commercial interior design - 50 favorite interior designs

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Interior design MEYDAN BANYAN TREE AL WADI YAS HOTEL ARMANI HOTEL DUBAI W DOHA PARK HYATT JEDDAH INTERCONTINENTAL AL BUSTAN ADDRESS DOWNTOWN DUBAI SIX SENSES ZIGHI BAY THE MAKKAH CLOCK ROYAL TOWER THE MONARCH SUITE RADISSON BLU YAS ISLAND NORTH 55 MAJID AL FUTTAIM THE ENVIRONMENT AGENCY CEVA MCAN BARCLAYS NOKIA SIEMENS NETWORKS SAMA DUBAI TUNIS SALES CENTRE CITY HOSPITAL AL JAWHARA CENTER DUBAI CHAMBER OF COMMERCE DP WORLD DUBAI METRO THE LOFT REFLETS NEOS HAKKASAN SWITCH WORLD TRADE CLUB NOBU DUBAI THE JUALA SPA OKKU PERSIA PERSIA EMIRATES GOLF CLUB CAPITAL CLUB BAHRAIN MANGO TREE KEN LO’S MEMORIES OF CHINA FIRE OF BRAZIL GOLESTAN ZUMA DEBAJ COUTURE GINA SHOES MIRDIF CITY CENTRE MANOLO BLAHNIK, DUBAI MALL AJMAL PERFUMES ETISALAT, DUBAI MALL VILLA MODA, ATLANTIS S*UCE FAVOURITE INTERIOR DESIGNS

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Page 1: Commercial Interior Design - 50 Favorite Interior Designs

FAVOU

RITE

50

INTE

RIO

RS

The essential guide for Middle East interior design professionals

An IT

P Business PublicationCO

MM

ERCIALInterior design

M E Y D A NB A N YA N T R E E A L W A D IYA S H O T E LA R M A N I H O T E L D U B A IW D O H APA R K H YAT T J E D D A HI N T E R C O N T I N E N TA L A L B U S TA NA D D R E S S D O W N T O W N D U B A IS I X S E N S E S Z I G H I B AYT H E M A K K A H C L O C K R O YA L T O W E RT H E M O N A R C H S U I T ER A D I S S O N B L U YA S I S L A N DN O R T H 5 5M A J I D A L F U T TA I MT H E E N V I R O N M E N T A G E N C YC E VAM C A NB A R C L AY SN O K I A S I E M E N S N E T W O R K SS A M A D U B A I T U N I S S A L E S C E N T R EC I T Y H O S P I TA LA L J A W H A R A C E N T E RD U B A I C H A M B E R O F C O M M E R C ED P W O R L DD U B A I M E T R O

T H E L O F TR E F L E T SN E O S H A K K A S A NS W I T C HW O R L D T R A D E C L U BN O B U D U B A IT H E J U A L A S PA O K K UP E R S I A P E R S I AE M I R AT E S G O L F C L U BC A P I TA L C L U B B A H R A I NM A N G O T R E EK E N L O ’ S M E M O R I E S O F C H I N AF I R E O F B R A Z I LG O L E S TA NZ U M AD E B A J C O U T U R EG I N A S H O E SM I R D I F C I T Y C E N T R EM A N O L O B L A H N I K , D U B A I M A L LA J M A L P E R F U M E SE T I S A L AT, D U B A I M A L LV I L L A M O D A , AT L A N T I SS * U C E

F A V O U R I T EI N T E R I O R D E S I G N S

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www.constructionweekonline.com Commercial Interior Design | FAVOURITE 50 1

CONTENTS

05HOTELS

MeydanBanyan Tree Al Wadi

Yas HotelArmani Hotel Dubai

W DohaPark Hyatt Jeddah

InterContinental Al BustanAddress Downtown Dubai

Six Senses Zighi BayThe Makkah Clock Royal Tower

The Monarch SuiteRadisson Blu Yas Island

OFFICESNorth 55

Majid Al FuttaimThe Environment Agency

CEVAMCAN

BarclaysNokia Siemens Networks

Sama Dubai Tunis Sales Centre

PUBLIC SECTOR& INSTITUTIONAL

City HospitalAl Jawhara Centre

Dubai Chamber of CommerceDP World

Dubai Metro

LEISURE & ENTERTAINMENTThe LoftRefl etsNeos HakkasanSwitchWorld Trade ClubNobu DubaiThe Juala Spa OkkuPersia PersiaEmirates Golf ClubCapital Club BahrainMango TreeKen Lo’s Memories of ChinaFire of BrazilGolestanZuma

RETAILDebaj CoutureGina ShoesMirdif City CentreManolo Blahnik, Dubai MallAjmal PerfumesEtisalat, Dubai MallVilla Moda, AtlantisS*uce

24

35

42

68

F A V O U R I T EI N T E R I O R D E S I G N S

INDEX80

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FOREWORD

At CID, we are in the privileged position of seeing, experiencing and writing about some of the most inspired interiors in the Middle East. From fancy hotel

lobbies and atmospheric restaurants to uber-functional hos-pital rooms and ultra-progressive offi ces, we see, on a daily basis, how spaces can impact experiences… and existences.

It is a remarkable experience, watching your projects unfold; seeing how an under-nourished brief becomes an

inspired sketch before evolving into a rendering and then magically morphing into a fully-fl edged interior. It is a complex, painstaking, often frustrating process that is catalysed by your creative passion and stubborn determination.

The CID Favourite 50 is a tribute to that passion, and a celebration of your achievements. At the annual CID Awards, we often lament the fact that there can only be a handful of winners, and that countless incredible design schemes have to go unmentioned and unrecognised as a result.

So we decided to go back and create a collection of some of the most interesting interiors that we have come across over the last few years. We looked back over old case studies; we studied past award entries; we visited spaces that we hadn’t seen before; and we created a list of our 50 favourite interiors.

We’ve tried to include projects from around the region to ensure that this is a true showcase of Middle Eastern design. It’s also important to note that the projects are presented in no particular order. Instead, we’ve divided them into fi ve categories: hotels, offi ces, public sector and institutional, leisure and enter-tainment, and retail.

Projects have been selected for a multitude of reasons. In many cases we were struck by the originality of the design scheme; in others we were impressed by the designer’s efforts to address sustainability; in some instances we were awed by the designer’s ability to overcome signifi cant challenges.

Most of the time, we just loved the way a space made us feel. And, truth be told, even with 50 places to fi ll, there were still plenty of amazing interiors that we just didn’t have the space to include. We hope you enjoy the selection, nonetheless.

Our favourite 50

SELINA DENMAN, [email protected]

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The publishers regret that they cannot accept liability for error or omissions contained in this publication, however caused. The opinions and views contained in this publication are not necessarily those of the publishers. Readers are advised to seek specialist advice before acting on information contained in this publication which is provided for general use and may not be appropriate for the reader’s particular circumstances.

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FAVOURITE 50: HOTELS

Two unavoidable infl u-ences shaped the design of the Meydan Hotel. The hotel’s unique

location – towering over one of the world’s most prestigious racetracks – called for a design scheme infused with equine refer-ences. At the same time, Teo A. Khing Design Consultants, the fi rm responsible for the architecture and interior design of the project, wanted to ensure that the hotel stayed true to its cultural context.

As such, the design embraces local infl uences and traditions, as well as the region’s Bedouin heritage. “The eclectic combina-tion of horse and local culture, with a touch of modernity, created several possibilities for a genu-inely unique design which is most appropriate only for the Meydan,” explained Teo Ah Khing, managing director of the Dubai branch of Teo A. Khing Design Consultants.

A fl owing canopy at the ground level of the hotel, on the track-side, is a modern imitation of an Islamic tapestry wall hanging. In

DESIGN: TEO A. KHING DESIGN CONSULTANTS

Meydan Hotel01.

this instance, metal is used as a defi ning element to create a sleek, contemporary interpretation of a highly traditional concept.

In the hotel lobby, monumental arching pillars mimic the fronds of the ubiquitous palm tree – a fundamental and recurring motif in local Bedouin culture.

“Arabic geometry, which is a regular design feature in the region, was represented by the regular use of horseshoe patterns in the interiors – a contextual refer-ence to the Arabians and to the Meydan racecourse,” Khing said.

Throughout the interior, a rich colour scheme was complemented by a palette of luxurious materials. “The colour scheme focused on three main colours, gold, black and silver, which convey a strong sense of richness and modern sophistication. These elements were complemented by the warm tones of fabrics, leather and tim-ber. The combination of textured and smoothed surfaces produced an eclectic design that is modern, timeless and elegant,” said Khing.

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FAVOURITE 50: HOTELS

DESIGN: ARCHITR AVE DESIGN AND PL ANNING

Banyan Tree Al Wadi02.

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FAVOURITE 50: HOTELS

Commercial Interior Design | FAVOURITE 50 7

When it came to selecting a location for their fi rst ever resort, the

founders of Banyan Tree Hotels & Resorts settled on a 600-acre site in Phuket, Thailand – vast swathes of picturesque coastal land punctuated by lagoons of the most intense cobalt blue.

It soon transpired, however, that the extreme intensity of the blue had little to do with the marvels of Mother Nature and was, in fact, the result of extensive pollution from the site’s previous tenant, a tin mine.

Rather than walking away, the founders dedicated themselves to cleansing the acid-laden soil and planted more than 7,000 trees, painstakingly transforming an ecological wasteland into the environmentally-sensitive site of the fi rst ever Banyan Tree resort.

The company’s inherent respect for natural environments is reiter-ated in the Banyan Tree Al Wadi in Ras Al Khaimah, the brand’s debut property in the UAE. First and foremost, the Ras Al Khaimah resort was designed to blend un-assumingly into its striking desert backdrop, noted David Barclay, assistant vice president of design, Architrave Design and Planning, the design arm of the Banyan Tree

Group. “At Banyan Tree Al Wadi, the interface between the desert and the resort is intended to be as seamless as possible, providing guests with the experience of stay-ing ‘in’ the desert,” he said.

Consisting of 70 Al Rimal deluxe pool villas and 31 Al Khaimah and Al Sahari tented pool villas, the re-sort sits on 100 hectares of desert plains, 60% of which is dedicated to a nature reserve housing indig-enous wildlife and fl ora.

“Designed to retain the natural feel, topography and vegetation of the desert, the pool villas are constructed on valley fl oors between existing dunes, thus

maintaining a degree of privacy and consequently preserving the site naturally,” said Barclay.

Every Banyan Tree resort has its own distinct sense of character, and the Ras Al Khaimah property is no different. It is the fi rst Banyan Tree with its own nature reserve, horse and camel stables, water home, bird hide and falconry mews. The emphasis is on creating a symbiotic relationship between the resort and its physical sur-roundings, while embracing local infl uences and the natural quirks of the selected site.

The resort, which has been dubbed ‘an oasis of indulgence’,

has very consciously adopted Middle Eastern design infl uences. Customised geometric Arabesque motifs are reiterated in light fi t-tings, fretwork, timber and glass-reinforced concrete panelling. “To enhance the sense of adventure, we used elements of typical re-gional architecture,” Barclay said.

But while the design ethos is predominantly Arabian, there are also subtle Asian undertones throughout, as the ultimate aim was to create a delicately balanced design that was respectful of the hotel’s distinctive, Middle Eastern setting, but also paid homage to the company’s Asian roots.

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FAVOURITE 50: HOTELS

Built in a mere 22 months, the iconic Yas Hotel is the brainchild of New York architects,

Asymptote Architecture, and designers Jestico + Whiles and Richardson Sadeki.

The fi rst hotel in the world to span a racetrack, The Yas Hotel’s extraordinary 5,000 LED panel gridshell drapes it in a vibrant shroud of lights. This 219m expanse of sweeping steel and 5,096 diamond-shaped glass panels creates a ‘veil’ that fl ows over the two hotel towers.

The hotel consists of 499 rooms and 14 entertainment and dining options, set in two separate build-ings connected by a bridge over-looking the Yas Marina Circuit.

Inside the hotel, bespoke furniture, created to fi t the build-ings’ unique shape and character, makes for highly distinctive spaces. Bathrooms are housed in a frameless glass box, mounted with fi ne silk sheer panels. Public spaces fl ow together easily,

DESIGN: JESTICO + WHILES AND RICHARDSON SADEKI

The Yas Hotel03.

with the fi ltered lights from the gridshell highlighting a contem-porary design scheme. The lobby features a modern interpretation of the Arabian mashrabiya, where lightweight white latticed walls map out private zones.

The diamond patterns of the lattice cast intricate, decorative shadows on to their surroundings. In contrast, the upholstery is deep purple and indigo, created using pigmented colours and stains, rather than fl at dye, to create a very natural feel.

The Yas Hotel features two con-cept bars by Georges V, the vision-aries behind the internationally-recognised Buddha Bar brand. The bars boast prime locations: Skylite is perched on the rooftop of the main tower and Rush is set in the adrenaline-evoking bridge above the Grand Prix circuit.

Intimate dining can be found in the hotel’s eight restaurants, which serve everything from seafood to pan Arabic and con-temporary Asian cuisine.

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FAVOURITE 50: HOTELS

DESIGN: GIORGIO ARMANI

Armani Hotel Dubai04.

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Commercial Interior Design | FAVOURITE 50 11

From the A-shaped swim-ming pool to the capital ‘A’ carved into each and every sugar cube, Giorgio

Armani made his mark on every inch of his debut hotel.

This relentless reiteration of the brand starts in the lobby of the Armani Hotel Dubai, where a series of bronze columns arch overhead, meeting at a point to create a towering collection of artful As. Beneath the arches, mirroring their shape, lie two oversized sofas. The combined result is a consciously contempo-rary, highly fashionable take on the traditional majlis.

The A-shaped arches are a re-curring theme – they reappear on the hotel’s logo, and then again, as a creative alternative to run-of-the-mill table legs. The message is clear: this is an Armani hotel in more than just name.

The hotel exists as a larger-than-life showcase of Giorgio Armani’s creative breadth. The world-famous fashion designer is reported to have overseen every single element of the design, from soap bars to suites.

In fact, getting the shape and colour of the soap right took a rumoured 22 months, and was inspired by a pebble that Armani

came across whilst on a beach in his native Italy. “I had not been involved with construction itself but I followed every single step in design and style,” said Armani during the grand opening of the hotel on April 27.

Fino International was enlisted to transform Armani’s vision into a workable reality. “Almost every-thing was doable – it just took a while and some real guts. Diffi cult decisions had to be made. We had to translate it into a constructible site that met the standards of the world’s tallest building,” said Talal Saeed, MD, Fino International.

Armani Hotel Dubai occupies fl oors concourse to eight, as well as levels 38 and 39 of Burj Khal-ifa. The property consists of 160 rooms and suites, complemented by 144 private Armani residences, located on fl oors nine to 16.

When he was fi rst approached by Emaar Properties to design a hotel, Armani questioned whether he was the right man for the job – given his minimalist sensibilities.

Armani recalled saying: “Are you sure you want me? I believe in minimalism, less is more. And when you looked at what was hap-pening here [in Dubai fi ve years ago] you would have thought exactly the opposite. It was a very different style”.

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In the owners of the W Doha Hotel & Residences, United Designers found a client willing to take risks, push

boundaries and, most impor-tantly, invest in good design. A rarity indeed, noted Ian Bayliss, the company’s creative director.

Adding to the sense of respon-sibility that came with working for such a trusting, open-minded client was the pressure of intro-ducing the innovative W brand in the Middle East. “It was a big responsibility. We were looking after a brand that we want to work for again, we were new in the region and we were looking after our client’s money. It did weigh heavily on us,” Bayliss said.

Inspiring, iconic, innovative and infl uential are the words that-Starwood Hotels & Resorts uses to describe its W brand. Or, more philosophically, ‘a storybook encounter of style and soul’.

United Designers’ job was to translate the brand’s inherent sense of whimsy, playfulness and cutting-edge style in a Doha set-ting – and the end result is bold, lively and infused with energy.

For a start, the design doesn’t shy away from colour. Taking a detour from the muted beiges and off-whites so often used in a hospitality setting, United Design-ers called upon a varied and rich palette. “We were determined to get some colour in there, and some vibrancy, especially in the restaurants. For the hotel, we have a palette of greys and blues and silvers, so it is understated

where it needs to be calm. Where you need to have fun – which is what a W hotel is all about – we used reds and oranges and glossy surfaces to get some energy in,” Bayliss detailed.

Setting the tone for the rest of the hotel is the Living Room – ‘W speak’ for lobby. A three-storey space with mezzanine levels, the Living Room is important not only because it introduces the W brand, but also because it physi-cally links a range of other areas.

The height of the space was initially quite daunting, Bayliss noted. As a solution, he drew inspiration from the most local of local sources. “I found this mosque where over the prayer area they had suspended these beautiful light fi ttings in a circle, just to create a bit more of a hu-man scale and make the prayer area more comfortable. We stud-ied those pendant light fi ttings and redesigned them for the W.”

This is one example of how traditional infl uences were incor-porated into what seems, on the surface, to be an entirely contem-porary design. “It was important to us not to just come and impose ourselves,” Bayliss said.

The aim was to understand the cultural heritage of Doha and make sure that the W slotted into the overall landscape, whilst si-multaneously bringing something new to the city. “I think Doha is a very cutting-edge and con-temporary city. It is very forward thinking and we wanted to tap into that,” Bayliss noted.

DESIGN: UNITED DESIGNERS

W Doha05.

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FAVOURITE 50: HOTELS

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FAVOURITE 50: HOTELS

Set on reclaimed land on the shores of the Red Sea, Park Hyatt Jeddah is infl uenced both by its

waterside location and by the old town of Jeddah.

“The multi-faceted resort is a remarkable feat of engineering that has reclaimed prime water-front land from the Red Sea, while retaining the delicate surrounding marine life. The 34.5 acre complex offers sweeping views of the sea and the world-famous King Fahd fountain, with its over 1,000ft-high plume of water,” commented Rady M. Rady, general manager, Park Hyatt Jeddah.

The property is located minutes away from Jeddah’s central busi-ness district, but presents itself as a serene, self-enclosed haven. In contrast to the high-rise build-ings that characterise Jeddah’s skyline, the 142-room resort is a low-lying, fi ve-star retreat.

The main hotel is complement-ed by 10,000m² of spa, wellness, meeting and F&B facilities. The Lazurde Meetings & Events Centre

features 2,500m² of meeting and banqueting facilities, and is ac-cessible via a dedicated entrance.

According to Rady, the interiors of the hotel promote the Park Hyatt ethos of “understated elegance and personalised, luxurious style”. French interior designer Gilles Quiffet and archi-tect Patrice Hart were responsible for translating this brand promise into a property that would appeal to affl uent business and leisure guests visiting the rapidly growing city of Jeddah.

When it came to the design, Quiffet and Hart created a resi-dential-style scheme that fuses European and Arab-Andalusian infl uences. An interplay between the modern and the traditional defi nes the Park Hyatt Jeddah.

“The beautiful gardens and striking interior design create a haven of understated elegance. Modern artwork and designs merge with traditional Arab-Andalusian features, setting a new standard for contemporary luxury,” Rady elaborated.

DESIGN: GILLES QUIFFET

Park Hyatt Jeddah06.

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FAVOURITE 50: HOTELS

Completed at the beginning of 2009 and undertaken by Heitz Parsons Sadek (HPS), a

complete renovation of Al Bustan Palace InterContinental Muscat demanded a design scheme that wouldn’t be dwarfed by the reputa-tion, stature and dimensions of the property itself.

An Omani landmark set against a dramatic backdrop, the hotel called for truly striking design statements, and HPS responded accordingly. For a start, a 3.5m crystal fountain was introduced in the atrium – the last fountain of a comparable size having been built in the 1930s.

“Another exceptional design ele-ment is the completely authentic Preciosa Austrian crystal chan-delier that glitters 13m in length in the atrium dome. The visual impact of this piece is unparalleled to anything that has ever been seen in a hotel property of any

kind,” said Ayman Sadek, principal designer at HPS.

The designers recognised that guests would enter the property with high levels of expectation, and aimed to impress with contem-porary reinterpretations of tradi-tional forms and textures. “Classic lines and forms in furniture and lighting received contemporary restyling, and colour palettes are defi nitively vibrant yet palatial throughout,” Sadek said.

“The property is a destination and therefore guests have a cer-tain level of expectation relating to the interiors. HPS redefi ned in many ways what it takes to successfully provide luxury and opulence,” Sadek continued.

“Traditional themes are more abstracted and recreated so that the guest remains connected but at the same time intrigued. The common thread throughout the project is the feeling of remarkable elegance,” he added.

Local infl uences presented a major source of inspiration. “There are strong undertones of traditional Middle Eastern fl avours in the interiors but the applications and interpretations are all new, fresh and contemporary. HPS felt that it was very necessary to use the culture as a foundation from which to build a story for guests to immerse themselves in.

“The magnetism of Middle East-ern culture, shapes and feelings provided an invaluable tool from which ideas and concepts could be developed to a higher level.”

Custom-designed furniture, lighting, rugs and carpets, hand-made wood carvings, mother of pearl inlay, gold leaf and unique crystal details all contribute to the overall grandeur. These were complemented by Crema Marfi l marble, cappuccino onyx, gold alabaster and local Omani stones, as well as high-quality fabrics and silks from Europe and Asia.

DESIGN: HEITZ PARSONS SADEK

Al Bustan PalaceInterContinental Muscat

07.

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FAVOURITE 50: HOTELS

DESIGN: WA INTERNATIONAL

The AddressDowntown Dubai

08.

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Commercial Interior Design | FAVOURITE 50 17

As development giant Emaar’s fi rst venture into hotel management, The Address Downtown

Dubai had to act as a larger-than-life showcase of the company’s hospitality ethos and ambition.

Claire Craig and Helen Skea of WA International were responsible for the interiors, and developed a high-end contemporary scheme infused with subtle Arabian twists. “What we tried to do was create something that was not completely minimal and modern, because it would date.

“It is warm and sophisticated and quirky in many ways, but it is not over the top – and in ten year’s time it is still going to look like it fi ts into the building,” explained Helen Skea, associate at WA International.

The region’s rugged mountains, undulating sand dunes, stunning seascapes and striking sunsets acted as a basic inspiration point for the entire design. Golds and bronzes interplay with reds and oranges, and are infused with fl ashes of blue to create a palette that mimics natural landscapes from across the region.

“We used the desert landscape, wadis, dunes and mountains as inspiration. The whole concept was a contemporary take on the

Arabian landscape. Everything is quite subdued. We’ve tried to keep that through the background colour palette. Where we’ve got more drama, like in the bars and restaurants, we’ve introduced silvers and blacks, in the form of Saint Laurent marble, chrome and glass,” Skea said.

The overall shape of the build-ing had a fundamental impact on the interior design – and was the source of some major challenges. “Because of the shape of the building, there were 44 different guest room types. And they were not slightly different but majorly different, so drawing package-wise for the team, it was a real challenge,” Skea revealed.

The curvaceous confi guration of the building, which was free of sharp lines and edges, warranted an interior where organic and undulating design elements domi-nated. Fluidity was key.

Public spaces are open and fl owing, with separate areas blending seamlessly into one another. Even the boundaries between outside and inside were blurred, with the external land-scaping seeming to fl ow into the building in a conch-like wave that almost ushers guests in.

Textures also play on the natural, organic theme to create

depth, warmth and movement. “We were trying to emphasise the natural elements with the use of different materials – from the pol-ished palasandro marble fl oors, backlit bronze metallic undulating wall features, rich fabrics and dark textured woods,” said Skea.

The number of wall hangings was kept to a minimum but the pieces that do feature are charac-terised by their three-dimensional nature. “Where there are works of art, large sculptural and textural statement pieces have been com-missioned, made of natural ele-ments such as wood and shells, which maintains the organic theme and adds extra depth to the space,” said Skea.

While wall art was kept to a minimum, bold, oversized sculp-tures and exotic lighting features were introduced throughout the property to add a healthy dose of additional drama. Glass sculp-tures by the British artist Amanda Brisbane complement bespoke pieces from the acclaimed Alan Mayburgh to inject splashes of colour and quirkiness.

Light fi xtures were custom-made by Preciosa, the Czech manufacturer of genuine Bohemian-cut crystal products, and are one of the hotel project’s most striking features.

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DESIGN: SIX SENSES HOTELS & RESORTS

Six SensesHideaway Zighi Bay

09.

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FAVOURITE 50: HOTELS

Commercial Interior Design | FAVOURITE 50 19

Nestled in a hidden fold of Oman’s rugged Musandam region, Six Senses Hideaway Zighi

Bay is quietly challenging conven-tional perceptions of luxury.

The resort is a rare example of how high-end hospitality can seamlessly co-exist with social responsibility and environmental sensitivity. It is also an important example of how a design can embrace local infl uences and sustainable principles without sacrifi cing on quality and, more importantly, economic viability.

A key focus of the Six Senses Group is to create resorts that are in complete harmony with their environment and natural sur-roundings. Resort size, location, and topographic and thermal con-ditions are carefully considered before a resort is built, and the company is constantly exploring new ways to improve its carbon and water footprint.

“With this in mind, Six Senses Hideaway Zighi Bay was designed to blend in with the rugged natural surroundings of the Musandam region, combining the element of luxury to deliver a rustic chic decor. To do this, rather than using conventional materials, Six Senses opted for traditional ones such as date

palms, limestone and timber, and used traditional building styles (wattle) to refl ect the surround-ing indigenous village style of the Omani peninsula,” said Tara Hammond, environment and social responsibilities offi cer, Six Senses Hideaway Zighi Bay.

“The entire property is built using masonry walls which are left unplastered, adding a rustic fl avour. The interiors have stucco walls, mosaic fl oors created from pieces of local limestone, and the villas are all fi tted with furniture constructed with wood, all made onsite by local craftsmen, and left unembellished to give a

wholesome, organic and sustain-able look,” she continued.

The resort consists of a series of low-rise buildings set on an unadulterated bay fl anked on all sides by a dramatic, jagged mountain-scape. A restaurant snuggles into the mountain-side, some 293m above sea level.

“The signature restaurant has been designed and constructed to blend in with the mountains without damaging the mountain rock and ruining the aesthetics or interfering with the biodiversity of the local environment. This gives guests a unique opportunity to experience a dramatic dining

experience, without causing dis-turbance to the surroundings.”

Unsurprisingly, the company was committed to sourcing mate-rials locally. The limestone used for the fl oors was extracted from the surrounding Hajar mountains, while date palms, known locally as ‘jareed’ were sourced from lo-cal plantations in Dibba. Materials that could not be found locally were sourced from neighbouring countries such as India, from responsible, certifi ed suppliers.

The end result is effortlessly Omani – ceilings are constructed in traditional fl at-beamed style, and date palm lattices make up shutters, doors, partitions and roofs. These are entwined with ‘ja-reed’ to allow inside temperatures to drop slightly, offering welcome respite in the hotter months.

“Luxury is not necessarily mate-rial possessions such as gold-plated marble bathrooms, but what busy city business people often lack – space and time,” Hammond pointed out.

“So, by offering space in a natural environment and time to enjoy it, guests get their luxury. When our competition catch on and see the success of our resorts I think this approach won’t be so rare anymore; it’s just a matter of time,” she predicted.

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FAVOURITE 50: HOTELS

With a 1,005-room hotel project, size and scale dominate the agenda. So

when Richmond International was commissioned to design the Makkah Clock Royal Tower, a Fairmont Hotel, the scale of the project was a key driver in the design process – the signifi cance of its location was another.

The holiest city in the Islamic world, Makkah’s primary industry is to support the annual Hajj pil-grimage, which alone attracts up to three million people per year.

The hotel forms part of the Abraj Al Bait complex, which incorporates seven towers and is adjacent to the Masjid al Haram mosque and the Kaaba.

The Makkah Clock Royal Tower complex includes over 500 shop-ping outlets and food courts, luxury apartments on levels 30 to 52, fi ve ‘Royal’ fl oors, and the 1,005-room Fairmont Hotel,

which covers a further 28 fl oors. There are a total of 76 elevators.

Facilitating the movement of throngs of people was one of the most important elements of the design, explained Terry McGillicuddy, designer, Richmond International. “A major challenge was to understand, integrate and accommodate the circulation of a very large number of guests and visitors who need to access and, more importantly, exit the build-ing, particularly during the calls to prayer,” he said.

The spiritual signifi cance of the site also fundamentally impacted the interior design. “The impor-tance of this religious location was a key factor in the creative process; the balance and simplic-ity of the traditional and modern Arabic design of the interior refl ects the spiritual nature of the location and the sense of humility surrounding the Haram,” McGil-licuddy pointed out.

DESIGN: RICHMOND INTERNATIONAL

Makkah ClockRoyal Tower

10.

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FAVOURITE 50: HOTELS

Not only is The Monarch Suite at The Monarch Dubai the Middle East’s largest suite for sale at

1130m², it has also held the title of World’s Leading Suite, as awarded by the World Travel Awards, for two consecutive years. But in spite of these accolades, the suite, which was designed by Ròya Interna-tional, remains one of Dubai’s best kept secrets.

Located on the 32nd and 33rd fl oors of the hotel, and accessible only with a special key card, the suite is spread across two fl oors. This is a major asset, explained Bertrand Margerie, The Monarch Dubai’s executive assistant manager, because it means guests can keep one area private for their family and one area public for busi-ness and entertaining.

The suite is designed to promote a sense of immense space, calm, relaxation and luxury. Although there are vibrant fabrics and strik-ing lighting, there is none of the gaudy opulence that one might expect of the region’s largest suite.

Margerie explained why. “It was designed as a private apartment for the owner, however, he consid-ered the potential of money from that positioning and unique setting at Number One, Sheikh Zayed Road [and decided] to leave it for rent,” he revealed.

“Our typical guests are individu-als with very high incomes, com-pany CEOs, directors, owners and royalty,” Margerie continued.

While there are a lot of Arabian infl uences, the suite offers a very peaceful and understated design, in keeping with the ambience of the rest of the hotel.

“It’s a mix between outside and inside. It is very vast. I have always associated volume and space with luxury. Its not overpriced as well, in my opinion,” he said.

And of the fact that the suite seems to keep a very low profi le? That is quite deliberate, said Mar-gerie. The hotel has only used The Monarch Suite as a venue to hold a handful of events itself and it has only recently been opened for very high-profi le product launches.

DESIGN: ROYA INTERNATIONAL

The Monarch Suite11.

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FAVOURITE 50: HOTELS

Amulti-layered, multi-dimensional lighting sculpture hovers over the lobby of the

Radisson Blu Hotel Abu Dhabi Yas Island. Composed of linear, copper-coloured components suspended at varying heights, it is a contemporary take on the tradi-tional chandelier, explained Anne Kuzyk, head of interiors at Aukett Fitzroy Robinson, the company re-sponsible for the architecture and interiors of the Radisson Blu and its sister Park Inn property.

A smaller version of this ‘contemporary chandelier’ hangs above the check-in counter. Like its more sizeable counterpart, the underside of the structure is mirrored. “The idea is to refl ect the views of the island back into the space,” Kuzyk pointed out.

This idea, of bringing the outside in, is a cornerstone of the overall design. Barriers between the indoors and outdoors have been

systematically broken down, with an emphasis on inviting natural light and panoramic views deep into the interior.

With mangrove-covered sand-banks, the grassy expanse of the Links golf course, and the unend-ing blue of the Arabian Gulf all to be found on the hotel’s doorstep, Kuzyk had a rich palette of natural infl uences to draw upon.

So, in Business Class rooms, a textured headboard made out of beige plaster mimics the motion of sand dunes. The room’s colour palette is inspired by the sunset, and by the continually-shifting colour of the sand. “We’ve used all very natural infl uences, but in a very contemporary way.”

Another striking feature of the interior is its refusal to shy from colour. From walls and fl oors to bed covers and accessories, spac-es are infused with vibrant hues. “People look better in colour and so do designs,” Kuzyk maintained.

DESIGN: AUKET T FITZROY ROBINSON

Radisson BluHotel Yas Island

12.

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FAVOURITE 50: OFFICES

DESIGN: BLUEHAUS

North 5513.

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FAVOURITE 50: OFFICES

Commercial Interior Design | FAVOURITE 50 25

Even the business cards for Dubai-based creative agency North 55 are free from corporate pomp.

The back of each card is different – the company’s employees are free to fi ll the space with the graphic of their choice.

It is this kind of emphasis on personal expression and creative freedom, unfettered by over-restrictive brand standards, that characterises the North 55 offi ces. An independent print and online design agency with some 16 mem-bers of staff, North 55 had been operating out of Dubai Media City since 2000 before deciding to in-vest in its own space in Grosvenor Business Tower.

Having secured its own prem-ises, North 55’s owners were keen to invest in an interior that would communicate its creative fl air. “We wanted to do something a little more fun; something brighter, a little more creative,” said Craig Fal-coner, creative partner, North 55.

“The last thing we wanted was a standard, modular offi ce or a cookie-cutter solution. If your inte-rior doesn’t refl ect your personal-ity, it’s hard to sell yourself as a creative agency,” he continued.

Falconer and his partner worked closely with Dubai-based interior design fi rm Bluehaus to translate

the North 55 ethos into a funky workspace. “They had an idea, right from the beginning, of what they wanted. A lot of people say creatives working with creatives is tough, but I think in this case, we actually made a good team,” said partner, Bluehaus, Ben Corrigan.

From the very outset, the mes-sage is clear – this is no ordinary, run-of-the-mill interior and no ordinary, run-of-the mill company. The reception area is dominated by a handful of very strong, visu-ally-striking design statements: a Smeg fridge emblazoned with the Union Jack; funky light fi xtures; and an exposed brickwork wall

with ‘North 55’ graffi tied across it. “The graffi ti was a really nice touch,” said Corrigan. “They com-missioned it from a guy in Canada. The old brickwork was another idea of theirs. They wanted to have that feel of maybe a backstreet London practice.”

From the reception, a rainbow arch leads into an informal seating area that looks straight into the main offi ce. Falconer was keen to avoid the sterility of a ‘dentist-style’ waiting room. “We have no problem with clients coming in and seeing what we do. It was important that they were ushered into a seating area that overlooks

the working area. The clients are part of what goes on in this offi ce,” he explained.

This emphasis on transparency is reiterated in the extremely open-plan design of the main offi ce area. “There is a real sense of openness. We wanted to make it very open plan because of the way the work fl ows. We have a very fl uid, border-less work fl ow,” Falconer said.

“We also have a fairly fl at management structure; everyone is entitled to a strong opinion. This is refl ected in the space. Nobody is vying for the corner offi ce. I cringe when I go into offi ces where your rank is defi ned by your furniture.”

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FAVOURITE 50: OFFICES

Named ‘Offi ce Design of the Year’ at the 2009 CID Awards, the Majid Al Futtaim

headquarters are elegant, high-tech and drenched in natural light. Designed by Woods Bagot, the offi ces cover ten fl oors in a tower

DESIGN: WOODS BAGOT

Majid Al FuttaimHeadquarters

14.

built specifi cally for the privately-owned retail property developer.

The project represented a signifi cant culture change for the organisation. The aim was to create a more open working environment with fewer closed offi ces. This was complemented by dedicated team meeting rooms on every fl oor, and open breakout areas. To reinforce a sense of adaptability, there are identical layouts on all offi ce fl oors, to maximise opportunities for future expansion and team collaboration. There is also a dedicated fl oor for public meetings, and a dedicated fl oor for training facilities.

The design follows the natural curvature of the building façade. This was central to the planning of all custom items, from the break-outs areas and partitions to the joinery detailing. “It’s a project we are all proud of,” said Duncan Par-kinson, principal and leader of the workplace sector, Woods Bagot.

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FAVOURITE 50: OFFICES

It is fi tting, of course, that the offi ces of The Environment Agency – Abu Dhabi would be inspired by the topography of

the UAE. The sabkha, or salt fl ats, that line the coast; the dominant desert landscape; the mountainous terrain that snakes along the Omani border; the dunes of the Empty Quarter; and the islands that hug the coastline; all had an infl uence on this interior design scheme.

RW Armstrong was responsible for the interiors of the three-storey offi ce. “The project brief was for 12,000m² of offi ce space. The agency was interested in a design that refl ected its values and that showcased the UAE’s environ-ment, but was also sustainable,” explained Mona Salem, senior as-sociate and programmes director, RW Armstrong.

As a highly prominent entity, The Environment Agency receives a high number of dignitaries from around the world, Salem explained.

DESIGN: RW ARMSTRONG

The Environment Agency

15.

Furthermore, the offi ces are located in Abu Dhabi’s prestigious Al Mamoura Building, which presented an additional incentive to get the design absolutely right. Home to the Mubadala Develop-ment Company headquarters, Abu Dhabi’s Urban Planning Council, and various other high-profi le inhabitants, the Al Mamoura build-ing is no stranger to good interior design, Salem pointed out.

RW Armstrong introduced two distinct themes on each of the offi ce’s three fl oors. Each theme was characterised by a specifi c set of forms, textures and colour schemes, which shaped the fl oor-ing, ceilings, façade and furniture.

And throughout the design, the focus was very much on sustainability. “The offi ce has a luxurious feel, but it’s still sustain-able. We used a lot of recycled materials, environmentally-friendly materials, and materials with a low carbon imprint,” said Salem.

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FAVOURITE 50: OFFICES

Located in a striking pyr-amid-shaped structure, the CEVA Logistics offi ce and warehouse in Dubai

needed an interior that would match its edgy exterior.

It also had to be an open-plan, collaborative environment where individuals and teams could perform with ease and effi ciency. According to Nasim Eshghi, senior

designer at Bafco, the company re-sponsible for the design and fi t-out of the new offi ces, the scheme had to facilitate four main work modes: focus, collaboration between clients and departments, learning and socialising.

“CEVA Logistics is one of the largest global logistics companies in the world. Their workplace is much like a warehouse where every point of contact is an oppor-tunity to be effi cient, secure and reliable,” said Eshghi.

“The workplace of CEVA, as de-signed by BAFCO, is focused not on pushing paper and individualised tasks; it is designed to promote a collaborative environment where individuals and teams create great-er organisational value and higher business performance.”

An open-plan environment was developed using Spyder worksta-tions by Shetug. Freestanding and able to neatly connect and share electrical and wire management, the Shetug was a practical and aesthetically pleasing solution, Eshgi explained.

DESIGN: BAFCO

CEVA Logistics16.

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When Imagination was called in to de-sign new offi ces for branding agency,

MCAN, it immediately recognised the importance of creating a space that would inspire prospective clients and employees alike.

“Not only did the environment have to impress MCAN’s clientele, it had to inspire the creative team working within,” noted Alfred Johnson, managing partner, Imagination. “MCAN’s identity as a branding consultancy had to show in its interior. The company’s high-end clientele had to be assured of the company’s creative depth as soon as they walked in,” he said.

The brief was for a transparent, modern, luxurious, Arabian-inspired environment, and Johnson started by capitalising on the view. Set on the 21st fl oor, the offi ces boast striking views over Dubai’s Sheikh Zayed Road and The Palm, Jumeirah. Johnson then opted for rich materials and deep, luxuriant colours. “We planned the space as a journey that the clients are

led on by MCAN. The chesterfi eld leather perforated wall cladding displays their completed project logos, while the graceful deep brown herringbone parquet fl oor was blended with the sunset onyx column and bar cladding, comple-mented by quarter-cut ebony veneer,” he explained.

“The fl oor-to-ceiling curved glass was conceptualised to enhance the space that we worked with, and to create an element of transparency and fl exibility that MCAN rightly portrays as a fi rm.”

This was complemented by an intelligent approach to space planning, to create an offi ce that is both highly functional and aesthet-ically striking. “The combination of materials, complemented by the space planning of the work envi-ronment, brought about an original creation,” said Johnson.

The centrepiece is the reception area, where a backlit, ‘egizaino’ onyx column dominates, bringing “an aesthetically pleasing element to an otherwise mundane neces-sity”, Johnson concluded.

DESIGN: IMAGINATION

MCAN 17.

FAVOURITE 50: OFFICES

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According to its website, Rareform Branding creates extraordinary expressions of visual

and verbal language that stop people in their tracks.

Perhaps not the kind of creativ-ity that one would immediately associate with a bank, but when Barclays needed interiors for its new regional headquarters and retail banking branches in Emaar Square, Downtown Dubai, it called on the services of Rar-eform’s Dubai branch.

The initial brief was for 10,000m² of space extending across four fl oors of offi ces, as well as Premier and Barclays retail branches on the ground fl oor.

One challenge with a project of such scope and size was keep-ing up with the rapid growth of the business, which continued unabated as the project unfolded, noted Guy Willis, design director, Rareform Branding Dubai.

“A staff matrix was provided at an early stage but due to the expanding nature of the business, over what was a signifi cant devel-opment period, there was a cer-tain amount of fl ex and variation in staff numbers over the course of the project,” he noted.

While the fi nished product is characterised by its simplicity, quality is the resounding theme that runs throughout. Under-stated, elegant, practical and affordable are the fundamental concepts that Willis worked around to create a space that sets itself apart by not trying too hard.

“A lot of projects are over detailed for the sake of it, when keeping things simple has always been my motto. There are no superfl uous or frivolous details within the project. All elements are there for a reason. God is in the details, they say, and I’d like to think we provide clean, logical solutions to any client’s brief. The wow factor comes from the juxtaposition of materials and considered detailing.”

In keeping with the understated elegance of the project, Willis worked with a muted colour pal-ette for fi xed elements and inject-ed splashes of colour and life into the mix with loose furnishings, fresh fl ower displays, accessories and unique artwork.

Furniture selection was the result of extensive research. “We visited a series of suppliers in Europe and eventually went with Bene for the desking system and Herman Miller for the chairs.”

As is to be expected, ergonomic considerations impacted every design decision, Willis explained.

One noteable characteristic of the offi ces is the range of for-mal and informal meeting points built into the design. This, Willis maintained, is refl ective of a prevalent design trend making its mark across the globe.

“I think, generally, businesses are more aware these days of the value of design, and of the fact that productivity and staff at-traction and retention are greatly enhanced by the quality of the environment,” he said.

DESIGN: R AREFORM BR ANDING

Barclays18.

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The Nokia Siemens Networks (NSN) offi ce in Dubai Internet City is an innovative workspace de-

signed to support a whole new way of working, focusing on network-ing, mobility and interaction.

The design came out of an extensive investigation into the work styles of employees at NSN. Employees were classifi ed into three categories: ‘mobile’, ‘campus mobile’ and ‘desk-based’, and allo-cated space according to function.

The 6,000m² facility was completed in July 2009 and Cathy Ingram, senior design manager at Bluehaus, oversaw the project. “Through research, NSN discov-ered that the emerging way of working is varied and not as rigid as in the past,” she explained.

“NSN discovered that on aver-age, workstations were occupied 47% of the time, with people spending one third of their day in meetings. In an offi ce designed on

hierarchy, 10% of the staff ‘own’ 20% of offi ce space.

“A CEO, for example, may be given a large offi ce, a PA, a private meeting room and a lounge. What NSN found was that these people are actually the most ‘mobile’, spending signifi cant time out of the offi ce in meetings or travel-ling,” Ingram continued.

“In the changing economic climate, offi ce space is becoming premium; if you can save money by looking at how much space you really need, companies can really make a difference to their bottom line,” she noted.

In practice, this means that desk sharing is implemented and every workstation is cleared at the end of the day so that it can be used by anyone the next day.

And with desk space reduced to a bare necessity, there is more space for hot desks, phone rooms, meetings rooms, informal break-out spaces and lounges.

DESIGN: BLUEHAUS

Nokia Siemens Networks

19.

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Described by KCA Inter-national as “a collage of style and proportion”, Sama Dubai’s Med Gate

Sales Centre in Tunis, Tunisia, features a rich palette of materials and textures.

Wood and stone are combined with colours more commonly as-sociated with textiles, jewels and precious metals, to create a rich design that blends modern day fi nishes with age-old techniques.

In the reception lobby, KCA Inter-national drew upon Mediterranean infl uences, combining them with Arabic elements to create a con-temporary space that captures the essence of modern Tunisia.

“Taking a simple, recognisable motif, we play with scale and texture to create a destination statement. The introduction of modern materials such as glass and nickel adds a subtle sugges-tion of the contemporary nature which dictates the fi rst impression

of the sales centre,” according to KCA International.

In the main sales area, Moorish arches and vaulted ceilings in light tones of plaster introduce impres-sive scale. Decorative elements frame entries and defi ne levels.

Modern grandeur is coupled with intimate spaces and repeti-tion of form, before guests arrive in an open forum defi ned by vaulted ceilings pierced with sky lights. Multi-faceted lighting fi x-tures bring decorative detail to the simple volume of the model area.

Meanwhile, ‘dealing rooms’ promote a sense of intimacy. Pattern and relief feature in the fl ooring, ceilings and wall panels, while furniture relates to the gentle curve theme seen elsewhere.

The VIP area draws upon rich-ness of colour, form and light, translated into a curvilinear room where jewels and beads of silver shimmer behind majlis seating adorned with velvet and silks.

DESIGN: KCA INTERNATIONAL

Med GateSales Centre

20.

FAVOURITE 50: OFFICES

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FAVOURITE 50: PUBLIC SECTOR & INSTITUTIONAL

Healthcare design often single-mindedly focuses on the comfort of patients – entirely

forgetting the distraught families, friends and carers that surround them. So when Ellerbe Becket was called in to design The City Hos-pital, the fi rst multi-disciplinary healthcare provider in Dubai Healthcare City, it decided to ad-dress this discrepancy.

As a result, the sixth fl oor of the hospital features a fully-enclosed health club, work-out area and health and beauty facility that offers hair styling, make up and massage therapies. A pool area has been designed to offer a relaxed leisure setting, with a hot tub and plunge pool at either end.

“The family is often a key part of the care-giving support in this re-gion and there is often inadequate attention paid to their needs and interests,” explained Jim Lewison, interior design director, Ellerbe Becket, Minneapolis.

These leisure facilities also highlight how healthcare design is

DESIGN: ELLERBE BECKET

The City Hospital21.

increasingly calling upon hospital-ity design for inspiration. With The City Hospital, the aim was to create a unique, top-end facility, with fi n-ishes, materials and retail and F&B facilities to rival a fi ve-star resort.

The 353,900ft² hospital was designed to appeal to international patients, as well as UAE locals who might otherwise travel to the UK or US for their healthcare.

“The interior design is more contemporary and international in style. This communicates to the client that the healthcare provided will be world-class and will include all the latest technologies and practices,” said Lewison.

Ensuring that the project was culturally sensitive called for ex-tensive research, as well as work-shops with the owner and close communication with in-house staff of a similar cultural background.

“One challenge was fi nding the correct balance between culturally sensitive design while refl ect-ing the more progressive and forward-looking attitude of Dubai,” Lewison maintained.

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FAVOURITE 50: PUBLIC SECTOR & INSTITUTIONAL

Bahrain-based Enrico Botta Architecture and Interior Design was re-sponsible for designing

an auditorium, pre-function hall and VIP areas within the Al Jawhara Centre for Molecular Medicine and Inherited Disorders.

“The architectural concept represents a mother (the main building) embracing a child (the auditorium). In developing the interior design concept, this was taken into account.

“This subtle metaphore was maintained by keeping continuity amongst the different spaces, both in terms of materials as well as in terms of lines and visual percep-tion,” said Enrico Botta, founder of Enrico Botta Architecture and Interior Design.

“The design of the access corri-dor and pre-function hall suggests an organic and concave shape as a metaphore for an umbilical chord connecting the mother and child. The lines are thus smooth curves fl owing freely on the fl oor, marking the transition among the different

DESIGN: ENRICO BOT TA

Al Jawhara Centre22.

materials and avoiding any abrupt transition between the spaces.”

The same lines characterise the ceiling and add to the general per-ception of the entrance and recep-tion areas as a spatial continuum. The circular shape of the room and the organic dome-like shape of the ceiling contribute in making the space overwhelmingly welcoming.

Moving on from the pre-function hall, visitors experience the “soothing embrace” of the auditorium, Botta explained. “The utmost attention was given to the study of sound reverberation to en-sure the best speech intelligibility in this space, which is designed for scientifi c activity. The ceiling and walls combine technical ef-fi ciency with a design that wants to address and preserve the warm, feminine feel of the entire project.”

From the gentle contrast of the colour scheme, to the tangible quietness and the soft, gently-perfumed Poltrona Frau leather of the 500 seats, the auditorium was designed to offer its visitors a com-fortable, enriching experience.

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FAVOURITE 50: PUBLIC SECTOR & INSTITUTIONAL

When Bluehaus was commissioned to oversee the refurbishment of

the Dubai Chamber of Commerce offi ces, it had one clear objec-tive: to create the best chamber in the world, a facility that could comfortably compete with the likes of London and New York.

Bluehaus’ scope of work included workplace consultancy, design, design co-ordination and project management. The project – which covers 12 fl oors and a total area of 9,000m² – was car-ried out in a series of phases, in order to minimise disruption.

The space was triangular in shape, which created challenges, but also opportunities. The main challenge was utilising the fl oor space to its maximum effi ciency. At the same time, the shape pre-sented the opportunity for the lift-lobby to open up into a deep central area, and encouraged a

DESIGN: BLUEHAUS

Dubai Chamberof Commerce

23.

sub-division of the space into two separate wings. It also allowed for the creation of a central hub, which encouraged maximised interaction.

As part of the revamp, the Dubai Chamber of Commerce also wanted to promote a more transparent and communicative working environment.

Bluehaus responded with centralised break-out areas to encourage interaction, and phone-rooms and glazed man-ager’s offi ces to create more transparency. All meeting rooms were contained on two levels, as opposed to the offi ce fl oors themselves, to manage security and encourage better manage-ment of meeting use and times.

Sustainability was another priority for the Chamber of Com-merce, which can now claim to have the fi rst ‘LEED for Existing Buildings’ certifi ed offi ces in the Arab world.

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FAVOURITE 50: PUBLIC SECTOR & INSTITUTIONAL

DESIGN: BROADWAY INTERIORS

Command & Control Centrefor DP World’s Container Terminal

24.

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Commercial Interior Design | FAVOURITE 50 39

When it came to a new command and control centre for its Container

Terminal, DP World wanted a sophisticated, contemporary, forward-thinking, cost-effective control room that would become the fl agship of the operation.

In response, Broadway Interiors created a space that combines ultra-modern materials with the very latest in audio-visual technologies.

The design concept follows a monochromatic theme, using black and white as the primary

colours, complemented by hues and accents inherent in DP World’s corporate colours.

To achieve the functionality required, Broadway introduced bespoke, futuristic-looking, custom-made operator consoles, which were designed to contain a range of telecommunications equipment, including 22” plasma screens suspended on fully ma-noeuvrable monitor arms.

Ergonomic chairs enable users to successfully and comfortably carry out their day-to-day respon-sibilities, helping DP World to achieve its organisational goal of

becoming a leader in container terminal cargo operations.

A highlight of the space is the operation’s control room, which features a controllable, electro-static glass that can be trans-formed from clear to opaque. In addition, a Barco digital screen was used, which is ideal for control operation centres and consumes less power.

To further minimise en-ergy wastage, all offi ces were equipped with occupancy or motion sensor lights, and also use biometric technology for total security.

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FAVOURITE 50: PUBLIC SECTOR & INSTITUTIONAL

According to John Carolan of KCA Inter-national, the company responsible for design-

ing the trains and stations for the Dubai Metro, the emirate now boasts one of the most unique and groundbreaking public trans-port systems in the world.

“I think it will set new stan-dards for people to follow. Sta-tions do not have to be cold, hard and unfriendly. They don’t neces-sarily have to be glamorous, but they can be rich. And that’s what we were trying to do. We were trying to add a degree of richness and vibrancy,” he said.

“It was interesting. When we fi rst started, one of the engineers was saying: ‘These are stations, people will have their heads down, they won’t be interested’. But why not make them look up? People do walk around with their heads down all the time; but when you look up, your whole world changes,” he added.

Before KCA started designing, it examined metro systems in

DESIGN: KCA INTERNATIONAL

Dubai Metro25.

other parts of the world, includ-ing Moscow, London, Singapore and Paris. In many cases, stations were hard-edged and unfriendly, and dominated by concrete, glass and steel. The aim was to make the Dubai Metro very different.

“Our philosophy worked around the four elements: earth, air, fi re and water. The great thing about this was that you had design and you had colour, so you could mix and match and get quite a lot of variables. When we were doing historical sites, such as Union Square or Al Ghubaiba, we also looked back at historical references to the place. One of the other things that we did was include historical imagery.

“We also had a long discussion with the client about whether they wanted decorative light fi t-tings in there. We showed them examples initially, just to put it out there. We expected them not to like it, but they did, so in the main underground, we’ve got chandeliers,” Carolan noted.

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JEDDAH (HEAD OFFICE)Rawada StreetOmnia CenterP.O. Box 12679Jeddah 21483Saudi ArabiaTel. +966 2 669 3241 Fax +966 2 668 3069

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marking a landmark in the right direction. Not only did we introduce some of

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ket, but we have also set a professional lighting standard in the Saudi Market.

Our outstanding performance could not have been realized without the family

team of Technolight. In fact, our family consists of 57 highly trained sales en-

gineers and installation staff. In addition, we have two showrooms in Jeddah

and one in Riyadh all of which are superbly located right in the heart of the city.

Technolight is run by a management team. The managing director and fi ve

managers representing different administrative areas of expertise who con-

vene periodically. They run analysis with never-ending improvement cycle.

Technolight has several departments. There are lighting design dept, sales

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www.constructionweekonline.com42 FAVOURITE 50 | Commercial Interior Design

DESIGN: BROADWAY INTERIORS

The Loft26.

FAVOURITE 50: LEISURE & ENTERTAINMENT

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Commercial Interior Design | FAVOURITE 50 43

Acollaboration of industry leaders, Neocasa is a platform created to showcase

the very best in contemporary design. It was also created to provide a canvas for locally-established interior designers to showcase their skills.

Its debut project, The Loft, is located in Dubai’s Jumeirah Beach Residences (JBR) and was a collaboration with local design fi rm, Broadway Interiors. It was offi cially unveiled in October 2009.

Loft living is a particular passion for Chris Barnes, managing director of Broadway Interiors, he explained. “One of the things with loft living is that you try to embrace the fabric and the structure of the space that you are provided with. In the JBR towers, no two lofts are actually alike so you have to work with the space you are given. You have to embrace what is already there. You try not to conceal but to embellish,” he said.

Barnes was invited to create a space that would refl ect the styles and tastes of a modern-day execu-tive. He also tried to infuse the design with an Arabic twist. “We tried to create a very neutral space, which is uplifted, with sensitivity, with a little bit of red. Red isn’t the easiest colour to work with; it’s got

to be just right to work, but I think we have achieved that here, sup-ported by some lovely artwork,” Barnes detailed.

“I’m a very visual person and I think some of that is refl ected in what you see here. I’m also very sensitive of the fact that we are liv-ing in the Middle East and am very appreciative of the opportunities that has given me.”

The Loft, which was spear-headed by Shahriar Khodjasteh, group marketing director of Al Aqili Furnishings, features cutting-edge products from some of the big-gest names in the industry. There is a Porsche Design Kitchen by

Poggenpohl, with a Sub-Zero built-in refrigerator. Mirror TV’s in the bathrooms came from Ad Notam; the home automation system was supplied by Platinum Vision, contemporary furniture is by i4Mariani from Italy, and artwork was supplied by Hengameh Mahvi. Technogym provided state-of-the-art fi tness products.

“Our partners have become stakeholders in the concept. They are very similar to us in their attention to detail and quality, as well as their high standards of service, and they were com-pletely committed to the project,” commented Khodjasteh.

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FAVOURITE 50: LEISURE & ENTERTAINMENT

Refl ets, designed by Christian Ghion, was established by three-star Michelin chef Pierre

Gagnaire. “The menu has special-ties that the chef calls ‘multi-sensory hits’, created by blending unexpected tastes and textures,

and this concept is mirrored in the outlet’s design,” explained restau-rant director, Etienne Haro.

“From day one, the interaction between the menu and the design was very strong. What helped most is that Christian Ghion knows Pierre Gagnaire. Having a com-pletely blank canvas to work with allowed the designer total freedom to develop a restaurant that would match Gagnaire’s food,” he added.

The restaurant is located within the InterContinental Hotel Dubai Festival City. “A private elevator transports guests from the lobby of the hotel directly to the restau-rant, where the refl ections theme is carried through via a mirrored corridor and mother-of-pearl walls to the seating area beyond.

“Lavender-coloured Murano glass chandeliers are suspended above baroque furniture, creating an unmistakable statement of style and decadence, yet with a fashionably contemporary fi nish.”

DESIGN: CHRISTIAN GHION

Refl ets ParPierre Gagnaire

27.

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FAVOURITE 50: LEISURE & ENTERTAINMENT

T he art-deco inspired Neos sits on the 63rd fl oor of The Address Downtown Dubai. Its striking design

concept is summed up in three words: ‘elegant, exclusive and exquisite’, which WA International, the designers of the space, feel captures the energy of Dubai.

The ‘elegant’ refers to the sleek and modern décor, which includes sculptural pieces, dramatic light-ing and an eye-catching graphic backdrop. The ‘exclusive’ tag en-sured that the design was infused with glamour and sophistication, which was imperative to attract an international clientele. The ‘exqui-site’ element refers to the excelling of expectations in both design, service and menu.

WA associate, Helen Skea, ex-plained that the company wanted to create a space that “oozes elegance and is sumptuously comfortable, inspired by the vi-brant architecture and outrageous decadence of the 1920s”.

The concept is loosely based around the art deco period, with

a contemporary twist. “We chose art deco as it encompassed all the trademarks of the seductive, deca-dent lifestyle of that period.”

The space was heavily inspired by the work and life of the artist Tamara de Lempicka, whose strong use of colour and powerful por-traits perfectly sum up the art deco movement. Lempicka is famed for her stylish and sleek androgynous portraits, which fuse cubism with a sense of decadence.

As lift doors open into the space, guests are confronted with full height glazing, with a view of the lake, the Bellagio-esque Dubai Fountain and of course, an uninterrupted view of the iconic Burj Khalifa tower.

Before the windows, however, the primary view is over the cast-lit bar feature. The dramatic light-infused central bar is mounted on black Star Galaxy natural granite which gives the bar a fl oating effect. The refl ective quartz in the granite is emphasised by the sparkling lights, giving a mystical quality to the space.

DESIGN: WA INTERNATIONAL

Neos28.

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FAVOURITE 50: LEISURE & ENTERTAINMENT

DESIGN: GILLES & BOISSIER

Hakkasan29.

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FAVOURITE 50: LEISURE & ENTERTAINMENT

Commercial Interior Design | FAVOURITE 50 47

Launched in London in 2001, Hakkasan was envisaged as a ‘Chinese Nobu’. Nearly ten years

on and the brand is recognised as having set new standards in Chinese cusine and haute Chinois interior design.

The original Michelin-starred London location has spawned sister restaurants in locations as far reaching as Miami and most, recently, Abu Dhabi.

Located in Abu Dhabi’s land-mark Emirates Palace Hotel, the newest addition to the Hakkasan family opened on June 1. With a ca-pacity of 165, the new restaurant

is anchored by chef Lee Kok Hua, from Hakkasan London, who has worked under the guidance of Hak-kasan head chef Tong Chee Hwee for fi ve years.

Recreating the Hakkasan ethos in a UAE setting fell to Paris-based design fi rm, Gilles & Boissier, which was also responsible for the interiors of the Hakkasan res-taurant in Miami, as well as the W Hotel in Pudong, Shanghai and the Hotel 1850m in Courcheval.

“We were asked to bring the London urban spirit to Abu Dhabi, while creating a modern authentic Chinese experience. It had to be elegant and sophisticated,

creating a new level of luxury din-ing in the emirate,” said founder, Gilles & Boissier, Patrick Gilles.

According to Gilles, Hakkasan blends the traditions of authentic Cantonese cooking with a modern fl air and opulent style. “Hakkasan revolves around immaculate at-tention to detail, from what you fi nd on your plate to the space that surrounds you. Everywhere you look, you must feel the exquisite craft that went into the ambience, just as with every bite you take, you feel the passion and love that went into the food,” he said.

The Hakkasan design ethos centres on the slogan, ‘Bring Back the Dragon’, a response to the way in which Chinese restaurant design has shifted away from its colourful cultural roots towards a stark mod-ernism. As a reaction to this, the décor of Hakkasan has sought to regain a distinctive ‘Chineseness’ with rich, sensuous overtones. The interior also aims to promote a sexy, nightclub feel.

Core components of the Hak-kasan brand, which are also evident in the Abu Dhabi restau-rant, include blue glass, a ‘caged’ dining area, and a contemporary European reinterpretation of Ori-entalism in the design of furniture, fi ttings and equipment. The overall impression is one of cool charm.

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FAVOURITE 50: LEISURE & ENTERTAINMENT

www.constructionweekonline.com48 FAVOURITE 50 | Commercial Interior Design

Karim Rashid, one of the most prolifi c designers of his generation, with over 3,000 designs in

production, work in over 35 coun-tries, and over 300 awards under his (no doubt very funky) belt, is no fan of The Dubai Mall.

Rashid made his UAE debut in the mall, with a colourful fusion restaurant called Switch – a project that wouldn’t have been realised at all if the mall’s manage-ment had had its way.

“The management of the mall did not like the design and said it did not fi t the mall language. I encouraged my client to pursue a fi ght with them to have it built.

“Just because the mall has bad, banal interiors, it does not mean that the public does not want interesting, inspiring shops and restaurants,” he said.

Rashid set out to create a powerful, clean space with strong perspectives; a restaurant that would act as “an oasis, free from chaos and clichés”.

The overall intention was to build an iconic reference for Dubai, an aim that resonated with Rashid’s client, Deem Al Bassam, director of Switch. “We built Switch as an icon for Dubai,” she said. “This was Karim’s promise, from day one. The design will pull people in; the food and service will bring them back.”

Al Bassam kept the brief open and unrestrictive. According to Rashid, the only real request was for a space that was very ‘21st century’ and would change

throughout the day. “I didn’t want to restrict him. I didn’t want to give him guidelines, as that would just limit him,” she said. “If you go to a designer, you have to trust them.”

Rashid responded with a design that he describes as “technor-ganic, sensually minimal, global yet Arabic, inspiring and rich, with data-driven fl uidity”.

In layman’s terms, it is dramatic, organic, bold and entirely original. The space is relatively small, with a capacity of 78 seats. It is shaped by two key elements – backlit, back-printed glass walls, fl oors and ceilings smothered in stylised Arabic script, and an undulating fi berglass wall that curves over a 22m-long banquet seat.

Both elements were strongly in-fl uenced by the Middle East. “The backlit ceiling consists of stylised, inspirational Arabic phrases; the lit, undulating lines on the fl oor evoking a digital running river.

“The undulating walls and continuous wave seating are an abstraction of the curvature landscape of a desert, creating an interesting texture for light and shadow. The walls are inspired by Arabic script, which I love.”

On the ceiling, selected words capture Rashid’s design philoso-phy, as well as his perception of the evolving nature of design and culture. This is an obvious state-ment of Rashid’s design intent – but one that is hardly necessary. From the colour palette to the curves, the space already has ‘Ka-rim Rashid’ written all over it, both literally and fi guratively.

DESIGN: K ARIM R ASHID

Switch30.

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FAVOURITE 50: LEISURE & ENTERTAINMENT

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FAVOURITE 50: LEISURE & ENTERTAINMENT

As the members-only World Trade Club pre-pared to open its doors to the public for the

very fi rst time, it also took the op-portunity to embark on its fi rst real refurbishment in 25 years.

Design consultant Chadi Tabbah was called in to oversee a refresh of the Dubai landmark, which is set high on the 33rd fl oor of Dubai’s World Trade Centre.

“The story of the design is the signature element of the World Trade Club for me – the entire concept weaves together to create one space,” Tabbah said.

“I created a journey through several continents, which took me nine months to design, and a year to execute,” he added.

As visitors arrive they are greeted by the sight of a huge painting of a maritime-inspired map, incorporating geographical lines, stars and the moon, hanging behind the reception desk.

“This is where the story begins,” said Tabbah. “The journey through the World Trade Club is like visiting

different continents, as the map is also repeated on the carpets in the corridors, but on a much bigger scale,” he continued.

“To the right of the reception desk is a golden plate, symbolising the North Star, another signifi er of direction. Beneath it, fl ooring is made from black granite sourced from the UAE, mixed with tiny gold mosaics from Spain, creating a grand fl ooring space.”

This concept of navigation between continents brings a com-bination of cultures together in one space. Authentic local artifacts and early photographs of Dubai and the ruling families of the UAE, give the club a local ambience.

“The pictures on the wall of the corridor are dated from the 1940/50s, showing the heritage of Dubai – the owners understand-ably wanted to keep these images, and make a special display.

“I took the old pictures and scanned them onto a fi lm – in-serted them inside a mirror and placed tiny lights behind the mir-ror,” Tabbah explained.

DESIGN: CHADI TABBAH

World Trade Club31.

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FAVOURITE 50: LEISURE & ENTERTAINMENT

DESIGN: ROCKWELL GROUP

Nobu Dubai32.

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Commercial Interior Design | FAVOURITE 50 53

The LA-based Nobu Mat-suhisa Group of Japanese restaurants, co-owned by Robert de Niro, made

its Dubai debut in an 11,500ft² eatery within the much-publicised Atlantis Hotel. The task of convert-ing the cavernous space into a setting worthy of one of the world’s biggest names in Japanese dining fell to the New York-headquartered Rockwell Group.

“To begin with, this restaurant was an extremely large white box, probably the largest one level space we have worked with for a Nobu restaurant. The challenge was transforming this space into a series of experiences and environments that created a coherent whole, and also captured the energy of Nobu and Dubai,” said David Rockwell, founder and designer, Rockwell Group.

Nobu Dubai represents an evolution of the design concepts developed for the chain’s other restaurants around the world, with an emphasis on craftsmanship, natural materials and storytelling. “We have collaborated with Nobu on its restaurants since the open-ing of the original Nobu restaurant in New York. This design is an evo-lution of many of the concepts that the fi rm developed for the fl agship Nobu Fifty Seven,” said Rockwell.

To inject some local fl avour into the Dubai restaurant, the design scheme incorporated traditional Arabian elements, as well as echoes of the beachfront. “This particular restaurant refl ects the Dubai beachfront context, with large-scale hand-woven abaca panels made of abaca rope and steel surrounding the restaurant walls and ceiling, evoking an aquatic environment. Accents of traditional Middle Eastern vernacular architecture, such as hand-wrought iron columns of fl owers, leaves and buds, are also prominent,” Rockwell detailed.

The woven abaca panels represent a signature element of the restaurant interior. “Elliptical-shaped translucent panels surround the bar lounge, and are covered with large-scale cherry blossom. These three-dimensional, computer-generated woven abaca panels surround the walls and ceiling of the main dining room, creating an experience akin to being immersed under an ocean wave,” he added.

Moving through the restaurant, a fresh mixture of wood and steel reinforces a natural feel. “For all the selected materials, our goal was to use the crafted, textural, natural materials, and marry them with accents and homages to the

Dubai location, making this restau-rant truly unique and fresh.”

The space also incorporates a mixture of fl ooring styles. Floors through the main bar area, sushi bar and restrooms are paved with simple slate, while black and white terrazzo embedded with pebbles, runs along the fl oor by the lounge.

Describing the work of the Rockwell Group as ‘collaborative’, ‘choreographed’, ‘theatrical’ and ‘immersive environments that fos-ter connections’, Rockwell believes that Nobu Dubai was the result of a ‘cross-disciplinary mish-mosh’ of personalities and talents that all collaborated and brainstormed to come up with innovative ideas.

“It’s all about blurring the boundaries, allowing a plurality of interests to compete, always being alert to the possibility of new juxtapositions, unexpected colli-sions, to the wealth of inspiration available from cultural landscapes around the globe.

“In all our work there is a focus on creating the environments where guests and visitors want to stay and occupy, to connect, share the moment, and to return,” Rockwell said. “So, I want the spaces I design to make emo-tional connections with people and provide memorable shared experiences,” he concluded.

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FAVOURITE 50: LEISURE & ENTERTAINMENT

The Juala Spa at the Grand Hyatt Doha is defi ned by its name, which translates from Arabic to mean ‘jour-

ney’. Visitors are invited to retreat fully into the all-encompassing folds of the spa.

“Touch, texture and sound were essential drivers in creating this journey of retreat and respite for the guest, and in ensuring that they leave with new memories,” explained Michelle Evans, manag-ing associate, HBA Dubai, the com-pany responsible for designing the hotel and all associated facilities.

The exterior of the spa reiterates the overall architecture of the Grand Hyatt Doha. The aim was to create a structure that drew upon local cultural heritage and traditions – and treatments were designed to promote a similar blend of infl uences.

The 4,000m² sanctuary features a total of 12 luxurious treatment suites, including two couples suites, a relaxation area with a tranquility pool, a health club, a retail boutique and a ladies’

salon. Vast, open spaces promote a sense of luxury and grandeur, while fl oor-to-ceiling glass win-dows allow natural light to fl ood in.

When it came to materials, HBA favoured natural, light-coloured stones, river pebbles, rich, warm, wood-colour tones and ornate carved wooden panels, to reiterate an overall sense of tranquility.

Water is a central theme and runs throughout the design scheme, Evans continued. “The el-ement of water is the heart of this spa. It is strongly used throughout the space, which elicits many moods for the senses, such as sound, as it meanders through the interiors; sight, with the refl ection pools in the relaxation areas; and touch, through the treatments.”

Ultimately, it is the effective blend of old and new that contrib-utes to the overall success of the interior, Evans suggested.

“We sought to create an elegant and timeless design by seamlessly combining elements of the old world and the new, while evoking all the senses,” she said.

DESIGN: HIRSCH BEDNER ASSOCIATES

The Juala Spa33.

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FAVOURITE 50: LEISURE & ENTERTAINMENT

An LW Design Group creation, Okku is an achingly trendy addition to Dubai’s night scene.

The Japanese restaurant/nightclub in The Monarch Hotel opened its doors to Dubai’s glitterati in 2009 and has fast become the place to see and be seen.

Taking centre stage above the bar is a mesmerising aquarium fi lled with pulsating jellyfi sh, add-ing a hint of atmospheric danger to the dark and sultry interior scheme. Water features refl ect the fl icker of hanging candles and lit curtain dividers provide a moody light. The contemporary Japanese design is created by using dark, ro-bust materials that retain a sense of mysticism and exoticism.

Black wrought iron screens and balustrades complement the dark stained timber and honed granite panels, while circular white leather seating introduces a more playful vibe to the distinctive design.

Okku was designed “to give a very private and intimate feel”, ex-plained co-founder, Okku, Markus

Thesleff. “Design to us is equally important as the quality of our ingredients and the passion of our staff,” he said.

“We’ve incorporated the four base elements of earth, wind, fi re and water in the design. The outlet is spread over three levels.

“Everything has a story, with lots of personal touches that refl ect our passion,” he added.

DESIGN: LW DESIGN GROUP

Okku34.

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DESIGN: BISHOP DESIGN ASSOCIATES

Persia Persia35.

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FAVOURITE 50: LEISURE & ENTERTAINMENT

Commercial Interior Design | FAVOURITE 50 57

Designing an interior for the top of a pyramid is always going to be tricky. In the case of

Persia Persia, a restaurant at Wafi , Dubai, designed by Bishop Design Associates, the job had the added challenges of leaving the existing decoration and structure intact.

Venues at Wafi are defi ned by a pervading Egyptian theme. It is seen in stained glass windows, murals, fi xed décor and, of course, the pyramid itself. Up top, the res-taurant had to be built into a single large open space, fragmented by an unusual fl oor plan.

“The whole space was very fragmented before, with no spatial interaction going on, just one open area within the huge apex of the pyramid,” said Paul Bishop. “We had to work around what we inherited and give it a more hu-man scale. We couldn’t touch the pyramid murals or other Egyptian elements,” he noted.

The brief was, quite simply, to create a Persian restaurant. “Wafi was fl exible and while it could have been heavily themed, we looked at how we cold take this musical, poetic, artistic culture and give it a space that is a bit more contemporary.”

Key to achieving what was required was a series of layers.

“We opted to try and mask the murals, so people don’t see them but are still exposed to them,” said Bishop. “If you like, we’ve put a veil over [the space] to create its own identity and autonomy.

“People are exposed to different areas, not just left in a giant space, with no connection to anything. We also had to create a connection be-tween the two wings of the space and the main dining area.”

The design focuses on creating texture and leaves few surfaces fl at. For example, wall panels are MDF fi nished with a high-gloss white lacquer and carved with traditional Persian patterns. One

side of the dining room is screened off from the lobby using large cast-glass panels, which are opaque and decorated with a geometric pattern. “What we’ve achieved through carving, indirect light, accents of material and decorative lighting means we don’t have to overplay the space; there is detail everywhere but it all blends.”

Fabrics feature heavily. “They are beautiful materials, but it’s not solid; it could all be removed because it’s totally demountable.”

Not only do they cast a veil over some of the existing décor, the fab-rics are used to create structure in a space where structural changes

were not permitted. They combine with a mass of natural light, which fl oods in from the terraced areas and the pyramid’s central core.

Creating a distinctly Persian look was a key part of the challenge. With a strong and clearly identifi -able culture to represent, Bishop had to balance elements of the traditional and modern to please both the old guard and the young and fashionable.

Bishop’s feeling was that the culture’s design language would be recognisable, it would just be a question of application that would make the design either contempo-rary or classic.

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FAVOURITE 50: LEISURE & ENTERTAINMENT

Recognised for its unique built form and its association with the Dubai Desert Classic,

the Emirates Golf Club clubhouse, originally designed by Brewer Smith Brewer Gulf (BSBG) in 1987, is currently undergoing a refurbish-ment and upgrade of its facilities.

BSBG has once again been com-missioned to lead the consultant team in designing and delivering a modern and functional upgrade to all interior spaces, including bars, restaurants, retail outlets, kitchens and other facilities.

BSBG’s new design of the clubhouse reconnects the interior spaces by minimising internal partitions within areas such as the family dining restaurant. Similarly, the Spike Bar, overlooking the lower terrace, has been opened up by relocating the bar to the rear and creating a large, fl exible seat-ing and buffet dining area adjacent to the large windows.

The new expansive internal layouts capitalise on the large vertical volumes provided by the

iconic, Bedouin tent-inspired forms. Enhanced connectivity to the surrounding landscape is also key to the design’s success.

Challenges associated with working within a complex existing structure have been overcome by BSBG through detailed investiga-tions and analysis during the de-sign stage and a ‘hands on’, daily involvement with the contractor.

Materials and fi nishes such as rare granite, Italian marble, be-spoke furniture and exotic timbers were chosen to create a modern, clean and airy interior, while maintaining a warm and welcom-ing ambiance which is essential to comfortable and inviting club-house design. Specialist lighting design complements warm timber fi nishes, providing a relaxing and non-confrontational space.

Complementing the extensive interior works is a major upgrade of the surrounding landscape, terraces, swimming pool and gymnasium. A new state-of-the-art wellness spa with seven treatment rooms is also under construction.

DESIGN: BREWER SMITH BREWER GULF

Emirates Golf Club36.

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The 1,500m² Capital Club in Bahrain is set over two fl oors, and encompasses a bar, two dining rooms,

private meeting facilities, a lounge and a library.

The fi rm responsible for its interiors, Design Worldwide Partnership (DWP), tried to create a series of highly individual spaces that promote a strong sense of character. “It was critical to give people some variety so the club didn’t feel the same in all the various rooms,” said Kristina Zanic, founding partner, DWP. “The client, Russell Matcham, executive director of Signature Clubs Interna-tional, was open to this idea, so we have rooms that are very light and luxurious, and others that are dark and intense. There is personality in each of the areas.”

In the lounge, shades of cream and taupe dominate, with splashes of aquamarine and burnt orange for contrast. The Members Bar, meanwhile, is highly intimate, with ceilings and walls that are clad in a dark walnut fi nish.

The bar, on the other hand, is clad in a whisky coloured onyx, while low seating is coupled with high stools. The library is home to a more traditional design style. Art sourced from Thailand and the US is coupled with rugs from Istanbul to create a cosy retreat. “The library is very eclectic and I guess it’s more my style,” said Zanic.

The Signature Grill Dining is brimming with dark wood and black textured leather panels that line the walls. The ceiling is part

smoked bronze mirror and part tan-coloured suede fabric. The carpet is jet black, with a curved pattern that gives it a softer edge. Booths are lined in red leather and a velvet curtain detail.

The design comes to a climax in the Anan and Jade rooms. The Jade room is shaped by an overridingly Chinese design language. “In the Jade room we used shades of green and gave this a very oriental and Chinese feel.

“Beautiful green onyx was used for the fl oors and table tops, and there are rich carpets in chocolate brown with Chinese patterns in a deep green shade, which were all custom-designed,” Zanic said.

The Anan room promotes a far more regional feel. In stark contrast to its Asian-inspired counterpart, the Arabic-themed space is almost entirely decked out in shades of taupe and off-white. Mashrabiya-patterned stone wall panels divide the space and are brought into focus by light fi ttings designed in Istanbul.

“I also spent time going to Damascus and designed several pieces of mother of pearl furniture, which really helped to create a feeling of authenticity. The ceiling is an interesting series of trian-gular shapes in a 3D effect. The carpet also refl ects the pattern,” Zanic highlighted.

“The views are also very special and I always say that the inspira-tion of the room was to feel like you were a part of Bahrain, as you simply blend in with the city and its architecture,” Zanic concluded.

DESIGN: DESIGN WORLDWIDE PARTNERSHIP

Capital Club37.

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FAVOURITE 50: LEISURE & ENTERTAINMENT

Mango Tree, an old Thai name recognised in major cities across the

globe, made its regional debut in Souk Al Bahar, Downtown Dubai.

The restaurant’s interiors were created in collaboration with interior designer Steve Leung and lighting consultant Tino Kwan.

A key theme running throughout the restaurant is the concept of nature, evident in the continuous use of materials such as wood, granite, marble and travertine. Glass and leather are also used – a combination of materials all meshed together in one space.

Foodmark, the owner of the restaurant, did not want it to be overwehelmingly ‘trendy’, hence the use of timeless, classic materi-als. Panga Panga, sourced from Asia, was used on the fl oors of the pavilion dining area. In addition, stainless steel fi nishing was used to edge the wooden tables.

Following the themes of a tradi-tional Thai home, the restaurant is divided into four areas – each with

its own name and its own unique atmosphere and focal point.

On arrival, customers are faced with a glass mural corridor that runs right the way through the entrance of the restaurant and lounge/bar area. Here, the focus was very much on alignment.

Etched using acid to create a checkered effect, the lines on the glass run all the way across to the bar area. This concept of alignment is consistent throughout the entire restaurant interior.

The corridor leads into the main restaurant area. Referred to as the ‘living room’, the space encompasses three seating booths topped with golden silk pillows to create elements of luxury, indi-vidual dining tables, and a large communal table.

Taking advantage of the size of the dining table, Kwan and Leung turned the concept of dining into a feature through a large wooden chandelier suspended over the table’s wood and marble surface. The chandelier was hand made from antique wood.

DESIGN: STEVE LEUNG

Mango Tree38.

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FAVOURITE 50: LEISURE & ENTERTAINMENT

With Ken Lo’s Memo-ries of China, Enrico Botta Architecture and Interior Design

was presented with the opportu-nity to build a restaurant venue from the ground up.

“I was given a free rein in con-ceiving this entirely new building. The only requirement imposed by the client was that it should be un-paralleled in the country [Bahrain]. This ambitious target, together with the unusual shape of the plot, ignited the creative process,” said Enrico Botta.

The initial imprint of the design came from the triangular shape of the plot. Although this presented a challenge in terms of space plan-ning, it was also “loaded with an inner dynamism that infi ltrated the whole project to give it a sense of movement and growth, as in a fu-turist sculpture”, Botta explained.

Structurally, the building is char-acterised by the extensive use of

cast-in-situ reinforced concrete, to create cantilevering and extremely long, clear-span structures.

The structural concept is entirely unique in Bahrain. “The interior takes on the same principles, guid-ing the architectural design. The articulation of the space is shaped by the unobstructed double height void and the sloping roof.

“The various levels of the fl oor, which include a mezzanine overlooking the main dining areas, combined with the magisterial use of mirrors and décor elements, contribute in giving the visitor a sense of spaciousness, in spite of the small footprint of the building,” Botta detailed.

The lighting and aircondition-ing systems are also completely integrated into the design, so that not a single AC grill can be spotted throughout the restaurant. The lighting offers two very different schemes for day-time and night-time operations.

DESIGN: ENRICO BOT TA

Ken Lo’sMemories of China

39.

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FAVOURITE 50: LEISURE & ENTERTAINMENT

Packed with natural mate-rials and heavy textures, the Fire of Brazil restau-rant in Bahrain’s Seef

Mall offers a sensory overload. Adapted from the existing Fire

of Brazil concept restaurant in the USA, Inoui Designs was asked by its client to take the original design and inject it with an upmarket feel.

“The idea was to turn a casual-style restaurant into a fi ve-star, quality dining experience by making it more lavish,” explained Hamad Janahi, general manager, Inoui Designs.

The 650m² space was divided up into different areas to visually segregate the fl oor area. The res-taurant is cleverly made to appear larger through the use of islands and raised areas.

Once the space was divided up, the next challenge lay in the logistics of retaining the same feel of the restaurant’s US coun-terpart in terms of the types of materials used, overall style and atmosphere, while consciously upgrading the design to a higher

level. “The original Fire of Brazil design used a lot of bamboo and stones giving it a more casual atmosphere,” Janahi explained.

Inoui complemented a bamboo ceiling with a range of natural materials such as jute and rattan furniture, teamed with a light cream upholstery. All the furniture, chairs, waiting-lounge sofas, in addition to the bar lighting, fl oor lighting and corner hanging lights were custom-made in Indonesia by a company called Pronabon.

In keeping with its American sib-ling, and to ensure that the design lived up to the restaurant’s name, fi re is a key element in the design, Janahi explained. “Fire itself is used to create a special effect and the fi replace is positioned in the central area as a main feature and important element.”

Domed extractors are placed above the individual fi re islands and the same fi nishing effect is echoed in the design of all ele-ments, such as the pendant and wall lights, to guarantee harmony within the interior design.

DESIGN: INOUI DESIGNS

Fire Of Brazil40.

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FAVOURITE 50: LEISURE & ENTERTAINMENT

The hypnotic vibrancy of ‘Persian’ turquoise inspired the design of Golestan, an Iranian

eatery located in the Sheraton Bahrain Hotel.

According to Hirsch Bedner Associates (HBA), the design fi rm responsible for the restaurant’s interiors: “Persia’s sky-blue tur-quoise has always been a magnet for beauty seekers throughout history. It is found extensively in Iran’s north-eastern city of Ney-shabur, dating back to 4,000 BCE.”

Vibrant blue-green hues reap-pear throughout Golestan’s inte-riors, starting at the entry where accent glass mosaics are set on a bed of white Carrera marble.

A uniquely-designed, full-height turquoise chandelier descends from the ceiling in a spiral form, reaching towards a crisp marble fl oor, and echoing the fl oral move-ments of traditional Iranian patterns. Rich silver metal works, in-laid marquetry panels, and handcrafted enamel vases stand out against white marble walls.

Close attention was paid to details and fi nishes in order to ensure that the space retains an individualistic character.

Solid rich walnut fl ooring with inlaid silver engraved metal tiles adds to the richness of the space, while chairs in embossed custom fl oral leathers in white and tur-quoise, tipped with silver accents, create texture and depth.

DESIGN: HIRSCH BEDNER ASSOCIATES

Golestan41.

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FAVOURITE 50: LEISURE & ENTERTAINMENT

Zuma Dubai’s interior concept was created by designer Noriyoshi Mu-ramatsu of Tokyo design

fi rm Studio Glitt — the man respon-sible for the interiors of Zuma’s other restaurants in London, Hong Kong and Istanbul.

“He was inspired by the six elements of earth, fi re, iron, wood, water and air,” said Elmar

Pichorner, operations director of Zuma Dubai. “The aim was to create not only novelty but also a sense of nostalgia. Noriyoshi tried to create the space for guests to enjoy walking around and looking at beautiful views within the res-taurant,” he explained.

Interior design is crucially impor-tant in the upmarket segment of the F&B market, according to Pichorner. “Guests with higher dis-posable incomes not only choose the fundamental offering of food and beverage, but very much also take ambience into account when selecting a preferred venue.

“If you had two outlets to choose from that both have identi-cal F&B offerings and price, one located in a barren space, the other with a comfortable, attrac-tive interior, where would you go?

“The thing to remember is that design has to create an ambience that appeals to all senses — sight, touch, smell, and sound — as well as being fl exible enough to allow the venue to adjust the experience through the day’s moods.”

DESIGN: NORIYOSHI MUR AMATSU

Zuma Dubai42.

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FAVOURITE 50: RETAIL

Bahrain-based Inoui De-signs was faced with a rather singular task when it was asked to

create a retail space for local design brand, Debaj Couture.

“Our challenge was to convert a run-down, abandoned town house into a modern haute cou-ture retail venue where fashion and design meet,” explained Inoui’s Dinan Salaheddine.

Covering a total of 260m², the interior is split into two distinct sections. One is dedicated to ‘casual’ pieces that anybody can access, and the other is dedicated to the more exclusive, ‘couture’ collections.

“In this section the pieces are treated as jewels and displayed with a spirit of mystery where only exclusive customers can view them, providing them with a special, VIP service. This is to enhance curiosity and encourage interest,” said Salaheddine.

The overall design scheme has a distinctly Arabian feel, infused with a high-fashion edge. An

indoor catwalk dominates, and comes complete with profes-sional lighting and a live projec-tion feed. This is complemented by a striking colour scheme. “The palette chosen was a contrast of black and white, with a dominat-ing touch of ‘Royal Magenta’ pat-terns – the perfect background to ensure that the attire on display was not overpowered.

“Going to the exterior, we stripped the old house from its current features by taking it back to its basic concrete fi nish. A zen-styled garden area can be converted into an outdoor fash-ion event venue with the avail-ability of a suspended catwalk that extends from the indoors,” Salaheddine detailed.

Flanked by water features, the outdoor catwalk is a striking addition to the overall design scheme. “Having an outdoor el-evated podium for grand fashion shows, with the building as the backdrop to those events, is an innovative and original feature of this design,” Salaheddine said.

DESIGN: INOUI DESIGNS

Debaj Couture43.

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FAVOURITE 50: RETAIL

The Gina Shoes store in Dubai Mall marks the spectacular transition of a highly successful but

family-based London business into a bonafi de global brand.

Gina Shoes has been operating from a workshop in North London for fi fty years, creating crafted, jewel-like products. For its Dubai debut, it needed a store that would communicate the ethos of the brand. The space had to speak of beauty and opulence, whilst highlighting the crafted detail and bespoke quality of each shoe.

Set on the ground fl oor of Dubai Mall, the 85m² store was created by the UK-headquartered Caulder Moore Design. “For the brand’s in-ternational debut we refl ected the unique Gina motif, the distinctive colour palette and subtle brand-ed elements, whilst introducing bespoke items and luxury fi nishes on a grander scale, combined with a high-impact fascia to make a powerful statement as the ultimate exclusive shoe destination in the visually spectacular Dubai Mall,”

DESIGN: CAULDER MOORE

Gina Shoes44.

said Ian Caulder, creative director at Caulder Moore.

“The main areas of interest are the exterior fascia, the vertical scale of the interior features such as mirrors, light boxes and bespoke ring-shaped Swarovski chandeliers suspended from the ceiling, and the contrast between the main front fl oor area and the couture, serviced area at the rear.”

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FAVOURITE 50: RETAIL

Mirdif City Centre is noteworthy for many reasons – not least because it could be

the last big retail project to open in Dubai for some time to come.

The mall is very much of its time, and acts as a clear indicator of how Dubai’s retail industry is evolving. For a start, it is one of the fi rst retail developments in the UAE to be built with a LEED Gold rating in mind. “We decided that we wanted to be the fi rst of a new generation of sustainable malls, and not the last dinosaur,” said Jonathan Em-ery, senior vice president, project management, of mall operator, Majid Al Futtaim.

This was something that guided the design from the very offset, explained Ken Christian, director of RTKL UK, the architecture and design fi rm responsible for the master planning, concept and inte-rior design of Mirdif City Centre.

Another defi ning characteristic of the new mall is a distinct lack of gimmicks and over-the-top attractions. Instead, the emphasis

DESIGN: RTKL UK

Mirdif City Centre45.

was on creating a straightforward, comfortable shopping experience. “While our aspirations for the de-sign were high, we also knew that we had to create a space that was warm and welcoming rather than super glossy,” said Christian.

The design scheme is based on the idea of a ‘desert villa’ which features a collection of enclosed and semi-enclosed spaces con-nected by a series of ‘streets’ and passageways. A racetrack layout, bisected by a central street, makes the space easy to navigate.

In keeping with the desert villa theme, the food court areas draw inspiration from the patios and courtyards commonly found in local architecture.

Interior landscaping plays a sig-nifi cant role in the overall design of the mall, and supports its ‘green’ approach. Water features and soar-ing palms form part of the interior, creating an indoor oasis.

This is complemented by an abundance of natural light, which is fi ltered through intricate ceiling and wall fi nishes.

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FAVOURITE 50: RETAIL

Thanks in no small part to a Ms Carrie Bradshaw, the name Manolo is synonymous

with women’s shoes of the most sought-after variety.

The task of creating Manolo Blahnik stores to house these design masterpieces has increasingly fallen to Data Nature Associates – the London based architectural, interior and design company founded by Manolo’s niece, Kristina Blahnik, and her husband, Nicholas Leith-Smith.

Manolo Blahnik stores in Hong Kong, Korea, Singapore, Turkey, Ireland, Athens, Jakarta and Dubai Mall already sport the Data Nature design stamp. “The Manolo Blahnik concept is that every shop has to be unique to its identity, to its culture, to its artisanry, and to its nature,” Blahnik noted. “When we started looking at Dubai we realised that the danger of looking too much into Arabic culture is

DESIGN: DATA NATURE ASSOCIATES

Manolo Blahnik,Dubai Mall

46.

that spaces can become a little bit of a cliché. We wanted to take it one step further, so we started looking at Dubai in terms of its geological and natural elements.

“There are huge coral reefs being killed because of the expansion of Dubai and these are beautiful and unique. We also looked at crystallised salt, because I understand that there are these incredible salt fi elds outside Dubai. Obviously, we also looked at the desert and the Bedouin lifestyle.”

A key challenge faced by Data Nature was the height of the space. “In a space that is 5.2m high, something as small as a shoe is going to get swamped. So we brought in a very plain grid to give scale to the object. We also had to lower the ceiling somehow, so we thought why not take this opportunity to create a datum of Tom Dixon lamps, which abso-lutely captures that Arabic feel.”

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FAVOURITE 50: RETAIL

DESIGN: PORTL AND DESIGN

Ajmal Perfumes47.

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“Heritage is a double-edged sword,” suggested Abdulla Ajmal, deputy general manager of Ajmal

Perfumes. “On the one hand you have the trust and the grounding and the foundations, but on the other hand, you are old, especially in this part of the world, where novelty is so important.”

The multi-million dollar, family-owned business is one of the region’s leading manufacturers and retailers of perfumes and beauty products. But, after nearly 60 years in existence, it was time to closely examine the brand, explained Ajmal, the third genera-tion of the family to be involved in the business. “Over the last few years, we’ve been doing a lot of soul searching; questioning where we stand as a retailer and as a brand,” he explained.

By-products of this soul search-ing were a refreshed image and a new retail concept, which was fi rst unveiled at Ajmal’s BurJuman Centre store. Once it has been fi ne-tuned, the new concept will be rolled out across some 200 stores around the world.

The company, an established local player, also has global aspirations, which further ac-centuated the need for a revamp. Essentially, Ajmal required a retail

concept that would be accessible to a global audience but not so far removed from its roots as to estrange its predominantly local customer base. “We needed a concept that wouldn’t be too alien or intimidating, because the Arabic perfumery tends to be very different and quite alien.”

In terms of brand positioning, the company adopted the mantle of ‘ethnic chic’, with a brand promise that centres on innova-tion, creativity, quality and value.

For the design of its BurJuman store, Ajmal appointed Portland Design, an established British retail specialist that was able to answer Ajmal’s call for a ‘retail concept designer rather than just a store designer’.

“Basically, the brief was very very brief. They took the time to understand our operations. They took the time to understand our vision, where we are going, what we want to be in fi ve year’s time. We did not dictate how the store should be; all we said was that it needed to offer a different experi-ence,” Ajmal explained.

With its new space, the com-pany also wanted to explore new ways of doing business. “Typi-cally, in this part of the world, everything is counter based. The customer comes to the counter

and the sales person shows them something. We wanted to move away from that typical salesman/customer relationship.”

The store was divided into two parts. One section is self-service, where customers are able to inter-act directly with the products. “Of course, a sales person is always there to answer their queries but the customer can feel free to just wander about and try out samples and testers,” Ajmal detailed.

As part of its new brand per-sonality, Ajmal also adopted a new motif. “This geometric design has been picked up from Arabic architecture and has been given a fl oral form. The concept is that it fl ows and as it gets further and further away; it fades, which rep-resents fragrance and smell.

“We also consciously started thinking about what it is that we actually do. We needed to clearly defi ne that in marketing terms. So we have taken on the tagline ‘crafting memories’. The most in-tense form of unlocking a memory is fragrance. It’s a fact.”

In order to craft the desired experience, the interior uses Erco LED lighting and semi-transparent Corian counters gently infused with light. Ceiling and fl oors have been kept simple to ensure that focus falls fi rmly on the products.

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FAVOURITE 50: RETAIL

Having already designed seven outlets for Eti-salat, Imagination was given free rein when

it came to the telecom giant’s Dubai Mall retail space.

“They gave us the freedom to create, within their specifi ed requirements, an environment that would be unlike any other retail experience that their con-sumers would have been part of,” explained Alfred Johnson, managing partner, Imagination.

The aim was to create a brand-enhancing, cutting-edge space that built on the ‘new age’ feel of Etisalat’s other outlets. In previ-ous stores, Imagination had used organic shapes, futuristic materi-als and biomorphic detailing to create an exciting new brand identity for Etisalat. The intention was to take this one step further in the Dubai Mall.

“The Etisalat Dubai Mall outlet explored the realm of using

biomorphic fl uid architectural detailing in a way that had never been done before in the region.

“Every aspect of this creation was developed from the client’s brand ideology and detailed to el-evate and reinstate their position as technological pioneers in the region,” Johnson detailed.

“Having specifi ed their manda-tory requirements within the retail space, we proceeded to craft various elements, such as quick ‘E’ workstations, freestanding displays, a branded visual aid and wall-mounted display units, from their corporate identity.”

The freestanding displays grow from fl uid lines at the base of the fl oor into crystal glass tops that showcase Etisalat’s product. “And the wall mounted displays were drawn from biomorphic lines re-sembling the Etisalat logo, all the while being complemented by the fusion and LED-etched glass walls on either side of the store.”

DESIGN: IMAGINATION

EtisalatDubai Mall

48.

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Nestled in a hotel that speaks of the sea, on a man-made island built from sand, Villa

Moda’s outlet at Atlantis, Palm Jumeirah Dubai enthusiastically embraces the natural elements on its doorstep.

Sand was incorporated as an elemental building material, used to plaster the walls and coat the fl oors. A clear, shiny resin was then poured over the sandy fl oor and, inching up onto the base of the walls, creates the vivid impression of water washing up into the store.

The effect, oddly realistic and undeniably original, acts as a gentle reminder of the shop’s unique setting. In addition, the contrasting elements of sand and water, wet and dry, and smooth and rough, set the tone for an en-vironment characterised by seem-ingly contradictory infl uences.

Designed by Japanese fi rm Stoique, the new shop blends old and new, local and interna-tional, and the authentic with the progressive. Antique Middle Eastern furniture is juxtaposed with advanced Japanese design and technology to symbolise a harmonic coexistence between the modern and the traditional.

The contrast between sand, the most fundamental and primitive of materials, and the luxury fash-ion items on show, represents another striking contrast – but the

comfortable interaction of these two extremes acts as a deliberate representation of harmony be-tween the past and the future.

For Eric Stowe of Stoique, it is the fusion of simple materials and advanced technologies that best characterises this project. “We wanted to use the natural materi-als of Dubai with the technology used in Japan. Bridging these elements symbolises the blend of culture and technology, which is part of the concept.”

The Atlantis outlet is testament to the unique approach to retail design promoted by Villa Moda founder Sheikh Majed Al-Sabah, the so-called ‘sheikh of chic’. Established in Kuwait, the Villa Moda brand is highly design-orientated, but also committed to the promotion of an authentic Arabian aesthetic.

In the Atlantis store, a sense of comfort is heightened by the self-enclosed, almost insular, nature of the space. At its core stands a separate, boxed off area that acts almost as a shop within a shop.

An enormous wooden door stands ajar at the entrance of the shop, and is both overwhelming and alluring at the same time. The effect created is almost vault-like and the impression is of a space hidden from view, full of mystery and promise. This sense of mystery is continued on the walls, where unintelligible etchings pro-trude from the sandy surface.

DESIGN: STOIQUE

Villa ModaAtlantis

49.

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FAVOURITE 50: RETAIL

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FAVOURITE 50: RETAIL

S*uce, a ‘trend boutique’ in Dubai, fi rst opened its doors in February 2004. Following its

success as a women’s fashion haven, the store went through a major expansion and refi t, in a design collaboration between Zayan Ghandour, co-founder and creative director of S*uce, and Eiko Fujita-Summers, a senior designer at Above Consultancy.

In spite of the extension, Ghandour wanted to maintain the impression of ‘walking into your best friend’s wardrobe’. “The design brief was very un-conventional. It emerged through the collection of a lot of ideas all mixed together from Eiko’s trav-els, books and magazines, along with mine. Most of the time, col-lectively, we had so many ideas and we just didn’t have enough space for all of them,” she said.

The extension features trade-mark ‘S*uce’ features, such as designer chandeliers, white con-crete fl ooring and gold-fi nished fi xtures such as hanging rails and

cabinet detailing. However, it also embraced new features, including photo-wall-frames used to display accessories, kitschy neon signs and furniture from Tromp L’Oleil.

Despite having introduced new and improved design elements to the space, Fujita-Summers worked hard not to completely wipe out the original ‘old’ look of the store. “With a refi t, for me there always has to be some kind of transition,” she explained.

The design of S*uce is essen-tially a theme that’s growing and developing. The original S*uce, according to Fujita-Summers, “had a very strong style but it didn’t have a catching point or much focus... but it was really easy for me to look and expand on the existing idea itself.”

Now, walking into the store, the difference between the ‘white-side’ (old), and ‘gold-side’ (new) is immediately noticeable. Using a strong palette of gold, pink and white – the space’s main identity colours – the interiors fl ow into each other in a seamless design.

DESIGN: ABOVE CONSULTANCY

S*uce50.

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INDEX

www.constructionweekonline.com80 FAVOURITE 50 | Commercial Interior Design

01.02.03.04.05.06.07.08.09.10.11.12.13.14.15.16.17.18.19.20.21.22.23.24.25.26.27.28.29.30.31.32.33.34.35.36.37.38.39.40.41.42.43.44.45.46.47.48.49.50.

MeydanBanyan Tree Al WadiYas HotelArmani Hotel DubaiW DohaPark Hyatt JeddahInterContinental Al BustanAddress Downtown DubaiSix Senses Zighi BayThe Makkah Clock Royal TowerThe Monarch SuiteRadisson Blu Yas IslandNorth 55Majid Al FuttaimThe Environment AgencyCEVAMCANBarclaysNokia Siemens NetworksSama Dubai Tunis Sales CentreCity HospitalAl Jawhara CentreDubai Chamber of CommerceDP WorldDubai MetroThe LoftRefl etsNeos HakkasanSwitchWorld Trade ClubNobu DubaiThe Juala Spa OkkuPersia PersiaEmirates Golf ClubCapital Club BahrainMango TreeKen Lo’s Memories of ChinaFire of BrazilGolestanZumaDebaj CoutureGina ShoesMirdif City CentreManolo Blahnik, Dubai MallAjmal PerfumesEtisalat, Dubai MallVilla Moda, AtlantisS*uce

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