Starting out in the family business, IWTE - a regional water treatment engineering and solutions company - Mokhlef led the firm from having only a dozen employees to now having over 50, multiplying its revenue tenfold. But that journey also led him to one key question.

“I had always wondered: why don’t the small companies in this industry ever transform into large corporations?” Mokhlef tells StartupScene. In Egypt, Mokhlef says the industry is composed of a few large multinationals and many smaller SMEs that struggle to procure manufactured inputs at the same price point because they do not benefit from economies of scale. So, along with co-founder and CTO Samah Abdullah, Mokhlef founded Meyahh in 2024 to balance the equation in favour of SMEs and the industry as a whole.

At its core, Meyahh is a digital B2B platform that connects suppliers and manufacturers in the water treatment industry with service providers and contractors (such as IWTE) that work on projects concerning everything from hospitals to factories and farms.

To read the full feature on Meyahh, head to www.thestartupscene.me (link in bio) or download the SceneNow app.

🖊️ Serag Heiba

@StartupSceneME: Mohamed Mokhlef, an industrial engineer by trade, has been in the water treatment industry for more than a decade. Starting out in the family business, IWTE - a regional water treatment engineering and solutions company - Mokhlef led the firm from having only a dozen employees to now having over 50, multiplying its revenue tenfold. But that journey also led him to one key question.

“I had always wondered: why don’t the small companies in this industry ever transform into large corporations?” Mokhlef tells StartupScene. In Egypt, Mokhlef says the industry is composed of a few large multinationals and many smaller SMEs that struggle to procure manufactured inputs at the same price point because they do not benefit from economies of scale. So, along with co-founder and CTO Samah Abdullah, Mokhlef founded Meyahh in 2024 to balance the equation in favour of SMEs and the industry as a whole.

At its core, Meyahh is a digital B2B platform that connects suppliers and manufacturers in the water treatment industry with service providers and contractors (such as IWTE) that work on projects concerning everything from hospitals to factories and farms.

To read the full feature on Meyahh, head to www.thestartupscene.me (link in bio) or download the SceneNow app.

🖊️ Serag Heiba

When StartupScene first got in touch with Wittify, the Saudi-based startup pioneering ‘AI agents’ in more than 25 Arabic dialects, we got to trial their product first-hand. Within seconds, an AI agent had replied to our enquiry on Instagram, and within minutes the interview with Wittify’s co-founder and CEO Nader El-Batrawi was set in motion.

“Instead of hiring a moderator for our social media account, an AI agent is like an employee who is online 24/7 and speaks all the languages in the world for a fraction of the cost,” says El-Batrawi, a serial entrepreneur who partnered with Saudi software engineer and professor Dr. Sarah Alhumoud to launch Wittify in 2024.

At its core, the Arabic-first AI company creates voice and text agents for all kinds of customer engagement activities, including technical support, leads and sales. As a no-code/low-code platform, Wittify’s agents can be seamlessly integrated into clients’ websites, phone hotlines and social media channels for a monthly subscription fee based on usage.

Beyond their AI agents, however, it is Wittify’s latest product launch that could further propel them.

To read the full feature on Wittify, head to www.thestartupscene.me (link in bio) or download the SceneNow app.

🖊️ Serag Heiba

When StartupScene first got in touch with Wittify, the Saudi-based startup pioneering ‘AI agents’ in more than 25 Arabic dialects, we got to trial their product first-hand. Within seconds, an AI agent had replied to our enquiry on Instagram, and within minutes the interview with Wittify’s co-founder and CEO Nader El-Batrawi was set in motion.

“Instead of hiring a moderator for our social media account, an AI agent is like an employee who is online 24/7 and speaks all the languages in the world for a fraction of the cost,” says El-Batrawi, a serial entrepreneur who partnered with Saudi software engineer and professor Dr. Sarah Alhumoud to launch Wittify in 2024.

At its core, the Arabic-first AI company creates voice and text agents for all kinds of customer engagement activities, including technical support, leads and sales. As a no-code/low-code platform, Wittify’s agents can be seamlessly integrated into clients’ websites, phone hotlines and social media channels for a monthly subscription fee based on usage.

Beyond their AI agents, however, it is Wittify’s latest product launch that could further propel them.

To read the full feature on Wittify, head to www.thestartupscene.me (link in bio) or download the SceneNow app.

🖊️ Serag Heiba

When StartupScene first got in touch with Wittify, the Saudi-based startup pioneering ‘AI agents’ in more than 25 Arabic dialects, we got to trial their product first-hand. Within seconds, an AI agent had replied to our enquiry on Instagram, and within minutes the interview with Wittify’s co-founder and CEO Nader El-Batrawi was set in motion.

“Instead of hiring a moderator for our social media account, an AI agent is like an employee who is online 24/7 and speaks all the languages in the world for a fraction of the cost,” says El-Batrawi, a serial entrepreneur who partnered with Saudi software engineer and professor Dr. Sarah Alhumoud to launch Wittify in 2024.

At its core, the Arabic-first AI company creates voice and text agents for all kinds of customer engagement activities, including technical support, leads and sales. As a no-code/low-code platform, Wittify’s agents can be seamlessly integrated into clients’ websites, phone hotlines and social media channels for a monthly subscription fee based on usage.

Beyond their AI agents, however, it is Wittify’s latest product launch that could further propel them.

To read the full feature on Wittify, head to www.thestartupscene.me (link in bio) or download the SceneNow app.

🖊️ Serag Heiba

When StartupScene first got in touch with Wittify, the Saudi-based startup pioneering ‘AI agents’ in more than 25 Arabic dialects, we got to trial their product first-hand. Within seconds, an AI agent had replied to our enquiry on Instagram, and within minutes the interview with Wittify’s co-founder and CEO Nader El-Batrawi was set in motion.

“Instead of hiring a moderator for our social media account, an AI agent is like an employee who is online 24/7 and speaks all the languages in the world for a fraction of the cost,” says El-Batrawi, a serial entrepreneur who partnered with Saudi software engineer and professor Dr. Sarah Alhumoud to launch Wittify in 2024.

At its core, the Arabic-first AI company creates voice and text agents for all kinds of customer engagement activities, including technical support, leads and sales. As a no-code/low-code platform, Wittify’s agents can be seamlessly integrated into clients’ websites, phone hotlines and social media channels for a monthly subscription fee based on usage.

Beyond their AI agents, however, it is Wittify’s latest product launch that could further propel them.

To read the full feature on Wittify, head to www.thestartupscene.me (link in bio) or download the SceneNow app.

🖊️ Serag Heiba

When StartupScene first got in touch with Wittify, the Saudi-based startup pioneering ‘AI agents’ in more than 25 Arabic dialects, we got to trial their product first-hand. Within seconds, an AI agent had replied to our enquiry on Instagram, and within minutes the interview with Wittify’s co-founder and CEO Nader El-Batrawi was set in motion.

“Instead of hiring a moderator for our social media account, an AI agent is like an employee who is online 24/7 and speaks all the languages in the world for a fraction of the cost,” says El-Batrawi, a serial entrepreneur who partnered with Saudi software engineer and professor Dr. Sarah Alhumoud to launch Wittify in 2024.

At its core, the Arabic-first AI company creates voice and text agents for all kinds of customer engagement activities, including technical support, leads and sales. As a no-code/low-code platform, Wittify’s agents can be seamlessly integrated into clients’ websites, phone hotlines and social media channels for a monthly subscription fee based on usage.

Beyond their AI agents, however, it is Wittify’s latest product launch that could further propel them.

To read the full feature on Wittify, head to www.thestartupscene.me (link in bio) or download the SceneNow app.

🖊️ Serag Heiba

When StartupScene first got in touch with Wittify, the Saudi-based startup pioneering ‘AI agents’ in more than 25 Arabic dialects, we got to trial their product first-hand. Within seconds, an AI agent had replied to our enquiry on Instagram, and within minutes the interview with Wittify’s co-founder and CEO Nader El-Batrawi was set in motion.

“Instead of hiring a moderator for our social media account, an AI agent is like an employee who is online 24/7 and speaks all the languages in the world for a fraction of the cost,” says El-Batrawi, a serial entrepreneur who partnered with Saudi software engineer and professor Dr. Sarah Alhumoud to launch Wittify in 2024.

At its core, the Arabic-first AI company creates voice and text agents for all kinds of customer engagement activities, including technical support, leads and sales. As a no-code/low-code platform, Wittify’s agents can be seamlessly integrated into clients’ websites, phone hotlines and social media channels for a monthly subscription fee based on usage.

Beyond their AI agents, however, it is Wittify’s latest product launch that could further propel them.

To read the full feature on Wittify, head to www.thestartupscene.me (link in bio) or download the SceneNow app.

🖊️ Serag Heiba

When StartupScene first got in touch with Wittify, the Saudi-based startup pioneering ‘AI agents’ in more than 25 Arabic dialects, we got to trial their product first-hand. Within seconds, an AI agent had replied to our enquiry on Instagram, and within minutes the interview with Wittify’s co-founder and CEO Nader El-Batrawi was set in motion.

“Instead of hiring a moderator for our social media account, an AI agent is like an employee who is online 24/7 and speaks all the languages in the world for a fraction of the cost,” says El-Batrawi, a serial entrepreneur who partnered with Saudi software engineer and professor Dr. Sarah Alhumoud to launch Wittify in 2024.

At its core, the Arabic-first AI company creates voice and text agents for all kinds of customer engagement activities, including technical support, leads and sales. As a no-code/low-code platform, Wittify’s agents can be seamlessly integrated into clients’ websites, phone hotlines and social media channels for a monthly subscription fee based on usage.

Beyond their AI agents, however, it is Wittify’s latest product launch that could further propel them.

To read the full feature on Wittify, head to www.thestartupscene.me (link in bio) or download the SceneNow app.

🖊️ Serag Heiba

When StartupScene first got in touch with Wittify, the Saudi-based startup pioneering ‘AI agents’ in more than 25 Arabic dialects, we got to trial their product first-hand. Within seconds, an AI agent had replied to our enquiry on Instagram, and within minutes the interview with Wittify’s co-founder and CEO Nader El-Batrawi was set in motion.

“Instead of hiring a moderator for our social media account, an AI agent is like an employee who is online 24/7 and speaks all the languages in the world for a fraction of the cost,” says El-Batrawi, a serial entrepreneur who partnered with Saudi software engineer and professor Dr. Sarah Alhumoud to launch Wittify in 2024.

At its core, the Arabic-first AI company creates voice and text agents for all kinds of customer engagement activities, including technical support, leads and sales. As a no-code/low-code platform, Wittify’s agents can be seamlessly integrated into clients’ websites, phone hotlines and social media channels for a monthly subscription fee based on usage.

Beyond their AI agents, however, it is Wittify’s latest product launch that could further propel them.

To read the full feature on Wittify, head to www.thestartupscene.me (link in bio) or download the SceneNow app.

🖊️ Serag Heiba

California-based Unicode - a non-profit organisation that develops and maintains the Universal Character Standard - has approved a new UAE Dirham symbol which will be integrated into operating systems, smartphones, computers, payment terminals and digital keyboards worldwide starting September 2026. According to the Central Bank of the UAE, the new symbol will appear on the number 6 key across all keyboard layouts and will be adopted by major tech companies like Apple, Google, Microsoft and Samsung. Changes are likely to appear on newer devices first.

In addition to the new symbol, the Central Bank has also introduced a separate symbol for the UAE’s upcoming Digital Dirham, the country’s official sovereign-issued and centrally regulated digital currency. According to the Central Bank, the Digital Dirham symbol “features a circle surrounding the physical currency symbol, using the colours of the UAE flag to reflect pride and national identity.” While the Digital Dirham will function as legal tender to settle payments, it is designed as a non-interest-bearing instrument.

These changes, which will gradually appear throughout the calendar year, form part of the UAE’s broader strategy to strengthen its position as a global financial and digital payments hub.

For more news from across the UAE and beyond, visit scenenow.com or download the SceneNow app.

Rising temperatures are expected across much of the UAE on Friday 29th of May, according to the latest weather forecast issued by the National Centre of Meteorology (NCM). Temperatures are projected to reach between 44°C and 48°C in inland areas, while coastal and island regions are expected to record highs of between 36°C and 43°C. Mountainous areas will see temperatures ranging from 32°C to 39°C.

NCM is forecasting generally clear skies and stable weather throughout most of the weekend, with a slight drop in temperatures forecast on Sunday, with fair weather predicted by Tuesday.

For more news from across the UAE and beyond, visit scenenow.com or download the SceneNow app.

Los Angeles-based musical comedian Morgan Jay is coming to Dubai on October 11th for a show at Etihad Arena, as part of his ‘The Goofy Guy’ global tour — a performance that’s part stand-up, part concert, and entirely unpredictable.

Known for turning everyday chaos into improvised songs and playful storytelling, Morgan Jay blends R&B-inspired melodies, sharp punchlines and off-the-cuff audience moments into one comedy experience.

Tickets are available through the Platinumlist website.

For more events from UAE and beyond, head to www.SceneNow.com (link in bio) or download the #SceneNow app available on iOS and Android.

@SceneHome: Dubai’s skyline pulses with audacious shapes, but UAE designer Abdalla Almulla’s most resonant designs often touch the earth. Walk through The Palm Pavilion - a structure of woven palm fronds, trunk columns, and parametric ceilings - and you feel the ghost of Sheikh Zayed himself, who once sat on such mats under palm canopies. “We used one tree to create everything,” Almulla, founder of MULA Design Practice, tells #SceneHome. “Flooring, structure, shade, even the furniture inside. It’s about less resources creating more meaning.” This pavilion, was originally commissioned by the Abwab initiative for Dubai Design Week, later migrated across the Emirates - a nomadic testament to design that honours roots while embracing reinvention.

For Almulla, the blank page is an invitation to wrestle with the unspoken. “Pavilions demand you ask a radical question,” he reflects, his voice alive with the energy of a solver. “Not how to build, but why.” Where commercial architecture often prioritises safety and convention, the pavilion becomes his laboratory; a space where constraints ignite invention, not inhibit it, giving him the license to flirt with the improbable whilst unburdened by permanent occupancy codes or rigid client mandates.

To understand how such a structure came to be, you have to rewind to the quiet obsessions and turning points that shaped Almulla’s trajectory. The designer’s path defies the archetype of the architect-hero. He didn’t build Lego empires as a child; graphic design tutorials captivated him first. Architecture emerged as a bridge between engineering pragmatism and creative yearning. His pivotal moment arrived in revelation during his thesis: an 800-metre musala (prayer space) suspended above Dubai. “I realised I wasn’t just designing for the divine, but with it,” he shares. “That shifted everything. Now, every project begins with a feeling - sacredness, earthiness, reflection - and materials follow.”

To read the full feature, head to www.scenehome.com (link in bio) or download the #SceneNOW app available on iOS and Android.

🖊️ Rawan Khalil

@SceneHome: Dubai’s skyline pulses with audacious shapes, but UAE designer Abdalla Almulla’s most resonant designs often touch the earth. Walk through The Palm Pavilion - a structure of woven palm fronds, trunk columns, and parametric ceilings - and you feel the ghost of Sheikh Zayed himself, who once sat on such mats under palm canopies. “We used one tree to create everything,” Almulla, founder of MULA Design Practice, tells #SceneHome. “Flooring, structure, shade, even the furniture inside. It’s about less resources creating more meaning.” This pavilion, was originally commissioned by the Abwab initiative for Dubai Design Week, later migrated across the Emirates - a nomadic testament to design that honours roots while embracing reinvention.

For Almulla, the blank page is an invitation to wrestle with the unspoken. “Pavilions demand you ask a radical question,” he reflects, his voice alive with the energy of a solver. “Not how to build, but why.” Where commercial architecture often prioritises safety and convention, the pavilion becomes his laboratory; a space where constraints ignite invention, not inhibit it, giving him the license to flirt with the improbable whilst unburdened by permanent occupancy codes or rigid client mandates.

To understand how such a structure came to be, you have to rewind to the quiet obsessions and turning points that shaped Almulla’s trajectory. The designer’s path defies the archetype of the architect-hero. He didn’t build Lego empires as a child; graphic design tutorials captivated him first. Architecture emerged as a bridge between engineering pragmatism and creative yearning. His pivotal moment arrived in revelation during his thesis: an 800-metre musala (prayer space) suspended above Dubai. “I realised I wasn’t just designing for the divine, but with it,” he shares. “That shifted everything. Now, every project begins with a feeling - sacredness, earthiness, reflection - and materials follow.”

To read the full feature, head to www.scenehome.com (link in bio) or download the #SceneNOW app available on iOS and Android.

🖊️ Rawan Khalil

@SceneHome: Dubai’s skyline pulses with audacious shapes, but UAE designer Abdalla Almulla’s most resonant designs often touch the earth. Walk through The Palm Pavilion - a structure of woven palm fronds, trunk columns, and parametric ceilings - and you feel the ghost of Sheikh Zayed himself, who once sat on such mats under palm canopies. “We used one tree to create everything,” Almulla, founder of MULA Design Practice, tells #SceneHome. “Flooring, structure, shade, even the furniture inside. It’s about less resources creating more meaning.” This pavilion, was originally commissioned by the Abwab initiative for Dubai Design Week, later migrated across the Emirates - a nomadic testament to design that honours roots while embracing reinvention.

For Almulla, the blank page is an invitation to wrestle with the unspoken. “Pavilions demand you ask a radical question,” he reflects, his voice alive with the energy of a solver. “Not how to build, but why.” Where commercial architecture often prioritises safety and convention, the pavilion becomes his laboratory; a space where constraints ignite invention, not inhibit it, giving him the license to flirt with the improbable whilst unburdened by permanent occupancy codes or rigid client mandates.

To understand how such a structure came to be, you have to rewind to the quiet obsessions and turning points that shaped Almulla’s trajectory. The designer’s path defies the archetype of the architect-hero. He didn’t build Lego empires as a child; graphic design tutorials captivated him first. Architecture emerged as a bridge between engineering pragmatism and creative yearning. His pivotal moment arrived in revelation during his thesis: an 800-metre musala (prayer space) suspended above Dubai. “I realised I wasn’t just designing for the divine, but with it,” he shares. “That shifted everything. Now, every project begins with a feeling - sacredness, earthiness, reflection - and materials follow.”

To read the full feature, head to www.scenehome.com (link in bio) or download the #SceneNOW app available on iOS and Android.

🖊️ Rawan Khalil

@SceneHome: Dubai’s skyline pulses with audacious shapes, but UAE designer Abdalla Almulla’s most resonant designs often touch the earth. Walk through The Palm Pavilion - a structure of woven palm fronds, trunk columns, and parametric ceilings - and you feel the ghost of Sheikh Zayed himself, who once sat on such mats under palm canopies. “We used one tree to create everything,” Almulla, founder of MULA Design Practice, tells #SceneHome. “Flooring, structure, shade, even the furniture inside. It’s about less resources creating more meaning.” This pavilion, was originally commissioned by the Abwab initiative for Dubai Design Week, later migrated across the Emirates - a nomadic testament to design that honours roots while embracing reinvention.

For Almulla, the blank page is an invitation to wrestle with the unspoken. “Pavilions demand you ask a radical question,” he reflects, his voice alive with the energy of a solver. “Not how to build, but why.” Where commercial architecture often prioritises safety and convention, the pavilion becomes his laboratory; a space where constraints ignite invention, not inhibit it, giving him the license to flirt with the improbable whilst unburdened by permanent occupancy codes or rigid client mandates.

To understand how such a structure came to be, you have to rewind to the quiet obsessions and turning points that shaped Almulla’s trajectory. The designer’s path defies the archetype of the architect-hero. He didn’t build Lego empires as a child; graphic design tutorials captivated him first. Architecture emerged as a bridge between engineering pragmatism and creative yearning. His pivotal moment arrived in revelation during his thesis: an 800-metre musala (prayer space) suspended above Dubai. “I realised I wasn’t just designing for the divine, but with it,” he shares. “That shifted everything. Now, every project begins with a feeling - sacredness, earthiness, reflection - and materials follow.”

To read the full feature, head to www.scenehome.com (link in bio) or download the #SceneNOW app available on iOS and Android.

🖊️ Rawan Khalil

@SceneHome: Dubai’s skyline pulses with audacious shapes, but UAE designer Abdalla Almulla’s most resonant designs often touch the earth. Walk through The Palm Pavilion - a structure of woven palm fronds, trunk columns, and parametric ceilings - and you feel the ghost of Sheikh Zayed himself, who once sat on such mats under palm canopies. “We used one tree to create everything,” Almulla, founder of MULA Design Practice, tells #SceneHome. “Flooring, structure, shade, even the furniture inside. It’s about less resources creating more meaning.” This pavilion, was originally commissioned by the Abwab initiative for Dubai Design Week, later migrated across the Emirates - a nomadic testament to design that honours roots while embracing reinvention.

For Almulla, the blank page is an invitation to wrestle with the unspoken. “Pavilions demand you ask a radical question,” he reflects, his voice alive with the energy of a solver. “Not how to build, but why.” Where commercial architecture often prioritises safety and convention, the pavilion becomes his laboratory; a space where constraints ignite invention, not inhibit it, giving him the license to flirt with the improbable whilst unburdened by permanent occupancy codes or rigid client mandates.

To understand how such a structure came to be, you have to rewind to the quiet obsessions and turning points that shaped Almulla’s trajectory. The designer’s path defies the archetype of the architect-hero. He didn’t build Lego empires as a child; graphic design tutorials captivated him first. Architecture emerged as a bridge between engineering pragmatism and creative yearning. His pivotal moment arrived in revelation during his thesis: an 800-metre musala (prayer space) suspended above Dubai. “I realised I wasn’t just designing for the divine, but with it,” he shares. “That shifted everything. Now, every project begins with a feeling - sacredness, earthiness, reflection - and materials follow.”

To read the full feature, head to www.scenehome.com (link in bio) or download the #SceneNOW app available on iOS and Android.

🖊️ Rawan Khalil

@SceneHome: Dubai’s skyline pulses with audacious shapes, but UAE designer Abdalla Almulla’s most resonant designs often touch the earth. Walk through The Palm Pavilion - a structure of woven palm fronds, trunk columns, and parametric ceilings - and you feel the ghost of Sheikh Zayed himself, who once sat on such mats under palm canopies. “We used one tree to create everything,” Almulla, founder of MULA Design Practice, tells #SceneHome. “Flooring, structure, shade, even the furniture inside. It’s about less resources creating more meaning.” This pavilion, was originally commissioned by the Abwab initiative for Dubai Design Week, later migrated across the Emirates - a nomadic testament to design that honours roots while embracing reinvention.

For Almulla, the blank page is an invitation to wrestle with the unspoken. “Pavilions demand you ask a radical question,” he reflects, his voice alive with the energy of a solver. “Not how to build, but why.” Where commercial architecture often prioritises safety and convention, the pavilion becomes his laboratory; a space where constraints ignite invention, not inhibit it, giving him the license to flirt with the improbable whilst unburdened by permanent occupancy codes or rigid client mandates.

To understand how such a structure came to be, you have to rewind to the quiet obsessions and turning points that shaped Almulla’s trajectory. The designer’s path defies the archetype of the architect-hero. He didn’t build Lego empires as a child; graphic design tutorials captivated him first. Architecture emerged as a bridge between engineering pragmatism and creative yearning. His pivotal moment arrived in revelation during his thesis: an 800-metre musala (prayer space) suspended above Dubai. “I realised I wasn’t just designing for the divine, but with it,” he shares. “That shifted everything. Now, every project begins with a feeling - sacredness, earthiness, reflection - and materials follow.”

To read the full feature, head to www.scenehome.com (link in bio) or download the #SceneNOW app available on iOS and Android.

🖊️ Rawan Khalil

@SceneHome: Dubai’s skyline pulses with audacious shapes, but UAE designer Abdalla Almulla’s most resonant designs often touch the earth. Walk through The Palm Pavilion - a structure of woven palm fronds, trunk columns, and parametric ceilings - and you feel the ghost of Sheikh Zayed himself, who once sat on such mats under palm canopies. “We used one tree to create everything,” Almulla, founder of MULA Design Practice, tells #SceneHome. “Flooring, structure, shade, even the furniture inside. It’s about less resources creating more meaning.” This pavilion, was originally commissioned by the Abwab initiative for Dubai Design Week, later migrated across the Emirates - a nomadic testament to design that honours roots while embracing reinvention.

For Almulla, the blank page is an invitation to wrestle with the unspoken. “Pavilions demand you ask a radical question,” he reflects, his voice alive with the energy of a solver. “Not how to build, but why.” Where commercial architecture often prioritises safety and convention, the pavilion becomes his laboratory; a space where constraints ignite invention, not inhibit it, giving him the license to flirt with the improbable whilst unburdened by permanent occupancy codes or rigid client mandates.

To understand how such a structure came to be, you have to rewind to the quiet obsessions and turning points that shaped Almulla’s trajectory. The designer’s path defies the archetype of the architect-hero. He didn’t build Lego empires as a child; graphic design tutorials captivated him first. Architecture emerged as a bridge between engineering pragmatism and creative yearning. His pivotal moment arrived in revelation during his thesis: an 800-metre musala (prayer space) suspended above Dubai. “I realised I wasn’t just designing for the divine, but with it,” he shares. “That shifted everything. Now, every project begins with a feeling - sacredness, earthiness, reflection - and materials follow.”

To read the full feature, head to www.scenehome.com (link in bio) or download the #SceneNOW app available on iOS and Android.

🖊️ Rawan Khalil

@SceneHome: Dubai’s skyline pulses with audacious shapes, but UAE designer Abdalla Almulla’s most resonant designs often touch the earth. Walk through The Palm Pavilion - a structure of woven palm fronds, trunk columns, and parametric ceilings - and you feel the ghost of Sheikh Zayed himself, who once sat on such mats under palm canopies. “We used one tree to create everything,” Almulla, founder of MULA Design Practice, tells #SceneHome. “Flooring, structure, shade, even the furniture inside. It’s about less resources creating more meaning.” This pavilion, was originally commissioned by the Abwab initiative for Dubai Design Week, later migrated across the Emirates - a nomadic testament to design that honours roots while embracing reinvention.

For Almulla, the blank page is an invitation to wrestle with the unspoken. “Pavilions demand you ask a radical question,” he reflects, his voice alive with the energy of a solver. “Not how to build, but why.” Where commercial architecture often prioritises safety and convention, the pavilion becomes his laboratory; a space where constraints ignite invention, not inhibit it, giving him the license to flirt with the improbable whilst unburdened by permanent occupancy codes or rigid client mandates.

To understand how such a structure came to be, you have to rewind to the quiet obsessions and turning points that shaped Almulla’s trajectory. The designer’s path defies the archetype of the architect-hero. He didn’t build Lego empires as a child; graphic design tutorials captivated him first. Architecture emerged as a bridge between engineering pragmatism and creative yearning. His pivotal moment arrived in revelation during his thesis: an 800-metre musala (prayer space) suspended above Dubai. “I realised I wasn’t just designing for the divine, but with it,” he shares. “That shifted everything. Now, every project begins with a feeling - sacredness, earthiness, reflection - and materials follow.”

To read the full feature, head to www.scenehome.com (link in bio) or download the #SceneNOW app available on iOS and Android.

🖊️ Rawan Khalil

@SceneHome: Dubai’s skyline pulses with audacious shapes, but UAE designer Abdalla Almulla’s most resonant designs often touch the earth. Walk through The Palm Pavilion - a structure of woven palm fronds, trunk columns, and parametric ceilings - and you feel the ghost of Sheikh Zayed himself, who once sat on such mats under palm canopies. “We used one tree to create everything,” Almulla, founder of MULA Design Practice, tells #SceneHome. “Flooring, structure, shade, even the furniture inside. It’s about less resources creating more meaning.” This pavilion, was originally commissioned by the Abwab initiative for Dubai Design Week, later migrated across the Emirates - a nomadic testament to design that honours roots while embracing reinvention.

For Almulla, the blank page is an invitation to wrestle with the unspoken. “Pavilions demand you ask a radical question,” he reflects, his voice alive with the energy of a solver. “Not how to build, but why.” Where commercial architecture often prioritises safety and convention, the pavilion becomes his laboratory; a space where constraints ignite invention, not inhibit it, giving him the license to flirt with the improbable whilst unburdened by permanent occupancy codes or rigid client mandates.

To understand how such a structure came to be, you have to rewind to the quiet obsessions and turning points that shaped Almulla’s trajectory. The designer’s path defies the archetype of the architect-hero. He didn’t build Lego empires as a child; graphic design tutorials captivated him first. Architecture emerged as a bridge between engineering pragmatism and creative yearning. His pivotal moment arrived in revelation during his thesis: an 800-metre musala (prayer space) suspended above Dubai. “I realised I wasn’t just designing for the divine, but with it,” he shares. “That shifted everything. Now, every project begins with a feeling - sacredness, earthiness, reflection - and materials follow.”

To read the full feature, head to www.scenehome.com (link in bio) or download the #SceneNOW app available on iOS and Android.

🖊️ Rawan Khalil

@StartupSceneME: The MENA region is no longer just adopting artificial intelligence—it is actively building the foundation to power it, led by a wave of new startups.

Instead of merely building consumer-facing apps or relying on OpenAI and Google middleware, these companies are constructing the critical, behind-the-scenes infrastructure—from specialized Arabic Large Language Models (LLMs) and secure financial operating systems to massive state-backed GPU data centres. These platforms are bridging the gap between raw data and enterprise automation, ensuring that the region's AI revolution is secure, tailored to local languages, and built to scale globally.

From high-growth Emirati and Saudi startups backed by heavyweights like a16z and Prosus Ventures, to landmark state-driven ecosystems, here are six major players shaping the future of AI infrastructure in the MENA region.

To read the full list, head to www.thestartupscene.me (link in bio) or download the #SceneNow app available on iOS and Android.

🖊️Serag Heiba

@StartupSceneME: The MENA region is no longer just adopting artificial intelligence—it is actively building the foundation to power it, led by a wave of new startups.

Instead of merely building consumer-facing apps or relying on OpenAI and Google middleware, these companies are constructing the critical, behind-the-scenes infrastructure—from specialized Arabic Large Language Models (LLMs) and secure financial operating systems to massive state-backed GPU data centres. These platforms are bridging the gap between raw data and enterprise automation, ensuring that the region's AI revolution is secure, tailored to local languages, and built to scale globally.

From high-growth Emirati and Saudi startups backed by heavyweights like a16z and Prosus Ventures, to landmark state-driven ecosystems, here are six major players shaping the future of AI infrastructure in the MENA region.

To read the full list, head to www.thestartupscene.me (link in bio) or download the #SceneNow app available on iOS and Android.

🖊️Serag Heiba

@StartupSceneME: The MENA region is no longer just adopting artificial intelligence—it is actively building the foundation to power it, led by a wave of new startups.

Instead of merely building consumer-facing apps or relying on OpenAI and Google middleware, these companies are constructing the critical, behind-the-scenes infrastructure—from specialized Arabic Large Language Models (LLMs) and secure financial operating systems to massive state-backed GPU data centres. These platforms are bridging the gap between raw data and enterprise automation, ensuring that the region's AI revolution is secure, tailored to local languages, and built to scale globally.

From high-growth Emirati and Saudi startups backed by heavyweights like a16z and Prosus Ventures, to landmark state-driven ecosystems, here are six major players shaping the future of AI infrastructure in the MENA region.

To read the full list, head to www.thestartupscene.me (link in bio) or download the #SceneNow app available on iOS and Android.

🖊️Serag Heiba

@StartupSceneME: The MENA region is no longer just adopting artificial intelligence—it is actively building the foundation to power it, led by a wave of new startups.

Instead of merely building consumer-facing apps or relying on OpenAI and Google middleware, these companies are constructing the critical, behind-the-scenes infrastructure—from specialized Arabic Large Language Models (LLMs) and secure financial operating systems to massive state-backed GPU data centres. These platforms are bridging the gap between raw data and enterprise automation, ensuring that the region's AI revolution is secure, tailored to local languages, and built to scale globally.

From high-growth Emirati and Saudi startups backed by heavyweights like a16z and Prosus Ventures, to landmark state-driven ecosystems, here are six major players shaping the future of AI infrastructure in the MENA region.

To read the full list, head to www.thestartupscene.me (link in bio) or download the #SceneNow app available on iOS and Android.

🖊️Serag Heiba

@StartupSceneME: The MENA region is no longer just adopting artificial intelligence—it is actively building the foundation to power it, led by a wave of new startups.

Instead of merely building consumer-facing apps or relying on OpenAI and Google middleware, these companies are constructing the critical, behind-the-scenes infrastructure—from specialized Arabic Large Language Models (LLMs) and secure financial operating systems to massive state-backed GPU data centres. These platforms are bridging the gap between raw data and enterprise automation, ensuring that the region's AI revolution is secure, tailored to local languages, and built to scale globally.

From high-growth Emirati and Saudi startups backed by heavyweights like a16z and Prosus Ventures, to landmark state-driven ecosystems, here are six major players shaping the future of AI infrastructure in the MENA region.

To read the full list, head to www.thestartupscene.me (link in bio) or download the #SceneNow app available on iOS and Android.

🖊️Serag Heiba

@StartupSceneME: The MENA region is no longer just adopting artificial intelligence—it is actively building the foundation to power it, led by a wave of new startups.

Instead of merely building consumer-facing apps or relying on OpenAI and Google middleware, these companies are constructing the critical, behind-the-scenes infrastructure—from specialized Arabic Large Language Models (LLMs) and secure financial operating systems to massive state-backed GPU data centres. These platforms are bridging the gap between raw data and enterprise automation, ensuring that the region's AI revolution is secure, tailored to local languages, and built to scale globally.

From high-growth Emirati and Saudi startups backed by heavyweights like a16z and Prosus Ventures, to landmark state-driven ecosystems, here are six major players shaping the future of AI infrastructure in the MENA region.

To read the full list, head to www.thestartupscene.me (link in bio) or download the #SceneNow app available on iOS and Android.

🖊️Serag Heiba

@StartupSceneME: The MENA region is no longer just adopting artificial intelligence—it is actively building the foundation to power it, led by a wave of new startups.

Instead of merely building consumer-facing apps or relying on OpenAI and Google middleware, these companies are constructing the critical, behind-the-scenes infrastructure—from specialized Arabic Large Language Models (LLMs) and secure financial operating systems to massive state-backed GPU data centres. These platforms are bridging the gap between raw data and enterprise automation, ensuring that the region's AI revolution is secure, tailored to local languages, and built to scale globally.

From high-growth Emirati and Saudi startups backed by heavyweights like a16z and Prosus Ventures, to landmark state-driven ecosystems, here are six major players shaping the future of AI infrastructure in the MENA region.

To read the full list, head to www.thestartupscene.me (link in bio) or download the #SceneNow app available on iOS and Android.

🖊️Serag Heiba

@StartupSceneME: The MENA region is no longer just adopting artificial intelligence—it is actively building the foundation to power it, led by a wave of new startups.

Instead of merely building consumer-facing apps or relying on OpenAI and Google middleware, these companies are constructing the critical, behind-the-scenes infrastructure—from specialized Arabic Large Language Models (LLMs) and secure financial operating systems to massive state-backed GPU data centres. These platforms are bridging the gap between raw data and enterprise automation, ensuring that the region's AI revolution is secure, tailored to local languages, and built to scale globally.

From high-growth Emirati and Saudi startups backed by heavyweights like a16z and Prosus Ventures, to landmark state-driven ecosystems, here are six major players shaping the future of AI infrastructure in the MENA region.

To read the full list, head to www.thestartupscene.me (link in bio) or download the #SceneNow app available on iOS and Android.

🖊️Serag Heiba

@SceneNowUAE: Nobody tells you the loneliest place in the world has a dress code.

Ingy Ismail, a two-decade Egyptian-Italian veteran of the PR industry, knows the cut of that room. She has stood in it across continents, wearing many versions of the same outfit in heels that pinch by hour four and a smile that fits any occasion. At the centre of five hundred people, each saying the correct thing to the correct person, followed by the car ride home, the key turning, and then a silence so complete it had texture.

It's PRsonal is what she built on the other side of that silence. A podcast uninterested in press releases, quarterly growth or exclusive announcements. Available on Apple Podcasts, YouTube, Spotify, and Anghami, the podcast hosts brand owners, founders and public figures to tell stories that their Instagram grids cannot, to talk about the part of the journey that usually gets edited out.

The show took two years to find its shape as she was not interested in rushing into the kind of polished, hollow conversation that already fills every other feed. She wanted honest dialogue, emotional intelligence, the version of events people save for their therapists or their closest friends. Produced by TPP, the team behind more than thirty-five podcasts, It's PRsonal is—as far as anyone in the region can tell—the first of its kind. A show that treats PR, an industry that has spent decades convincing everyone it's all smoke and mirrors, as something with a soul.

Full feature at SceneNow.com.

🖊️ Rawan Khalil

@SceneNowUAE: Nobody tells you the loneliest place in the world has a dress code.

Ingy Ismail, a two-decade Egyptian-Italian veteran of the PR industry, knows the cut of that room. She has stood in it across continents, wearing many versions of the same outfit in heels that pinch by hour four and a smile that fits any occasion. At the centre of five hundred people, each saying the correct thing to the correct person, followed by the car ride home, the key turning, and then a silence so complete it had texture.

It's PRsonal is what she built on the other side of that silence. A podcast uninterested in press releases, quarterly growth or exclusive announcements. Available on Apple Podcasts, YouTube, Spotify, and Anghami, the podcast hosts brand owners, founders and public figures to tell stories that their Instagram grids cannot, to talk about the part of the journey that usually gets edited out.

The show took two years to find its shape as she was not interested in rushing into the kind of polished, hollow conversation that already fills every other feed. She wanted honest dialogue, emotional intelligence, the version of events people save for their therapists or their closest friends. Produced by TPP, the team behind more than thirty-five podcasts, It's PRsonal is—as far as anyone in the region can tell—the first of its kind. A show that treats PR, an industry that has spent decades convincing everyone it's all smoke and mirrors, as something with a soul.

Full feature at SceneNow.com.

🖊️ Rawan Khalil

@SceneNowUAE: Nobody tells you the loneliest place in the world has a dress code.

Ingy Ismail, a two-decade Egyptian-Italian veteran of the PR industry, knows the cut of that room. She has stood in it across continents, wearing many versions of the same outfit in heels that pinch by hour four and a smile that fits any occasion. At the centre of five hundred people, each saying the correct thing to the correct person, followed by the car ride home, the key turning, and then a silence so complete it had texture.

It's PRsonal is what she built on the other side of that silence. A podcast uninterested in press releases, quarterly growth or exclusive announcements. Available on Apple Podcasts, YouTube, Spotify, and Anghami, the podcast hosts brand owners, founders and public figures to tell stories that their Instagram grids cannot, to talk about the part of the journey that usually gets edited out.

The show took two years to find its shape as she was not interested in rushing into the kind of polished, hollow conversation that already fills every other feed. She wanted honest dialogue, emotional intelligence, the version of events people save for their therapists or their closest friends. Produced by TPP, the team behind more than thirty-five podcasts, It's PRsonal is—as far as anyone in the region can tell—the first of its kind. A show that treats PR, an industry that has spent decades convincing everyone it's all smoke and mirrors, as something with a soul.

Full feature at SceneNow.com.

🖊️ Rawan Khalil

@SceneNowUAE: Nobody tells you the loneliest place in the world has a dress code.

Ingy Ismail, a two-decade Egyptian-Italian veteran of the PR industry, knows the cut of that room. She has stood in it across continents, wearing many versions of the same outfit in heels that pinch by hour four and a smile that fits any occasion. At the centre of five hundred people, each saying the correct thing to the correct person, followed by the car ride home, the key turning, and then a silence so complete it had texture.

It's PRsonal is what she built on the other side of that silence. A podcast uninterested in press releases, quarterly growth or exclusive announcements. Available on Apple Podcasts, YouTube, Spotify, and Anghami, the podcast hosts brand owners, founders and public figures to tell stories that their Instagram grids cannot, to talk about the part of the journey that usually gets edited out.

The show took two years to find its shape as she was not interested in rushing into the kind of polished, hollow conversation that already fills every other feed. She wanted honest dialogue, emotional intelligence, the version of events people save for their therapists or their closest friends. Produced by TPP, the team behind more than thirty-five podcasts, It's PRsonal is—as far as anyone in the region can tell—the first of its kind. A show that treats PR, an industry that has spent decades convincing everyone it's all smoke and mirrors, as something with a soul.

Full feature at SceneNow.com.

🖊️ Rawan Khalil

@SceneNowUAE: Nobody tells you the loneliest place in the world has a dress code.

Ingy Ismail, a two-decade Egyptian-Italian veteran of the PR industry, knows the cut of that room. She has stood in it across continents, wearing many versions of the same outfit in heels that pinch by hour four and a smile that fits any occasion. At the centre of five hundred people, each saying the correct thing to the correct person, followed by the car ride home, the key turning, and then a silence so complete it had texture.

It's PRsonal is what she built on the other side of that silence. A podcast uninterested in press releases, quarterly growth or exclusive announcements. Available on Apple Podcasts, YouTube, Spotify, and Anghami, the podcast hosts brand owners, founders and public figures to tell stories that their Instagram grids cannot, to talk about the part of the journey that usually gets edited out.

The show took two years to find its shape as she was not interested in rushing into the kind of polished, hollow conversation that already fills every other feed. She wanted honest dialogue, emotional intelligence, the version of events people save for their therapists or their closest friends. Produced by TPP, the team behind more than thirty-five podcasts, It's PRsonal is—as far as anyone in the region can tell—the first of its kind. A show that treats PR, an industry that has spent decades convincing everyone it's all smoke and mirrors, as something with a soul.

Full feature at SceneNow.com.

🖊️ Rawan Khalil

@SceneNowUAE: Nobody tells you the loneliest place in the world has a dress code.

Ingy Ismail, a two-decade Egyptian-Italian veteran of the PR industry, knows the cut of that room. She has stood in it across continents, wearing many versions of the same outfit in heels that pinch by hour four and a smile that fits any occasion. At the centre of five hundred people, each saying the correct thing to the correct person, followed by the car ride home, the key turning, and then a silence so complete it had texture.

It's PRsonal is what she built on the other side of that silence. A podcast uninterested in press releases, quarterly growth or exclusive announcements. Available on Apple Podcasts, YouTube, Spotify, and Anghami, the podcast hosts brand owners, founders and public figures to tell stories that their Instagram grids cannot, to talk about the part of the journey that usually gets edited out.

The show took two years to find its shape as she was not interested in rushing into the kind of polished, hollow conversation that already fills every other feed. She wanted honest dialogue, emotional intelligence, the version of events people save for their therapists or their closest friends. Produced by TPP, the team behind more than thirty-five podcasts, It's PRsonal is—as far as anyone in the region can tell—the first of its kind. A show that treats PR, an industry that has spent decades convincing everyone it's all smoke and mirrors, as something with a soul.

Full feature at SceneNow.com.

🖊️ Rawan Khalil

@SceneNowUAE: Nobody tells you the loneliest place in the world has a dress code.

Ingy Ismail, a two-decade Egyptian-Italian veteran of the PR industry, knows the cut of that room. She has stood in it across continents, wearing many versions of the same outfit in heels that pinch by hour four and a smile that fits any occasion. At the centre of five hundred people, each saying the correct thing to the correct person, followed by the car ride home, the key turning, and then a silence so complete it had texture.

It's PRsonal is what she built on the other side of that silence. A podcast uninterested in press releases, quarterly growth or exclusive announcements. Available on Apple Podcasts, YouTube, Spotify, and Anghami, the podcast hosts brand owners, founders and public figures to tell stories that their Instagram grids cannot, to talk about the part of the journey that usually gets edited out.

The show took two years to find its shape as she was not interested in rushing into the kind of polished, hollow conversation that already fills every other feed. She wanted honest dialogue, emotional intelligence, the version of events people save for their therapists or their closest friends. Produced by TPP, the team behind more than thirty-five podcasts, It's PRsonal is—as far as anyone in the region can tell—the first of its kind. A show that treats PR, an industry that has spent decades convincing everyone it's all smoke and mirrors, as something with a soul.

Full feature at SceneNow.com.

🖊️ Rawan Khalil

@SceneNowUAE: Nobody tells you the loneliest place in the world has a dress code.

Ingy Ismail, a two-decade Egyptian-Italian veteran of the PR industry, knows the cut of that room. She has stood in it across continents, wearing many versions of the same outfit in heels that pinch by hour four and a smile that fits any occasion. At the centre of five hundred people, each saying the correct thing to the correct person, followed by the car ride home, the key turning, and then a silence so complete it had texture.

It's PRsonal is what she built on the other side of that silence. A podcast uninterested in press releases, quarterly growth or exclusive announcements. Available on Apple Podcasts, YouTube, Spotify, and Anghami, the podcast hosts brand owners, founders and public figures to tell stories that their Instagram grids cannot, to talk about the part of the journey that usually gets edited out.

The show took two years to find its shape as she was not interested in rushing into the kind of polished, hollow conversation that already fills every other feed. She wanted honest dialogue, emotional intelligence, the version of events people save for their therapists or their closest friends. Produced by TPP, the team behind more than thirty-five podcasts, It's PRsonal is—as far as anyone in the region can tell—the first of its kind. A show that treats PR, an industry that has spent decades convincing everyone it's all smoke and mirrors, as something with a soul.

Full feature at SceneNow.com.

🖊️ Rawan Khalil

@SceneNowUAE: AC Milan and Dubai Culture & Arts Authority have teamed up with Emirati artist Fatema “Fay” Alkaabi on a special Eid Al Adha artwork that threads together football, heritage, and contemporary Emirati creativity.

Inspired by AC Milan’s iconic red, black, and white visual language, Alkaabi reimagines the Rossoneri identity through the geometric patterns of Sadu, the traditional Emirati weaving practice recognised by UNESCO as part of humanity’s intangible cultural heritage. In a playful animation, the design reworks a centuries-old craft to celebrate one of football’s most recognisable clubs.

The project reflects Dubai Culture’s wider mission to preserve local heritage while giving it new life through contemporary artistic expression, spotlighting Emirati creatives on an international stage, with the artwork shared across AC Milan’s digital platforms. This deepens the club’s relationship with the Middle East, where it has a strong regional following, with more than 11 million supporters in Saudi Arabia and the UAE.

For more news from across the UAE and beyond, head to SceneNow.com or download the #SceneNow app (link in bio).

@SceneTraveller: Along the road connecting Algeria’s Béjaïa to the small town of Aokas, the Mediterranean appears and disappears between the cliffs in flashes of blue. Then, almost without warning, the rock opens into a narrow dark mouth set directly into the cliff face. This is the entrance to Aokas Cave, known locally as the “Cave of the Genie.”

Discovered accidentally in 1963 during the construction of a nearby tunnel, the cave unfolds underground in sudden shifts of space and silence. Air cools instantly. Water echoes somewhere out of sight, marking time in slow, patient drops. The limestone here doesn’t sit still; it pauses mid-motion, forming ridges, folds, and mineral shapes that look less like geology and more like something still becoming.

But Aokas is only the beginning of what the limestone remembers here.

Across the same mountainous spine of Kabylia, other caves hold a different kind of memory; not just of water and stone, but of people. Of hands that shaped tools, of fires that once burned in the dark.

Full guide at SceneTraveller.com.

🖊️ Yasmin Farhat

@SceneTraveller: Along the road connecting Algeria’s Béjaïa to the small town of Aokas, the Mediterranean appears and disappears between the cliffs in flashes of blue. Then, almost without warning, the rock opens into a narrow dark mouth set directly into the cliff face. This is the entrance to Aokas Cave, known locally as the “Cave of the Genie.”

Discovered accidentally in 1963 during the construction of a nearby tunnel, the cave unfolds underground in sudden shifts of space and silence. Air cools instantly. Water echoes somewhere out of sight, marking time in slow, patient drops. The limestone here doesn’t sit still; it pauses mid-motion, forming ridges, folds, and mineral shapes that look less like geology and more like something still becoming.

But Aokas is only the beginning of what the limestone remembers here.

Across the same mountainous spine of Kabylia, other caves hold a different kind of memory; not just of water and stone, but of people. Of hands that shaped tools, of fires that once burned in the dark.

Full guide at SceneTraveller.com.

🖊️ Yasmin Farhat

@SceneTraveller: Along the road connecting Algeria’s Béjaïa to the small town of Aokas, the Mediterranean appears and disappears between the cliffs in flashes of blue. Then, almost without warning, the rock opens into a narrow dark mouth set directly into the cliff face. This is the entrance to Aokas Cave, known locally as the “Cave of the Genie.”

Discovered accidentally in 1963 during the construction of a nearby tunnel, the cave unfolds underground in sudden shifts of space and silence. Air cools instantly. Water echoes somewhere out of sight, marking time in slow, patient drops. The limestone here doesn’t sit still; it pauses mid-motion, forming ridges, folds, and mineral shapes that look less like geology and more like something still becoming.

But Aokas is only the beginning of what the limestone remembers here.

Across the same mountainous spine of Kabylia, other caves hold a different kind of memory; not just of water and stone, but of people. Of hands that shaped tools, of fires that once burned in the dark.

Full guide at SceneTraveller.com.

🖊️ Yasmin Farhat

@SceneTraveller: Along the road connecting Algeria’s Béjaïa to the small town of Aokas, the Mediterranean appears and disappears between the cliffs in flashes of blue. Then, almost without warning, the rock opens into a narrow dark mouth set directly into the cliff face. This is the entrance to Aokas Cave, known locally as the “Cave of the Genie.”

Discovered accidentally in 1963 during the construction of a nearby tunnel, the cave unfolds underground in sudden shifts of space and silence. Air cools instantly. Water echoes somewhere out of sight, marking time in slow, patient drops. The limestone here doesn’t sit still; it pauses mid-motion, forming ridges, folds, and mineral shapes that look less like geology and more like something still becoming.

But Aokas is only the beginning of what the limestone remembers here.

Across the same mountainous spine of Kabylia, other caves hold a different kind of memory; not just of water and stone, but of people. Of hands that shaped tools, of fires that once burned in the dark.

Full guide at SceneTraveller.com.

🖊️ Yasmin Farhat

@SceneTraveller: Along the road connecting Algeria’s Béjaïa to the small town of Aokas, the Mediterranean appears and disappears between the cliffs in flashes of blue. Then, almost without warning, the rock opens into a narrow dark mouth set directly into the cliff face. This is the entrance to Aokas Cave, known locally as the “Cave of the Genie.”

Discovered accidentally in 1963 during the construction of a nearby tunnel, the cave unfolds underground in sudden shifts of space and silence. Air cools instantly. Water echoes somewhere out of sight, marking time in slow, patient drops. The limestone here doesn’t sit still; it pauses mid-motion, forming ridges, folds, and mineral shapes that look less like geology and more like something still becoming.

But Aokas is only the beginning of what the limestone remembers here.

Across the same mountainous spine of Kabylia, other caves hold a different kind of memory; not just of water and stone, but of people. Of hands that shaped tools, of fires that once burned in the dark.

Full guide at SceneTraveller.com.

🖊️ Yasmin Farhat