commercial interior design

Interior designCOM

MER

CIAL

The essential guide for Middle East interior design professionals An ITP Business Publication

June 2009 Vol.5 Issue 6

The essential guide for Middle East interior design professionals

An IT

P Business PublicationCO

MM

ERCIALInterior design

June Vol.5 Issue 6

INTERIOR AUTOMATIONWhy demand for energy-effi cient, fullyautomated interiors is on the increase

WARMING TO WELLNESSWith the new Super Care, Bluehaus proves that pharmacies do not have to be clinical

A selection of furniture suppliers that you can’t afford to ignoreSITTING PRETTY

www.constructionweekonline.com Commercial Interior Design June 2009 1

CONTENTS▲

June 2009

25

07 DESIGN UPDATEDepa: Burj Dubai a logistical ‘nightmare’ • At home with Selva • Untapped technology • Kitchen concepts from SieMatic • Colour makes a comeback •

PROFILEEvery month, we provide a company of choice with the opportunity to introduce themselves, and any new and exciting developments at their company. This month, we meet Kart Design.

INDUSTRY SPEAKMore often than not, regional projects come with a brief that demands 21st century reinterpre-tations of ‘Middle Eastern’ design. We question what, exactly, Middle Eastern design means.

A TO ZOver the course of the next few months, Chris Barnes, managing director of Broadway Interiors, will be giving us a step by step, real-time account of the develop-ment of a restaurant project that the company is currently working on in Oman. This month, Barnes sets the scene.

DESIGNER Q&AChris Dewar-Dixon, creative director of Four IV, has created interior and brand identities for some of the most recognisable retailers in the world. Here, he takes time out to talk luxury.

REGIONAL CASE STUDYWith its new Dubai Mall outlet, Super Care wanted to make the transition from pure pharmacy to total wellness provider. Bluehaus was tasked with creating the interiors to match.

30

16

19

23

07

30

25

23 2307

CONTENTS

www.constructionweekonline.com2 Commercial Interior Design June 2009

36

36 INTERNATIONAL CASE STUDYMarni’s second store in New York promotes a minimalist, angular simplicity, without coming across as too cold.

SUPPLIERS YOU SHOULD KNOWA handful of furniture suppliers that you can’t afford to ignore.

WINDOW DRESSINGThere is a whole lot more to window dressing than simply shutting out the light. Selecting the right product can add style, bring in a technical touch and help you to drastically minimise your carbon footprint.

INTERIOR AUTOMATIONDemand for energy-effi cient, fully-automated interiors is defi nitely on the increase.

HEADING OUTOur new monthly section on the outdoor design industry.

PRODUCTSA selection of products, including the Club Chair, Torso, Uto,and Impact, Strata and Alto from Skopos Design.

CLASSIFIEDSCID’s own directory of suppliers and manufacturers.

CONTRACTSYour monthly guide to contract tenders in the region, provided by Ventures Middle East, in conjunction with CID.

OPINIONA behind-the-scenes look at the Atlantis by Trisha Wilson.

THE BIG PICTURERadisson Blu, Johannesburg.

41

53 47

June 2009

47

58

41

67

72

61

68

71

53

www.constructionweekonline.com

Schletterer Wellness & Spa Design is one of the leading spa planning and spa consulting companies worldwide.

The company was founded by Heinz Schletterer, a pioneer in the fi eld of wellness and spa. We plan and realise unique wellness and spa hotels and spas. These range from small private spa oases to huge, fascinating day spa facilities. We carry out business on four continents, mainly working with clients from the hotel and leisure industry. We strongly focus on providing our clients with unique and highly profi t-able well-being concepts.

According to growing economical needs, we’re concentrating even more strongly on the planning and realisation of real estate which blends well with the environment and features long-term profi tability for both investor and operator.

THE FULL PACKAGESplit into four highly-effective divisions, Project Development - Design – Realisation – Manage-ment, we approach our projects from a holistic perspective. We work on hotel project develop-ment, make business strategy for our clients, defi ne the hotel architecture and interior design, analyse economic success factors, are responsible

for site management and offer spa management consulting services.

The actual realisation of a project will only start when both profi tability and long-term success are guaranteed. Only then will we face a successful future together with our business partners.

EXPERTS IN DESIGNThe spa design branch of Schletterer is gaining a glowing reputation for orchestrating spa environ-ments that serve all fi ve senses.

From grassroots to the fi nished product, Schlet-terer offers turnkey solutions that are not limited by scale or locality – from intimate private spas to fl amboyant destination spas.

Even yachts aren’t beyond its reach. Schletterer Wellness & Spa Design has planned and realised more than 1,800 spas worldwide. With no signature style, Schletterer unreservedly champions the be-spoke response. We produce a unique spa for each client. There is no hallmark Schletterer design, so no two builds are the same.

What is the bottom line? In order to be success-ful you must have a consistent and clever overall concept. This is the only way of ensuring long-term profi tability.

In the beginning there is a vision, at the end there is enthusiasm

Schletterer Wellness & Spa Design, UAE Offi ce • The Wellness & Spa Company LLC • Grosvenor Commercial Tower, Suite 2803, Sh.Zayed Rd • POBox 191175 • Dubai • t +971 4 3296601 • f +971 4 3296602 • offi [email protected] • www.schletterer.com

Commercial Interior Design June 2009 3

ADVERTISEMENT

PROJECT OVERVIEW – MIDDLE EAST:• The Royal Amwaj, Palm Jumeirah – Dubai, UAE• Oceana, Palm Jumeirah – Dubai, UAE• Dubai Pearl – The Pearl of Life – Dubai, UAE• ADIA Health & Wellness Club – Abu Dhabi, UAE• Sheraton Dammam – Dammam, Saudi Arabia• Mövenpick Hotel & Resort Al Reem Island – Abu Dhabi, UAE• Kuwait, Al Bidaa – Beirut, Lebanon – Dead Sea, Jordan• Lifestyle & Fitness, Al Mada Towers – Beirut, Lebanon• Luthan Hotel & Spa – Riyadh, Saudi Arabia• The Cube – Dubai, UAE• Hilton Jordan Gate – Amman, Jordan• Tiara / Essque Palm Jumeirah, Palm Jumeirah – Dubai, UAE• My Triton, Platinum Yachts – Dubai, UAE• Al Bustan Complex – Abu Dhabi, UAE• Multiple private spas for Saudi Arabian Princes and Princesses

IlB

agno

Ale

ssi d

Ot (

sani

tary

war

e, b

ath

tubs

, sho

wer

cab

in, f

urni

ture

and

acc

esso

ries)

is p

rodu

ced

and

dist

ribut

ed b

y L

aufe

n B

athr

oom

s und

er L

icen

se o

f Ale

ssi S

pa It

aly

FORM FOLLOWS FLOW.dOt, design Wiel Arets Bathroom Culture since 1892 www.laufen.com/middleeast

Bahrain: Al Abbas Gallery +973 17741919 [email protected]: Farbar +98 21 88 03 6364 [email protected]

Jordan: Izzat Musa Marji & Sons Co. +962 65 52 02 84 [email protected]: Arte Casa Trading Co. +965 4848 000 [email protected]

Lebanon: Georges Nassr +961 1 482 462 [email protected]: Ahmed Mohsin Trading L.L.C. +968 248 17 019 [email protected]

Qatar: Al Abbas Gallery +974 4675167 [email protected] Arabia, Jeddah & Riyadh: Dar Alfun for Ceramics (Articasa) +96 6 2252 4402 [email protected]

Syria: Uni Group +96 31 15 32 67 00 [email protected] Arab Emirates: German Home for Kitchen & Bathrooms +971 4 268 9993 [email protected]

Yemen: Abu Al-Rejal Trading Corp. +967 1 272 519 [email protected]


COMMENT

“Identity is such a crucial affair that one shouldn’t rush into it,” says American author, David Quammen. It’s a fair point but one wonders if, when it comes to Middle Eastern design, it might be time to pick up the pace.

What I mean is this. Every time I speak to someone about a project they’ve just completed in the region, I ask them about the brief. What was it? Were you able to stick to it? What challenges did you face?

And every time I ask the question, I get pretty much the same answer. Whether I’m talking to designers in Hong Kong, London, New York or down the road in Bur Dubai, if they are working on a project in the region, I get the same old response: “The client wanted a contemporary design with a Middle Eastern twist”.

Whether it’s a ‘Middle Eastern twist’, ‘subtle Arabian infl uences’ or ‘rich regional undertones’, it seems like clients just can’t get enough of good old Middle Eastern design. Which, of course, begs the question of what, exactly, Middle Eastern design is.

There are some obvious answers. The mashrabiya motif, for example, is a much-abused Middle Eastern design element that seems to work itself into a whole host of interiors. But one wonders if designers are just resort-ing to token gestures, keeping clients happy by paying little more than lip service to the ‘Arabian’ aspect of their brief. One then has to question what impact this has had on the development of a 21st century, Middle Eastern design language.

See page 19 to fi nd out how a number of local designers responded to these questions. Quammen is right, one shouldn’t rush into their identity. But leave it too late and you might miss the chance altogether.

Selina Denman, [email protected]

TOKEN GESTURES

Receive Commercial Interior Design every month. To subscribe to the magazine, please visit: www.itp.com/subscriptions

An ITP Business Publication

June 2009 Vol.5 Issue 6

An IT

P Business Publication

June Vol.5 Issue 6

INTERIOR AUTOMATIONWhy demand for energy-efficient, fully

automated interiors is on the increase

WARMING TO WELLNESS

With the new Super Care, Bluehaus proves

that pharmacies do not have to be clinical

A selection of furniture suppliers that you can’t afford to ignoreSITTING PRETTY

Registered at Dubai Media CityPO Box 500024, Dubai, UAETel: 00 971 4 210 8000 Fax: 00 971 4 210 8080Web: www.itp.comOffices in Dubai & London

ITP Business PublishingCEO Walid AkawiManaging Director Neil DaviesDeputy Managing Director Matthew SouthwellEditorial Director David InghamVP Sales Wayne LoweryPublishing Director Diarmuid OMalley EDITORIAL

Senior Group Editor Gemma GreenwoodEditor Selina DenmanTel: +971 4 435 6209 email: [email protected]

ADVERTISING

Commercial Director Michael StansfieldTel: +971 4 435 6359 email: [email protected] Advertising Manager Muhammad FahadTel: +971 4 435 6154 email: [email protected]

STUDIO

Group Art Editor Daniel PrescottDesigner Lucy McMurray

PHOTOGRAPHY

Director of Photography Sevag DavidianChief Photographer Nemanja SeslijaSenior Photographer Alan Desiderio, Efraim Evidor, Khatuna KhutsishviliStaff Photographers Khaled Termanini, Thanos Lazopoulos, Leila Cranswick, Jovana Obradovic, Rajesh Raghav, Ruel Pableo

PRODUCTION & DISTRIBUTION

Group Production Manager Kyle Smith Production Manager Eleanor ZwanepoelProduction Coordinator Louise SchreiberManaging Picture Editor Patrick LittlejohnDistribution Manager Karima AshwellDistribution Executive Nada Al Alami

CIRCULATION

Head of Circulation & Database Gaurav Gulati

MARKETING

Head of Marketing Daniel Fewtrell

ITP DIGITAL

Director Peter Conmy Internet Applications Manager Mohammed Affan Internet Design Manager Hitesh Uchil Web Designer Meghna Rao

ITP GROUP

Chairman Andrew NeilManaging Director Robert SerafinFinance Director Toby Jay Spencer-DaviesBoard of Directors K M Jamieson, Mike Bayman,Walid Akawi, Neil Davies, Rob Corder, Mary Serafin

Circulation Customer Service Tel: +971 4 286 8559

Certain images in this issue are available for purchase. Please contact [email protected] for further details or visit www.itpimages.com

Printed by Emirates Printing Press L.L.C. Dubai

Subscribe online at www.itp.com/subscriptions

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. The ownership of trademarks is acknowledged. No part of this publication or any part of the contents thereof may be reproduced, stored in a retrieval system or transmitted in any form without the permission of the publishers in writing. An exemption is hereby granted for extracts used for the purpose of fair review.

Published by and © 2009 ITP Business Publishing, a division of the ITP Publishing Group Ltd. Registered in the B.V.I. under Company number 1402846.

Cover image: PF Emirates Interiors


DESIGN UPDATE


Depa: Burj Dubai a logistical nightmareAlex Delmar-Morgan talks exclusively to Mohannad Sweid, CEO of Depa

UAE: Working on the world’s tall-est building has been a logistical ‘nightmare’ and similar projects would not be undertaken in the future, interior fi t-out giant Depa has admitted.

Speaking exclusively to Arabian Business.com, Commercial Interior Design’s sister website, the boss of the largest interior fi t-out contractor in the world opened the lid on the logistical headache of deploying 2000 workers over 105 fl oors on the Burj Dubai, which is set to be 818m high when fi nished in September.

“The challenging part is the logistics,” said Mohannad Sweid, CEO of Depa, who won a $600 million contract in 2006 to oversee the fi t out of nearly 1,000 resi-dential and serviced apartments, including corridors and lift lobbies in the Burj Dubai.

While confi rming Depa is on schedule to complete the fi t-out by September 9 this year – the scheduled grand opening of the skyscraper – Sweid said the most challenging aspect was co-ordinat-ing his workforce across such a large area and moving building materials and supplies up the tower. “Actually, there have been a hell of a lot of problems. But we are dealing with it and managing

it and we will deliver on time,” he said. “At the end of the day, by the time you get the worker up, by the time he wants to go for a break and/or go to the toilet, he loses a lot of productivity. Can you imag-ine having 2000 people distrib-uted in one tower?” he added.

“Then you have to take materi-als up and load the materials, and there are other contractors working onsite. For us, I think it’s something we will not do again.”

Sweid said there were no sleep-ing facilities for workers in the Burj and was unsure as to what is being planned for the top fl oor of the half a mile high skyscraper. There has been speculation it could be an of-fi ce, a public space or a restaurant.

Depa is doing the fi t out for apartments between the 12th and 117th fl oors on the middle tiers, above the Armani hotel, and below the offi ce space on the top section.

Sweid said he could not speak for the other contractors about completing the tower on time for the grand opening on September 9. “We are not controlling the building, we are controlling the interior. I can’t speak on behalf of the electromechanical [engineers], the construction or the landscap-ing. For our particular work, we are on time,” he said.

DESIGN UPDATE

10 Commercial Interior Design June 2009 www.constructionweekonline.comwww.constructionweekonline.com

Philipp Selva personally introduces new brand, Philipp Selva Home, to the region

At home with Selva

UAE: Italian furnishings company Selva has unveiled Philipp Selva Home, a new addition to its grow-ing collection of brands.

Philipp Selva visited Dubai re-cently to introduce the new brand to the region. “The major event of 2009 is the launch of Philipp Selva Home. It is going to focus specifi -cally on the high-end and premium market, and it is going to be more of a concept or lifestyle idea.

“It is not an assembly of collec-tions of furniture but rather a pro-gramme. The idea is to blend all of our different products into one, bigger picture,” Selva explained.

The brand will also mark Selva’s entry into the lighting sector. The aim is to offer holistic solutions, and lighting is key to creating the right atmosphere, Selva explained.

“For the fi rst time in its history, Selva is going to launch its own lighting. We have developed lamps to specifi cally match our collec-tions. The designers and myself

have looked at creating something that is not currently on the market, something that is unique but still matches our specifi c products.”

The launch of Philipp Selva Home means that the company now encompasses three main brands. “One is Selva Timeless Beauty, which is the main cata-logue featuring the more tradi-tional products that we carry.

“Then, of course, there is Philipp Selva Home, which is more eclectic and more of a lifestyle brand, where we mix traditional and contemporary to create a new identity. And fi nally, there is Selva Hospitality, which is a designated organisation for the high-end hos-pitality industry,” Selva detailed.

The company is planning a global roll-out of the new brand and hopes to establish some 250 dedicated Philipp Selva Home stores in key markets by the end of next year. “We want to launch more and more of what we call our

fl agship stores and standalone, single-brand stores, worldwide.”

Plans to launch a dedicated Philipp Selva Home space in Dubai – to complement the existing Selva showroom – are already being put into place. The company has se-cured retail space in Dubai’s Mall of the Emirates, and an Abu Dhabi location is also in the pipeline. A mall setting will offer greater exposure and bring the company into contact with new types of customer, Selva maintained.

The Dubai market provides enormous opportunity for Selva to expose itself to a varied and geographically-diverse audience, Selva explained. “Dubai is a great window to the world.”

It is also a market that doesn’t receive the attention it deserves from other furniture manufactur-ers, Selva suggested. “You fi nd a lot of excellent interior designers here but in terms of stores or fac-tories really putting their energy

into the GCC, I don’t really see them in the market. It’s not like Germany or other places, where around every corner you fi nd a number of high-end retailers.”

While the timing of the launch may not be ideal, Selva remains adamant that now is not the time to sit back and wait passively for the market to improve.

“Things aren’t the best, as ev-erybody knows. But, at this time, you need to be very aggressive in marketing and in bringing out new ideas. You have to be really inno-vative and you have to be strong in terms of product development.

“At the moment, a lot of things are being reshaped and remod-elled, so I feel that there is great opportunity for us right now.

“The world is changing every-day, as everyone can see, and those old names will not work any-more. You need to have a product that is speaking in a 21st century language,” he concluded.

DESIGN UPDATE

DESIGN UPDATE

12 Commercial Interior Design June 2009 www.constructionweekonline.com

SieMatic joins forces with Better Life to launch new concept storeKitchen concepts

UAE: German kitchen special-ist, SieMatic, has partnered with high-end home appliance retailer, Better Life, to open a concept store in Dubai. The 360m² space showcases six SieMatic kitchens, to give customers an idea of the breadth of solution that the com-pany is able to offer.

“We are presenting contem-porary, country style and also very modern kitchens,” said Stefan Albrink, managing director, SieMatic. “These six kitchens are only examples, as our products are modular and can be designed to everyone’s individual require-ments. The customer can come in

and we will design the right kitch-en for them,” Albrink detailed.

SieMatic kitchens are now avail-able in Better Life’s Mall of the Emirates and Abu Dhabi stores, while Better Life brands will be available at the new SieMatic kitchen concept showroom, lo-cated on Umm Hurair Road.

The unveiling of the new show-room coincided with the Middle East launch of Siematic’s S1 range, the most technologically advanced of its product lines.

The S1 range incorporates TV, DVD, Internet, radio and iPods and its various hi-tech features can be controlled through a touch screen

Smart board, remote control device, or air mouse. The S1-Grid presents Internet content such as email, RSS feeds and weather re-ports, and also provides a medium to display users’ individual data, such as photographs.

“The S1 is an ultra-modern product with a number of functions built in. So, for example, we have pull-outs that can be opened by pressing a button.

“We’ve got a very clear and minimalistic design. And we also have the so-called grid, which we received a Microsoft innovation award for. Via this grid you can step into the Internet, you can

step into your DVD or your CD, or you can watch television. The grid is the access to a multi-media world which is integrated into the kitchen,” he explained.

According to Albrink, SieMatic is leading the way in the evolution of an increasingly automated kitchen environment. “We are setting land-marks with our innovativeness.

“This is defi nitely one landmark that we have set. This is the way the market will develop but it’s not the only way. The kitchen market is a very multi-optional market and as a top-end manufacturer you have to offer a wide range of options,” he said.


DESIGN UPDATE


Technology still not being effectively integrated into hospitality design, says IT expert

Untapped technologies

UAE: Technology is still not being properly integrated into hotel design, Kirsten Molle, managing director of Protempit, a UK-based IT project management and consul-tancy fi rm, has suggested.

Unsuccessful examples of in-room technology are still far more common than effective examples, she pointed out. There is still the tendency to start thinking about technology too late into the design and build process, and IT consultants are often the last to be brought on board.

Part of the problem is that IT still falls under the M&E remit, Molle

maintained. “There are so many cases where I’ve come on board a new-build hotel project and by the time I get there, fi rst of all I’m usu-ally sitting next to the plumbers, because IT often sits under the M&E consultants,” said Molle.

“Then you get into a design meeting, where you are presented with a fi nished design and a completed selection of fi nishings, fabrics, furnishings and so forth, and you have to try and refi t quite complex technologies into that fi nished design,” she continued.

“Apart from the cost aspect of having to rework already fi nished

construction sites, I think it’s a real shame because it limits the amount of value that you can drive out of the synergies between design and technology.”

Treating IT as an afterthought means that it is never fully inte-grated into the overall design, something that is particularly evident when it comes to in-room automation, Molle maintained.

“One thing that is really coming out now is in-room automation, which is increasingly going into hotels. Well, if you want to do that right and make it really user friendly and offer it as part of your

product, it has to be very well integrated into your design. You cannot refi t those kinds of tech-nologies,” she said.

“One of the things that I would like to see happen is that IT consultants are dislodged from the M&E and integrated into the interior design and architectural package. They should work with those disciplines right from the beginning,” she maintained. “We have to decide, is IT part of the plumbing or part of the design?”

See page 53 for an update on some of the latest interior tech-nologies on the market.

DESIGN UPDATE


Colour is making its way back on to carpeting says Shaw Custom Design team

Colour makes a comeback

US: When it comes to carpeting, colour is making a comeback, designers from the custom design arm of Shaw Industries, the US-based manufacturer of tufted carpet, revealed during a recent trip to Dubai.

This is particularly true of the hospitality industry, said Laura Fountain, design manager, inter-national division, Shaw Custom Design. Hospitality was the fastest growing segment for Shaw in 2008, with Marriott International emerging as one of its biggest clients. The company has also sup-plied Hard Rock Hotels.

“As far as trends go, people want textures that are plush look-ing and they are asking for more

bright colours. There has been a move away from standardised hotel colouring and we are seeing some really innovative ideas com-ing through,” she said.

“Everybody used to want neu-trals. Now you are seeing beige but with bright pops of colour. In the Hard Rock Hotel, that pop of colour is matched in the cush-ions and other accents, and then weaved through the carpet.”

In Dubai to carry out training sessions with its local partner, Al Aqili Furnishings, and to meet with Dubai’s interior designs, the focus was very much on raising aware-ness of Shaw Custom Design.

“We offer custom-made solu-tions, so designers are not limited

to our ‘running line’ styles. We are trying to encourage designers to customise their spaces.

“In a market like Dubai, there is a unique need to do this,” said Brenda Gray, department man-ager, Shaw Custom Design.

“People need to know that there is a department at Shaw that does nothing but customised products. People think that it’s too hard, or it takes too long, or it costs too much. That is really not the case,” Fountain added.

The custom design team is able to cater to almost any request, said Wiley Jones, regional vice president, Middle East and Africa, and with technology evolving so rapidly, boundaries are constantly

being broken down. “Sometimes, I don’t think that even we know the limitations to what we can do. There are certainly not a whole lot of things that we can’t do. We are constantly being challenged by our customers and our designers.”

Moving forward, the plan is to have a Shaw Custom designer visiting the region at least once a quarter. In addition, the company hopes to establish a dedicated Shaw Custom Design representa-tive in Dubai.

“The main purpose of our trip was to meet architects and design-ers and let them know that they can communicate directly with the Custom Design team for anything they need,” Jones said.

Drawn together in perfect harmony

Designed to play the same tune whatever the expression, our new range of flush plates includes toilet and urinal* versions that complement each other perfectly.

www.geberit.ae

* urinal plates available in January 2009


Kart Design

WHERE? Jumeirah Beach Road, Villa 746,

PO Box 89456, Dubai.

DESIGN STYLEExtreme, futuristic, challenging,

unique and imaginative.

WHO? Kart Design is a full-service interior

architecture fi rm headed by managing director Mustafa Khamash.

The company is in the business of selling ideas and creating identities, Khamash explained.

“We build a story based around the client. We try and understand their way of life and create col-

laborations between architecture and art. Our aim is to create something truly unusual.”

Khamash launched the Dubai-based fi rm in 2004, having spent the previous eight years working

with renowned architect, Paolo Piva, in Italy. “Working with Piva brought me into contact with

all the greats, like Zaha Hadid and Philippe Starck. But at some point you want to stand on your own

two feet. And at the time, if you had new and unique ideas, Dubai was the place

to be,” Khamash said. The company kicked off its career with four

restaurants at Marina Walk.

PROFILE

16 Commercial Interior Design June 2009


FLAGSHIP PROJECTThe Dubai Internet City headquarters. The design presented the offi ce as the mother-board of Internet City. The space was surrounded in glass, which was decorated with lines and dots to mimic a computer’s motherboard. This also served the purpose of allowing people to see into the ‘engine’ of Internet City. “With this design, we were able to change the management’s view of their own project,” Khamash commented.

WHAT’S NEW?Moving forward, Kart Design is heavily promoting the integration of art into interior design. The aim is to use highly artistic forms, such as sculpture, but ensure that they fulfi l a purpose in a commercial setting. “This is new idea for Dubai, which is normally far more practical in its ap-proach, and is extremely commercially-driven. We want to show that you can be artistic and still make sense in a commercial setting.”

THE FACEManaging director of Kart Design, Mustafa Khamash, studied architecture in Venice. He then spent eight years working with architect Paolo Piva, an experience that enabled him to form close relationships with key Italian brands such as Kar-tell and B&B Italia. Khamash can be contacted on +971 (0)4 348 8169, or at [email protected].

PROFILE


BRAND STRENGTHSThe company specialises in smaller, more individualised projects – boutique hotels, for example. “We are into creating details, not bulk,” said Khamash. “Our ideas set us apart. When we talk to a client, we are not in there trying to sell ourselves. All I do is explain what I do and how I perceive a certain project. The client will either like my interpretation or not. Either we fi t with that project, or we don’t.”


INDUSTRY SPEAK


In its purest form, Middle Eastern design has been shaped by a rich, cul-turally-unique history, strong religious ties and climactic infl uences. “Middle Eastern design is the evolution of archi-tecture and interior design over 1,400 years,” noted Supriya Fernandes, princi-pal architect, 3 Square Design, Dubai.

“Many elements of design and deco-ration in ‘Middle Eastern design’ are attributed to the prohibition of images in Islam, which led artists and calligra-phers to create beautiful scenes using geometric imagery and turning type into pictures,” she elaborated.

“The use of inward looking spaces, to reduce the amount of sunlight and heat entering a dwelling, shuttered windows, cool blue ceramic tiles and mashrabiyas, were all functional elements that re-duced the harsh impact of the inhospita-ble climactic conditions while becoming defi ning elements of a design style.”

As so many elements of Middle East-ern design evolved as a direct response to climactic conditions, it is perhaps

Every project needs to be anchored to its environment in some way or another. Designers are obliged to create a connec-tion between spaces and the landscapes they inhabit. So, even when it is not spelled out in the brief – which, more of-ten than not, it is – designers in this part of the world must inject Middle Eastern infl uences into their work.

Often, however, this means that de-signers work some kind of mashrabiya motif into the project and leave it at that. Token gestures and half-hearted nods to Middle Eastern culture aren’t hard to come by in this region – but beg the question of what, exactly, ‘Middle Eastern design’ means.

“Unfortunately, the mashrabiya motif is used quite commonly to give a soul-less design the illusion of being ‘local’. The wind tower has also been copied to death,” said Markus Schwitzke, branch manager, Schwitzke & Partners, Dubai.

“What defi nes Middle Eastern design is hard to say, especially since it is domi-nated by western architects and design-ers at present. There is no Middle Eastern design without local protagonists.

“I believe Middle Eastern design has so far been defi ned by the needs of the region. It is a combination born out of dynamic developments created by an international crowd but is often also based on the rich culture, traditions and religion of this area, which is what makes it so interesting and different,” he said.

unsurprising that in an era of ubiquitous air-conditioning, many of these are now regarded as redundant. “The primary evolution for the style came as form fol-lowed function in terms of climate.

“Once we have managed to to-tally control climactic infl uences, with temperature-controlled environments, many of the functional elements became merely decorative,” Fernandes agreed.

In the quest to create a Middle East-ern design ethos for the 21st century, designers can call upon historical, cul-tural and religious motifs, but also have a varied and striking landscape to draw from, said Alfred Johnson, founder of Dubai-based design fi rm, Imagination.

“Middle Eastern design is about bringing in not just the deserts, but the oases, the gorgeous sun and the beauti-ful beaches. It is about incorporating all of that. Design should be an echo of society and how it has advanced, and this is a society that is extremely old and rich, and which has come so far. That’s what you need to convey,” Johnson said.

More often than not, regional projects come with a brief that demands 21st century reinterpretations of Middle Eastern design. We question what exactly Middle Eastern design means, and fi nd out whether there are any truly impressive examples of it in this market

“The design nomads of this world can’t answer this question because it needs time, and a controversial and continuous dialogue, to develop a strong local design language and reputation.”

More than mashrabiya

INDUSTRY SPEAK


1. Alfred Johnson.

2. Kerrin Mathey.

3. Markus Schwitzke.

3. Supriya Fernandes.

In many parts of the region, there has been a leaning towards a more authentic architectural style, which demands inte-riors to match. “We recently completed a lobby area at Ibn Batuta gate which is a commercial building with an Arabic style façade. We were very conscious of mak-ing sure that the interior was in harmony with the exterior design,” said Kerrin Matthey, head of design and furnishing at Asteco Property Management.

“Prospective clients visiting the build-ing fi nd the Arabic style refreshing and impressive, and it appeals to overseas companies who want to feel like they are part of the community,” she added.

Infusing Middle Eastern design infl u-ences into a commercial setting creates interesting contrast, Matthey continued. “Middle Eastern design can work hand in hand with the modern requirements and demands of a commercial building.

“Whilst the commercial offi ces inside the façade are contemporary, common parts such as the lobby and reception can refl ect Middle Eastern design and concepts. The duality at Ibn Batuta gate is a perfect example.”

Mixing ultra-modern and Middle Eastern design can yield some surpris-ing results, Schwitzke agreed. “Sure there is a clash but this can be used quite productively! You will fi nd Middle Eastern design in wild combinations with contemporary, western design and lifestyle ideas. Just have a look what Rochebois from France or Zara Home are doing with regards to home and

furniture design, for example, or how fashion designers have been infl uenced in recent years,” he said.

In fact, Middle Eastern design ele-ments can be used to soften contempo-rary schemes. “Contemporary design tends to be quite harsh. Middle Eastern design introduces softer touches. Just think of sand dunes – they aren’t jagged or harsh. You bring those kinds of ele-ments into focus,” said Johnson.

European design is particularly prone to harsh edges, Schwitzke pointed out. “In general, I like the use of Middle East-ern design motifs and patterns as it helps to soften the hard and clean architecture and design which we know from a lot of European designers. It can really create something new if it is done well.”

However, it is not an easy balance to achieve, Fernandes pointed out, particularly in a market like Dubai. “It is not easy to achieve the balance, especially as Dubai is a city that loves over-the-top design elements and the fusion style works best with low-key design elements, subtly infusing fl avour into the overall aesthetics of the design concept,” she explained.

There are, however, effective exam-ples where the balance has been treated with the necessary sensitivity, she said. “I have always loved the interiors at the Park Hyatt Dubai by Wilson Associates, for the reasons stated above. There are no over-the-top dark wood mashrabiyas and giant pots everywhere but a very Middle Eastern fl avour and soothing

ambience. The material choices, fabrics and light fi ttings of all public spaces cre-ate an interesting palette of colour and texture that is the epitome of this style.”

Invariably, reinterpreting Middle East-ern design requires a familiarity with the place, its traditions, its cultural id-iosyncrasies and its unique landscapes. “The design nomads of this world can’t answer this question because actually it needs some time, and a controversial and continuous dialogue to develop a strong local design language and reputation,” said Schwitzke. “We as designers should look more behind the facades and understand the context.”

To some extent, laziness on behalf of designers is to blame for stunting the development of a modern, innova-tive Middle Eastern design language, Schwitzke suggested. “It is more or less the laziness of the designers wanting to easily meet the wishes and objectives of the clients,” he said.

For Johnson, time restraints are largely to blame. “Clients haven’t really given designers the time to create great examples of modern Middle Eastern design. It takes time to digest.”

Nonetheless, designers are unani-mous in agreeing that the market can only benefi t from greater use of local design motifs. “Culture meeting com-merce can only be a good thing. After all, we are living and working in the Middle East and should do all we can, as designers, to encapsulate and show-case its traditions and beauty.”

1 2 3 4


SHOW REPORT MILAN FURNITURE FAIR


Sohar International Development & Investment Company is a local devel-oper and one of only four companies to have been granted licenses to develop food and beverage outlets along this prestigious section of real estate.

It has appointed Broadway Interi-ors as the design consultant for the restaurant, following the successful completion of a new, highly sought-after seven-storey commercial offi ce develop-ment, Bait Al Reem, in the diplomatic quarter of Muscat.

The superstructure of this two-storey plus basement building is currently under construction, with a planned completion date of September. We are currently fi nalising initial concepts and visuals to support the scheme and these will be developed further into working drawings by next month.

Dubai’s Broadway Interiors has signed a Memorandum of Un-derstanding to develop mutual

business opportunities in the Sultanate of Oman. The fi rst project under this agreement is ‘La Mer’, a fi ne-dining and seafood restaurant which will be stra-tegically located on the new ‘Al Quram’ reclaimed beachfront.

After the Category 4 tropical storm Gonu – the most intense storm on record in the Arabian Peninsula– devas-tated the Omani coastline in June 2007, much of the beachfront was destroyed.

Signifi cant efforts have since been made to protect the coastline and the beautiful mangroves contained behind it. The most notable improvement has been the development of a new beach road and the fortifi cation of the storm wall upon which the new La Mer is located.

A to Z: La MerLaying the foundations Over the course of the next few months, Chris Barnes, managing director, Broadway Interiors, will be giving us a step by step, real-time account of the development of a restaurant project that Broadway is currently working on in Oman. This month, he sets the scene

A TO Z LA MER


DESIGNER Q&A

Specialising in leisure and retail interiors, as well as brand devel-opment, Four IV prides itself on

having worked with some of the world’s most commercially-proven luxury brands. Certainly, the UK-based graphic and interior design agency’s client list reads like who’s who of high-end retail. Harvey Nichols. Thomas Pink. Mulberry. Burberry. Duchamp. Harrods. Kurt Gei-ger. Even Armani.

Currently working in over 14 coun-tries, the company’s USP is genuine insight into the luxury marketplace and the unique mindset of its audience, cultivated over a period of 17 years, says co-founder and creative director, Chris Dewar-Dixon.

Commercial Interior Design caught up with Dewar-Dixon, a discerning

consumer of luxury himself, to fi nd out about his most recent projects in the Middle East, and how the luxury sector is faring in the current climate.

How did you end up in design?I was fortunate enough to be interested in interior design from a young age. I was never confused about what I want-ed to do, and pursued it relentlessly!

After graduating with a Masters de-gree, I worked at a prestigious London design agency for four years. This gave me the training and knowledge that I needed to set up my own agency, as was always my intention.

How do you defi ne good design?My company ethos is ‘design that makes a difference’, whether it be commercial

or visually pleasurable. Good design is something that affects you in a very emotive way. For me, for example, visual comfort is just as important as physical comfort. I am very attracted to symmetry and also to the contrast of economy materials against very expensive ones. These are elements that feature con-stantly in my work.

How would you describe Four IV’s business model? Why has this formula proven so successful (and what part does your reported ‘northern straight-talking’ play!).Four IV specialises in the creative; the business really focuses on the idea. The teams are concentrated so that we can all interact together. Every member of the company has a specialist skill,

1. Chris

Dewar-Dixon.

A love of luxury

Chris Dewar-Dixon, creative director of Four IV, has created interior and brand identities for some of the most recognisable

retailers in the world. Here, he takes time out to talk luxury

1



DESIGNER Q&A

whether it be detailing, visualising or brainstorming. The graphic department works in conjunction with interiors – this is a deeper thought-process than normal. Strategic positioning is crucial to ensure that the brand consistently presents its credentials in the defi ned manner.

I guess the straight-talking north-erner goes against typical stereotypes but my clients seek my advice as a retail strategist too, so I need to be able to get my message across succinctly and in a language they understand.

All too often, clients and designers are unable to speak in the same lan-guage and that is when briefs aren’t met and goals aren’t understood.

How does Four IV keep its ideas fresh?In a number of ways, but primarily by keeping our eyes open through travel, exhibitions, a walk, a conversation, a book or even a piece of music. All of these things can be useful. Different things work for different individuals. For

me it’s about understanding the ethos of the brand and telling it as a story.

You’ve done a lot of work in retail. What do you like most about this sector?The constant challenge – nothing stands still, infl uences are as varied as the catwalk, and we must keep in tune with all trends and infl uences. Every time you leave a retail store you should think: ‘There is nothing that I need but every-thing that I want’.

How fundamental are a store’s interiors to the overall shopping experience, and is store design a key differentiator for luxury brands?Absolutely. The critical test for a piece of retail design is: Can I recognise the store when the logo is covered up? It may be a colour or a material, the way the product is presented or even the lighting. Individuality is more impor-tant than ever today – think of Hermes orange or Armani simplicity.

The environment must refl ect and pres-ent the product in correct terms with the brand ethos.

You work with some of the most recognised luxury brands in the world. Are there any inherent challenges involved in working at this end of the market?Individuality. This level of the market has to constantly reinvent and, at the same time, maintain. Service is essen-tial; products and all brand experi-ences must be totally in sync with the brand ethos. This level of the market is constantly analysed and interpreted by the middle market, so they must always stay one step ahead.

You’ve worked on a number of projects in the Middle East. Have you come across any key challenges that are particular to this region?The challenges in the Middle East are not really any different from taking

2. Naked,

Istanbul.

3. Sketches of

a feature wall,

designed

for Westfi eld.

4. The new Mamas

and Papas store

at Dubai Mall.

5

2 4

3

DESIGNER Q&A

www.constructionweekonline.com28 Commercial Interior Design June 2009

brands to international audiences all around the world. It is about creating something new and exciting within the limits of your design environment.

We have found that an element of sur-prise, of going against the grain, within the limits of cultural sensitivity and taste, has been key to the success of a new space. Don’t be afraid to experiment, to take a risk, to try something new.

Limited impressions of cultures can often limit our designs – we have found people surprising in their taste and love of the new all over the world, from the Middle East to China. The Middle East has been one of the most surprising places in terms of the complexities and variations of taste and the extent to which society loves and understands fashion and design. Our Naked depart-ment store in Istanbul, for example, completely destroyed stereotypes about taste and cultural constraints.

To what extent do you try and take on the cultural relevance of the destination that you are working in? How did this manifest itself in the new Mamas and Papas store at Dubai Mall?Many global brands make use of their special national characteristics wher-ever they go and this has been core to their success. IKEA is Swedish through and through – from their design ethic to the meatballs that are served in the can-teen. Paul Smith is British tailoring with

a hint of the British eccentric. Its stores echo the traditional and eccentric feel of its Floral Street home – wood panelling, fl oral designs and the odd unexpected display items such as robots, a story book or the odd shoe. Muji is Japanese minimalism coupled with good design. Its name even means ‘no brand’. It is seen as cheap and cheerful in Japan but has a different positioning in the UK.

These brands build in the aspects of their country that are already associated with them around the world. They play up to stereotype but leave the negatives behind. They have managed to export a distinctly national brand that is relevant to an international market.

In terms of opening a new space in Dubai, design needs to take into account how the country of origin is perceived and how it sees itself. For me, Dubai is about the new, the decadent, the inspirational, and about rebirth.

You are able to get away with a certain decadence and innovation that you would not get away with elsewhere. However, the crux of good design is maintaining a common denominator that also brings about a sense of recog-nition and safety.

How did your relationship with the Mamas and Papas brand come about?From an interview with the two owners. They asked that I speak about their brand and I was very honest. Since then

we have formed a very strong bond. A relationship that endures through rough and smooth is one where the benefi ts are tremendous. Trust is the key.

How should brands be responding to the current fi nancial crisis?We have found that companies that invest in their brand and retail experi-ence sustain their sales and come out of a recession stronger than the competi-tion. The reason is simple – it reinforces core values that are familiar and reas-suring. The world that customers step into feels comfortable and safe, but it is also aspirational and makes them feel like they are living a better life.

It connects with customers, mak-ing them more receptive to making a purchase. It adds further distance between your products and those of your competitors. In addition, it gives further reasons why people should buy from you, and it creates something that is very diffi cult to copy.

In a recession, the way people look at their money changes, as does their approach to spending it. Brands become more important to consumers when times are hard – they look to them for reassurance and for consistency. This is particularly true of premium brands.

People want to feel that their hard earned money is going towards some-thing valuable, something that’s high quality and that will be long lasting.

5. Mamas

and Papas.

6. Four IV has

created interiors

for Thomas Pink.

5 6

THE WARM UP

With its new Dubai Mall outlet, Super Care wanted to make the transition from pure pharmacy to total wellness provider. Bluehaus was tasked with creating the interiors to match. By Selina Denman

want to lose their brand but they wanted to step further into being a total health concept,” explained Tara Veldman, design manager, Bluehaus.

“We try, with everything we do, to ‘up’ the concept. If you compare it to the other Super Care stores, this is a new, fresh approach to how they do things. They are trying to modernise the way they think about and do things, and we do that with all the projects we work on; we try and educate the client as to what’s going on in the world and advise

F or its new Dubai Mall store, Super Care needed an interior that refl ected the evolving nature of

its business model. So it called upon Dubai-based design fi rm, Bluehaus, to create a concept that would match its maturing persona. Rather than a pure pharmacy, the new store would be a complete centre for health and wellness.

“The brief was to merge their old store with this new wellness concept, to become more of a total health package, rather than just a pharmacy. They didn’t 1

CASE STUDY SUPER CARE


Commercial Interior Design June 2009 31www.constructionweekonline.com


1. The new store

covers 900m².

2. A rendering

of Super Care

Dubai Mall.

3&4. Bluehaus

selected Visplay

shelving systems.

them on how they can move their busi-ness forward,” she added.

In addition to offering a wide range of products covering all manner of health disciplines, the new store features small treatment rooms, allowing Super Care to offer everything from dermatological consultations to refl exology and other massage treatments.

“We have the ability to offer a range of different services. Whether they are chargeable or free of charge, we can offer value-added services to our customers. This whole layout gives us the ability to do that,” explained deputy general manager, Super Care, Dubai Mall, Sherry Lubonski.

SIZE MATTERSBluehaus inherited a large space – some 900m² in total. “I think it’s the largest pharmacy in the UAE,” Veldman said. This became a key infl uencer in the design, as the designers needed to ensure that the space was comfortable and didn’t end up feeling oversized and overlit, like a supermarket.

In response, the area was broken up by a series of pods and divided into

units. “We designed pods to break it up and give some defi nition to the store, rather than it just being one big space. We’ve also introduced areas that func-tion as units. These are spots that defi ne the larger space,” said Veldman.

Material choices and intelligent light-ing solutions also played a key role in ensuring that the space was brought down to scale and injected with warmth. Additionally, this was in keeping with the switch from a purely ‘clinical’ space to a more inviting, enveloping, wellness-driven environment.

The predominance of wood, a real rarity in a pharmacy setting, is arguably the most visual indicator of Super Care’s evolving personality. “It softens the whole clinical feel. The store needs to be clinical, obviously, but it also needs to be user friendly.

“It is not just about pharmacy, it is about wellness. Getting it through took a while – we had to convince everyone that you can actually use timber in a pharmacy,” Veldman explained.

The end result has left the client entirely convinced. “The wood gives it a nice, warm feeling, which is different to

SOURCES: Furniture

Product: Visplay Shelving SystemSupplier: Visplay International

our other pharmacies. They went with it and it was a great choice. I love having the wood look – it brings in warmth and it relates back to wellness,” said Lubonski. “Pharmacies sometimes focus so much on hygiene and end up being very cold environments.

“In this shop, what Bluehaus has created is still a hygienic, clean environ-ment but you’ve got warmth too. It’s not too cold or clinical,” she continuned.

Flooring was also selected to ensure that it didn’t amplify the space. ‘Broken white’ tiles were supplied by Icingtone Europe and RAK Ceramics.

“We did tiles on the fl oor because they are really hard wearing. We selected a tile that is widely used in retail projects in Europe. And it is matt, because that gives it a softer feel to the whole shop,” said Veldman.

“We kept it white so it was bright and clean but not too shiny and glitzy. In a

2

43



5. Intelligent

lighting was

imperative.

6. A rendering

of the project.

7. The designers

went with ‘broken

white’ fl ooring.

store this big, that would have made it look like a supermarket,” she added.

For Lubonski, keeping this white fl oor clean has proven to be something of a challenge, but is the only aspect of the design that has presented any real operational challenges.

“It’s just keeping this fl oor clean. That’s the only real area of concern. Apart from that, it’s all great,” she said.

The fl oor colour choice was in keeping with the rest of a largely subdued colour palette. This ensured that the focus fell on the products, where it belonged.

“It was a really conscious choice to keep the palette very clean. The product in a pharmacy is so colourful and if you had too many colours going on it would just clash,” said Veldman. “So we’ve tried to keep it clean and let the product really stand out.”

Ensuring that the products were the centre of attention – and were present-ed in an effi cient, uncluttered fashion – was a key priority in a store priding itself on the breadth of its product offer-ing. This was one of the most technical aspects of the project and Bluehaus called on Visplay Shelving Systems for an effective display solution. “We had to come up with a shelving system that worked for a host of different things. We

opted for Visplay, which is a shelving system that Vitra makes.

“It’s a good option because you get to do lots of diverse things with it but it all fi ts into the same system. With such a big fl oor you don’t want ten different systems or ten different things going on,” Veldman explained.

This has provided Lubonski and her team with plenty of room – as well as a healthy dose of fl exibility. “We’ve got plenty of display room, for promotions, or for highlighting products, or whatever we want to do. The way they have posi-tioned the television also really attracts people’s attention,” she noted.

This is refl ective of how the whole Super Care experience has become that little bit more interactive. “We’ve put screens in the pillars. They can be used to advertise products but also to provide information on health and so on. There are also touch screens where you can actually print off any information that you need,” said Veldman.

SOURCES: Floor Finishes

Product: Ceramic TilesSupplier: Icingtone Europe

Product: Semi Solid Timber FlooringSupplier: Nordic Homeworx

Product: Carpet TileSupplier: Milliken Carpet

Product: Ceramic TileSupplier: RAK Ceramics

Product: Pebble WashSupplier: BASF

5 7

6



8. A translucent

panel was selected

for the cash desk.

9. An rendering

shows the clean

colour palette.

10. The design had

to counter a very

high ceiling.

MIGHTY LIGHTSBut the project’s piece de resistance, ac-cording to both Veldman and Lubonski, is the lighting. It was essential to draw attention to the products by lighting them effectively, but there was also the danger of over-lighting and impersonal-ising an already large space.

“Lighting is the signature element,” Veldman said. “The lighting was one of the biggest things for this project because products in a pharmacy obvi-ously need to be well it but, again, we didn’t want to wash the whole shop in fl uorescent light. So, we really spent a lot of time trying to get the lighting on the products and not so much in the rest of the space,” Veldman explained.

In response, Bluehaus designed large, suspended, fabric-enclosed light features that direct the light on to the product without overwhelming the rest of the shop. “They give off a lot of light but are not illuminating the whole place. They light up the pods and spread some light around but not as much as if you

had fl uorescent lights all over the show. We used Barisol, a stretch fabric. The contractor actually made the light and then stretched the fabric around it.

“We talked about putting different coloured lights in there so you could change the lighting colour. They wanted to go with white for the start but after that they can opt for blue lighting instead, for example.”

Having the lighting solution com-ing down from the ceilings enabled Bluehaus to overcome another spatial challenge: the height of the ceiling. “It’s a high ceiling, so we had to think about what we were doing up there and not just down here,” said Veldman.

Combined with recessed spotlights, recessed luminaires, and pendants from Ansorg Lighting, the overall lighting has been lauded by the client. “I think the lighting is fantastic and I like they way they have done it without a false ceil-ing,” said Lubonski.

The project was an important mile-stone for Super Care, and an undeniable

success, she pointed out. “We want to be a one-stop shop and leader in the pharmacy and wellness industries, so this is a big store for us. And I see us continuing with this model and building on it,” Lubonski concluded.

SOURCES: LightingSupplier: Ansorg International

Ceiling FinishesProduct: PaintSupplier: Jotun Paint

Product: Semi Solid TimberSupplier: Nordic Homeworx

General FinishesProduct: Translucent Panel for reception/cash deskSupplier: Modarress Trading

Product: Hanging CeilingSupplier: Barrisol Stretch

8

9 10

1

CASE STUDY MARNI NEW YORK



Marni’s second store in New York promotes angular simplicity and geometric minimalism – without coming across as too cold

N estled at the highest end of high-end fashion, Marni was formed in 1994 by the Castiglioni

family. Already producing fur for all the major designers, the family wanted to carve a new niche for itself by creating a fashion brand that was innovative, eclectic and extremely refi ned.

“My aim is to satisfy the desire for uniqueness, distinction and elegance,” Consuelo Castiglioni explained to Com-mercial Interior Design. “I think that the person who chooses to wear Marni has a sophisticated approach to fashion, not necessary fashion-driven, but with a strong identity in terms of style. They are curious and enthusiastic about experimenting and playing with forms, structures, prints and colours, creating one’s own combinations.”

This element of experimentation extends beyond the clothes and seeps

into every element of the brand. It is particularly evident in the retail spaces that the Marni collections call home.

With a brand that is so precise in its personality and so comfortable in its own skin, there is a real need to create retail settings that do it justice. Which is why Castiglioni, who has a heightened understanding of the importance that a retail space plays in communicat-ing a brand promise, works so closely with London-based architecture fi rm, Sybarite, to create shops that get the message just right.

“You have to understand the soul of the collections and how to communicate it through the shop,” she said.

“The boutique has to be a perfect con-tainer for the products on sale and there has to be harmony between the two. It means for us that one should highlight the other, playing with contrast, colour

and material. All Marni boutiques are designed as an innovative and unique backdrop for the collections. Linked by a distinctive architectural language, such as the use of specifi c materials or forms, the stores differ in detail.

“When I and the London fi rm Sybarite create the concept, we always maintain certain local elements in order to har-monise and refl ect the characteristics of the surrounding setting. The concept of all Marni boutiques is to offer an out-of-the ordinary shopping ambience,” Castiglioni explained.

OUT OF THE ORDINARYNowhere, perhaps, is the need to create ‘out-of-the ordinary’ retail experiences more acute than in New York, where Marni recently opened its second store. Set on 21 East 67th Street, between Madison Avenue and Fifth Avenue,

1. The new store

is located on

East 67th Street.

2. The upstairs

features petal-like

stainless steel

benches and clear

plexiglass cases.

3. Abstract,

sunglass-wearing

display heads.

4. An undulating,

Marni-signature

hanging display.

The art of retail

2

3 4



the new shop is located in what was formerly an art gallery.

A highly minimalist design scheme was selected for the two-fl oor, 2,700ft² space, with striking lines and shapes creating a playful backdrop. “We used strong lines and abstract shapes to convey New York’s vibrant energy. By introducing intervals between the two fl oors we wanted to create movement, interrupting the linear, geometric ap-proach,” Castiglioni explained.

In keeping with the gallery theme, the collection is displayed as if it were pieces of art. A trapezoidal opening in the ceiling of the ground fl oor creates a dramatic, double-height entrance from which natural fi breglass display man-nequins are randomly suspended. Large geometric ceiling cut-outs covered with stretched Barrisol fabric add a theatrical skylight effect.

Meanwhile, white polished stainless steel panelling leads from the entrance and winds itself around the ground fl oor, promoting an element of angular simplicity. Double-velvet upholstered boxes displaying accessories are sus-pended in front of the panelling.

Along the opposite wall, a long, undulating, Marni-signature hanging display rail runs from the entrance up to a staircase leading to the second

fl oor. Set into the back of the ground fl oor space are circular-tiered display tables in fi breglass, which are topped with shoes. Abstract sunglass-wearing display heads line an accessories wall.

BRANCHING OUTThe second fl oor opens onto a large room with petal-like, polished stainless steel benches, clear Plexiglas display cases and additional stainless steel display rails. Sprouting upwards from the main to the second fl oor, a giant, mirror-polished stainless steel ‘tree’ branches out through a second, equally dramatic, trapezoidal opening.

“A feeling of space is created by the double-height entrance and by the trapezoidal opening, through which the Marni stainless steel tree grows, carry-ing the collection.”

In its ‘shadows’, an oval railing encircles the room and displays the ready-to-wear collection. An intimate ante-room at the back houses the linge-rie collection on fi breglass hangers and busts in recessed leather boxes.

Artistic, angular simplicity and geo-metric minimalism are the phrases that best capture the essence of the space, Castiglioni explained. But there were signifi cant challenges in creating a minimalist space that would not come

across as too cold, she noted. “The chal-lenge was to create a minimalist design which would not appear sterile and unwelcoming,” she said.

“We decided to cover the fl oor with a soft wool carpet in different tones of lilac throughout the store, which con-trasts harmoniously with the coolness of the abstract shapes.”

Echoing the design signature of Marni’s clothing lines, the interiors of the second New York store play with contrasting materials, blending steel with leather, fi breglass and velvet.

“Identical to my approach to the creation of collections, where I continu-ously experiment with different fabrics and the juxtaposition of their texture, the boutique presents a wide range of materials that stand in contrast. Pol-ished stainless steel, natural fi breglass, leather upholstered display boxes or covered in double velvet, as well as large Barrisol light.”

The end result is a space where every element contributes in creating a com-plete, holistic experience, Castiglioni explained. “I rather view the store’s design as a path that leads you through and tells you of the collection. All differ-ent parts and perspectives overlap and mingle, contributing to the whole vision of the boutique.”

5. A trapezoidal

opening in

the ceiling

creates drama.

6. The shop

features

an intimate

ante room.

7. Wool carpeting

softens the space.


5 6 7


SUPPLIERS YOU SHOULD KNOW


T he pressure is on to create design solutions that are both innovative and, perhaps more importantly,

cost-effective. On the one hand, compe-tition is intensifying, forcing designers to come up with increasingly original design schemes.

On the other hand, budgets are shrinking, meaning that the specifi ca-tion process has to be more carefully considered than ever before.

As a result, the need to cultivate solid relationships with reliable suppliers

has never been more acute. In a tough market, partners that you can trust are fundamental to success. Recognising this need, CID is introducing a series of features that will highlight key suppliers across a range of sectors.

These may be names that you already work with, that you haven’t heard of, or that you simply hadn’t considered for your specifi c needs. Each month we will be dealing with a different industry sector, and will kick off this month with furniture suppliers.

Furniture plays a fundamental role in injecting character into any commercial space but, fast paced and ever-evolving, tracking changes in trends is no easy task. Even in the midst of an economic crisis, last month’s Milan Furniture Fair saw a fl urry of new product launches and pinpointed a series of new and ex-citing trends. Over the next few pages, we let a handful of suppliers introduce themselves to you, in the hope that they can help you stay ahead in the ever-changing world of furniture design.

Furniture suppliers you should know




Company background: “Selva ME was established in Dubai in 2005, and can now be found across the GCC. Parent company Selva SPa is a 41-year old company from Bolzano in the north of Italy. The name has been an emblem of the highest degree of creativity, unique variety and fantastic quality. Selva has developed into a furnishing brand with a worldwide reputation in retail sales and in the hotel sector. The broad and fascinating product line rang-es from classically timeless creations all the way to modern forms.Locations: Sheikh Zayed Road, Inter-change 4, near Kia Motors. And Mall of the Emirates from mid July.Who to talk to: Tanya Wakeham, manager.USPs: All furniture is handmade in Italy.

Best seller: Solitaire collection. This has either Swarovski crystal, MahoganyObsidian, Mother-of-Pearl or amber inlays stylishly placed on the outside of the items, as per the client’s preference.News: Selva is proud to announce the exclusive unveiling of Philipp Selva Home. This is a spectacular new brand showing time-honoured Italian crafts-manship with fi ne hard woods such as cherry, walnut and designs with a makassar look, all with unique fi nishes. The three new collections are Tzsar, Opus 40 and Vogue. In addition to these, selected existing lines such as Downtown, Platinum, Soli-taire, Opera, and Heritage J.S. have also been incorporated under the Philipp Selva Home brand.”

Selva Middle East

Company background: “Baituti, Dubai’s leading store, is a modern, state-of-the-art furniture shop housing leading European designer brands. As the name suggests, Baituti caters to those who love the fi ner things in life. It has set a new benchmark for quality and aesthet-ics in the UAE by retailing stylish, con-temporary furniture, as well as offering customised, integrated interior design solutions to consumers. Locations: Za’abeel Road, Karama, Dubai (04 334 4478).Who to talk to: Johan Botha, Baituti Furniture’s general manager, or Arefeh Bashir, interior designer.

USPs: Baituti combines exquisite quality of materials, along with a knowledge and understanding of its customers. Offering the best furniture coupled with impeccable service, Baituti is a problem solver for all your design needs. Best seller: The Groundpiece Sofa from Flexform, designed by Antonio Citterio.News: Baituti recently launched MDF Italia, displaying the Eleven Five Wall Panel system designed by Bruno Fat-torini. Also on display are the S Table and the La Grande Table designed by Xavier Lust, and the Random Bookcase, which is designed by the studio Neu-land Industriedesign.”

Baituti Furniture




Company background: “PF Emirates Inte-riors is a joint venture between Mubadala and the Poltrona Frau Group, represent-ing the world-famous Poltrona Frau in the UAE. This is a collection of top names in Italian luxury design: Poltrona Frau, Cas-sina, Cappellini, Alias, Gebruder Thonet Vienna, Nemo and Gufram. Locations: The Poltrona Frau Design Center, Al Sahel Towers, Tower A, Al Khalidiya, Corniche Road, Abu Dhabi, and Poltrona Frau Dubai, Waterview building, Port Saeed, Dubai.Who to talk to: Ruggero Ottogalli, group brand manager (050 4545895); Marina Orlando, The Poltrona Frau Design Centre (02 635 9393); and Linda Teruzzi, Poltrona Frau Dubai (04 295 2180).USPs: Through a detailed assessment of our client’s needs, and by combin-ing our design expertise with the work of the talented craftsmen of the Poltrona Frau Group, PF Emirates is able to deliver what can only be described

as ‘interiors of distinction’, combining design, function, quality and the best materials available. In addition to a standard catalogue of products, many of which are design icons, we are also able to turn any designer’s vision into reality.Best seller: For over 100 years the companies of the Poltrona Frau Group have been making what have become true icons of furniture design. From the Adolf Loos Museum Café Chair in 1898 by Gebruder Thonet Vienna, to the Le Corbusier LC4 Chaise Longue in 1928 by Cassina, and from Tom Dixon’s S-Chair in 1991 by Cappellini, to the more modern classics such as the Kennedee Collection in 2006 by Jean Marie Mas-saud from Poltrona Frau. News: We have opened the Poltrona Frau Design Center, the world’s fi rst and biggest Poltrona Frau Group show-room, in Abu Dhabi. Other news is the development and realisation of the new Etihad fi rst-class seat.”

PF Emirates Interiors

Company background: “Decoworld was established in 2008 under the umbrella of Al Aqili Furnishings, the region’s leading fl ooring specialist and interior solutions giant. Decoworld is designed to offer the consumer a comprehensive range of interior and furnishing solu-tions, and houses over 40 of Al Aqili Fur-nishings’ exclusive international brands in one single destination. This provides clients with optimal convenience and unmatched consultancy.Locations: Marina Promenade at Dubai Marina and the Pyramid in Oud Metha, Dubai. Decoworld is also present in the Shamiyah area in Kuwait and on Bustan Street in Qatar.

Who to talk to: Hengameh Mahvi, gener-al manager of the furniture division at Al Aqili Furnishings. Mahvi is responsible for both the Decoworld and Francesco Molon showrooms.USPs: An eclectic mix of contemporary, chic home furnishings, innovative lighting solutions, fl ooring, fabrics and stylishly understated accessories from over 40 international brands. Decoworld provides the full scope of interiors and decoration products and services.Best sellers: Our living room and bedroom sets. Other favourites include wall-to-wall carpeting, laminate and wooden parquet, as well as window and wall coverings.

Decoworld




Company background: “The Perla Lichi Gallery will make its offi cial debut in June and is located in a luxurious, 5,000ft², two-fl oor villa on Dubai’s Jumeirah Beach Road. The gallery is named for interior designer, Perla Lichi, who is also the author of three books: You Deserve Beau-tiful Rooms, You Too Deserve Beautiful Rooms and More Beautiful Rooms. The gallery is home to imported furniture, chandeliers, accessories and creative stoneworks, as well as custom-area rugs, custom drapery treatments and many unique faux fi nishing techniques that work together to create the exquisite detailing that has become the designer’s hallmark. The design department is based in the US, where Lichi has gathered a team of specialists in various design disciplines.

Locations: 516 Jumeirah Beach Road, Jumeirah 3, Dubai.Who to talk to: Ossama Salem, director of operations.USPs: A one-stop shop offering solu-tions to any design dilemma, Perla Lichi Gallery offers custom-order furniture, custom draperies, custom fl ooring and custom stonework. Customers can come into the shop with their architectural plans to discuss their design require-ments or they can simply come in and order furniture and accessories.News: Also debuting in June, along with the Perla Lichi Gallery, is the 5th edition of Great Designers of the World, a coffee table book published by Bibliotheque Worldwide. Perla Lichi’s work is show-cased on both the front and back covers of the book.”

Perla Lichi Gallery

Company background: “Founded in 1980, Four Seasons specialises in furnishing hotels and unique residences. We have furnished hotels such as Grosvenor House, Shangri-La, InterContinental and Park Hyatt Residences, to name a few. Locations: We are present in two loca-tions in Dubai: Mall of the Emirates and Zomorrodah Building, Zabeel Road. Both showrooms are open from 10am to 10pm, seven days a week. USPs: Four Seasons showcases very unique handcrafted products and offers all its clients a personalised service.

Best seller: We feature classic and contemporary furniture, artworks, ac-cessories, rugs and lighting. Our best selling items are the lighting fi xtures and lamps due to their unique design and remarkable quality. Four Seasons Ramesh Gallery is the sole dealer and distributor of Fine Art Lamps.Who to talk to: Neel Shukla (050 6250386). News: Four Seasons will change its Mall of the Emirates showroom to offer con-temporary furniture, accessories and lighting.”

Four Seasons Ramesh Gallery




Company background: “A world where elegant design combines effortlessly with comfort and support to bring a home furniture concept that is attractive and inspirational. At 2XL, we understand that our customer requires furniture that not only fi ts the physical dimensions of the room, but a complete solution that conveys a message about their lifestyle.”Locations: Five showrooms across the UAE: Up Town Mirdif and Al Ghurair City in Dubai; Regus Building in Sharjah; Mina Center and Abu Dhabi Mall. Who to talk to: Head offi ce, Sharjah (06 5722888) or customer service (800-295).USPs: The possibilities at 2XL are end-less. Our furniture is made of different combinations of leather, wood, steel and a range of fabrics and fi nishes. Our

accessories offer a personal touch. Take a tour of our spacious showrooms and see our wide range of lamps, thread curtains, satin sashes, fur throws and animal print accessories, which will give your space that stylish, modern, Italian touch. Best seller: Our accessories are our best sellers. From napkin rings to vases to decorative embellishments, we have it all. News: The fashion this season is more bright and bountiful colours – whites, bright pinks, greens, orange, black, grey and purple, which is the hottest colour of the season. We offer these bright colours and, to balance them, we also have refi ned colours like black, grey and beige. We are now also stylishly introducing soothing, softer colours like whites, pinks and greens.”

2XL Furniture & Home Décor

Company background: “Started in 1955 by Francisco Andreu. Andreu World, through the manufacture of wooden furniture and, in recent years additional materials such as metal, poliurethane and polipropilene, and with a clear tal-ent as an exporter, has come to occupy a prestigious position in the world of furniture design. Now, with almost 50 years’ experience in this important sec-tor, Andreu World has a proven record of meeting daily demands to the satisfac-tion of a growing market that is calling for higher and higher levels of quality. Locations: With a base in Valencia, Spain, our products, directly or through our partners, can be found in prestigious projects in more than 60 countries. Who to talk to: Roberto García, sales area manager. USPs: Five years guarantee on all our products; product and forest certifi cates in FSC; ISO 14001: Environmental

Management System Certifi cate; ISO 9001: Quality Management System Certifi cate; a rich variety of products, together with different possibilities of fi nishes; customised sizes for tables, and our outstanding design and quality. Best seller: With hundreds of thousands of units sold, the families of seats, Manila, Lineal, Smile and some table collections such as Sistema SP or Dado, are some of our best selling collections. News: In line with our commitment to ecology, Andreu World only uses FSC-certifi ed wood products. Andreu World, in collaboration with the certifying body SGS, is proud to be certifi ed by FSC.Andreu World has also developed a new division for outdoor furniture, which has been created out of a concern for sustainability and eco-friendliness. The ‘LandscapeOne’ collection is intended for a rational use of outdoor space, both in formal and in functional aspects.”

Andreu World

9 – 10 November, 2009Abu Dhabi National Exhibition Centrewww.workingbuildingsme.comwww.fitoutme.com

Book Your Space Now!

Contact Jon Berry(Show Manager)E: [email protected]: +971 (0) 50 8814632

For Sponsorship Opportunities:

Contact Becky Crayman(Sponsorship Director)

E: [email protected]: +971 50 1052466


There is a whole lot more to window dressings than simply shutting out the light. Finding the right product can add style, bring in a technical touch and help you to drastically cut down on your carbon footprint

Blind-ingly brilliant

W hile window dressings may once have just been a way to add a stylish fi nishing touch,

or inject some privacy into an interior design scheme, these days, selecting the right product can do a whole lot more.

With the Gulf region now fully awake to the need to minimise its carbon foot-print, and increase the energy effi ciency of its buildings, for interior designers looking to cut down on energy usage, window dressings are the perfect place to start.

A recent study by the European Solar-Shading Organisation (ES-SO) calculated that if sun protective shutters and blinds were adopted in buildings throughout the EU, a potential 31 million tonnes of carbon dioxide emissions could be saved in heating energy requirements. The potential savings in cooling energy

were even more staggering: the study calculated that the right window dress-ings could lead to an annual reduction in EU carbon dioxide emissions of 80 million tonnes.

In the Middle East, where the baking sun constantly streams through the windows causing us to crank up the air con, the need to employ eco-friendly solutions is particularly pressing.

“Sustainability is very important right now in this region, especially with the introduction of LEED and Estidama certifi cation systems for old and new buildings,” said Abdo Aoun, manager of Gulf operations for Somfy, a specialist in home automation solutions. “Although these two rating systems are still optional, many developers are seeking to differentiate their companies and their projects, and to attract sensitive

FEATURE WINDOW DRESSING

1. Colourful roller

blinds from Luxafl ex.

1




investors and end-users, as well as to be more socially responsible.”

As an energy saving solution, Somfy has designed a fl exible automation system for window dressings called ‘Animeo’. Automated shadings and openings on the facades of commercial buildings are integrated with sun and weather sensors.

“Depending on the position of the sun and the time of the day, the building can protect itself from external heat gains, in hot areas like the GCC, or preserve the heat inside the building, in cold areas like Europe,” explained Aoun.

“On the other hand, when the facade is not exposed to direct sunlight, the interior of the building is able to enjoy the daylight coming through from the high light-transmittance glazing.

“The impact of this is that it reduces energy consumption in the building from cooling and lighting. Not to men-tion the possibility of using natural ventilation, and the energy savings from

this, as well as the impact of such a sys-tem on the internal environment of the building, thus improving comfort levels and productivity.”

SHADY BUSINESSHunter Douglas has also developed an integrated system for energy saving in commercial interiors by using solar shading. Enduris Glass Core technology contributes to sustainable design by protecting interiors from solar heat, dif-fusing incoming natural light, enhanc-ing interior comfort and so increasing occupant productivity.

The product uses internal blinds which have been tested to eliminate up to 64% of heat from solar radiation. “The result is that you get a more pleas-ant indoor environment, with tempera-tures reduced by as much as 5 to 15°C, contributing to energy savings such as cooling load reductions of 40 to 60%,” explained Yvonne Tobien, sales execu-tive, Hunter Douglas.

2

3

“The screen fabrics also provide excellent protection against UV radia-tion. All shades made with these fabrics offer excellent aesthetics, the highest strength and durability to maintain those looks, and performance charac-teristics that contribute to a healthier, more sustainable indoor environment.”

If the right materials are chosen, simple blinds can drastically lower energy usage. German company Verotex has spent the past 20 years developing a range of fabrics for use in blinds made from a highly innovative, eco-friendly coating, which refl ects up to 88% of light coming through the window.

“Energy-conscious blinding is im-portant for reducing energy costs and thus the environmental impact of the building,” said Holger Scholz, technical director, Verotex Gulf. “The weak points in terms of the energy technology in a building are the windows or the glass façade. Verotex fabrics refl ect up to 88% of light, thus being able to reduce

2. Blinds

by Drapilux.

3. An offi ce solution

from Verotex.

4. A Verotex

application at Al

Badia Golf Club.

5. Curtains

from Drapilux.

4

3

5




6. Luxafl ex blinds.

7. Solutions

from Verotex.

8. Drapilux

dressings.

enormously the energy budget. At the same time, a transparent external view should be safeguarded in order to avoid a ‘black box’ feeling. To overcome this effect, Verotex has developed screen fabrics which are vaporised with a Nano mirror effect.”

Thanks to their capacity to save on energy while still letting light into the room, Scholz describes the fabrics as a “textile technical masterstroke”.

Window dressing company Luxafl ex also offers energy saving blinds and fabrics. “Sustainability has become more and more important for the interior architect,” said Tobien. “Silhouette shades – one of our products – is made of a strong but light polyester fabric that doesn’t fade or tear, combining the best features of curtains and blinds in one unique design.”

ECO CURTAINS They may not have the technical capac-ity of blinds and shutters, but if you are

going to go for curtains as a window dressing, fabrics can also be very eco-friendly. Drapilux, for example, has developed a range of intelligent textiles for its window dressings.

“Drapilux has always been interested in the topic of the environment and has been implementing environmentally friendly production techniques for many years, which are certifi ed annually by Oeko Tex [an international testing and certifi cation system for textiles which limits the use of certain chemicals dur-ing production],” says Gudrun Kloehn, international sales manager, Drapilux.

“Drapilux takes care to recycle waste materials and use recyclable packaging. The additional functions of Drapilux dec-orative fabrics contribute just as much to environmental protection: Drapilux Bioaktiv reduces the washing frequency of curtain and net curtain fabrics.

“Less detergents and water are re-quired. Moreover, Drapilux is a member of ‘future e.V.’ which campaigns for the

development of environmentally-ori-ented products and services.”

TALKING TECHNO As well as being at the cutting edge of eco-friendly design, the latest innova-tions for window dressings allow you to precisely control the brightness of the light fi ltering into the room, close the curtains at a touch of a button, and make diffi cult to reach windows a snap to operate.

Blinds are the most advanced window dressing in terms of technical capabili-ties. The amount of light coming into the room, as well as the direction of the light, can be precisely controlled by tilt-ing the louvers, slats, vanes or panels.

“A blind is a natural and artifi cial light controller,” said Aoun. “We have three main reasons behind wanting natural/artifi cial light control in a com-mercial space. The fi rst is comfort; you can reduce the glare and contrast in the workplace, which comes from direct or

7

6

7

8




9. A colourful

offi ce by Luxafl ex.

10. Curtains

from Drapilux.

11. Washi roller

with colour

by Luxafl ex.

diffused sunlight. The second is energy saving, and the third is about controlling internal artifi cial light, which can cause night light pollution.

“This is the excessive amount of ar-tifi cial light that comes out of buildings at night and refl ects onto the street and surrounding buildings,” he said.

One of Somfy’s latest products is called Sonesses, a new range of ‘silent’ tubular motors for all types of roller shades. The motors come in different sizes and can be used for sunscreens, roman shades, cord-lift shades, and roller black out blinds. “By silent we mean less than 44 decibels, which means that if you are one metre away from the blind you won’t hear the motor operating,” said Aoun.

Another innovation from Somfy is a range of ‘silent’ motorised curtain track systems called ‘Glystro’. “In a commer-cial setting, Glystro is mostly used for hotels and hotel apartments, where you can integrate it with the room automa-tion system,” he explained.

“In addition to being motorised and controlled automatically, the curtain can also be opened manually through a manual override system, in case the guest doesn’t realise it’s automatic.

“This is an important feature which limits the maintenance for the track and the fabrics. On the other hand, if the curtain gets stuck, Glystro by the means

of its over torque detector, allows the system to declutch and switch to manual mode, preventing damage to the fabric and the components of the track.”

WHAT’S IN FOR WINDOWS? As the focus increasingly shifts towards the environment and technology, bil-lowing, poufy curtains with reams of fabric seem to be out, as designers look towards blinds and shutters for the lat-est innovations. But has style gone out of the window?

Manufacturers say the latest trends for window dressings are sleek, contem-porary and highly technical. “The trend makers for intelligent window design are coming from Europe,” said Scholz.

“Just after the last trade fair ‘R&T’ in Stuttgart, it became evident that panel track, vertical blinds – a newcomer – pleated blinds and roller blinds, in this order, will set the trend over the next three years, with high-tech materials being the special highlight.”

Roller shades, quite a retro-look for a while, have been reinvented and offer sleek designs, excellent light control and a clean, stylish look.

“With our huge fabric collection, whether it’s elegant, tailored design, natural grass cloth or sophisticated silk like fabric, we can create a roller shade to suit any taste,” explained Tobien from Luxaflex.

“The dual roller shade option allows you to pair two fabrics of varying opaci-ties on one cassette for optimum light control and an intriguing layered effect.”

Another major trend from Luxafl ex is for sleek, fl at, Japanese-design verti-cal panels made from a unique paper material called ‘washi’ (literally meaning Japanese paper). “This opaque material has a cloudy fi nish that allows light through but obscures the view, making it perfect for privacy and sun protec-tion,” said Tobien.

“We offer combinations with white and colour washi segments. The woven washi panels and roller blinds look like bamboo but are also made from paper. Wooden or aluminum ribs and bottom bars enhance the oriental look.”

According to Tobien, demand in the market is starting to show a defi nite shift from plainer colours to more vibrant styles. “Lately we have realised that the styles in demand have started to shift from colours such as white, beige and greys towards more vibrant and trendy colours.”

Another option for a cool and con-temporary look is shutters. The Shutter Company creates bespoke handcrafted shutters which are ideal for a sleek mod-ern interior. The shutters are made from solid basswood and can be both manual and motorised, and painted or stained suit any interior.

9

10

11


FEATURE TECHNOLOGY


1. Technology

suppliers are

focusing

on making

their products

aesthetically

pleasing.

Demand for energy effi cient, fully-automated interiors is defi nitely on the increase, Selina Denman discovers

F rom audio-visual products that blend seamlessly into the overall design, to kitchens that interface

with the internet and wireless networks that optimise lighting and temperature, technology is impacting every inch of the interior, and revolutionising the way that users interact with the spaces that they inhabit.

Demand for greater energy effi ciency, increased automation and enhanced aesthetics is driving the take-up of technology in the interior. Notably, designers and consumers are seeking

solutions that contribute to the overall aesthetic, encouraging providers to create technologies that are visually ap-pealing as well as technically advanced.

THE BIG PICTURE With its new generation of Aurea FlatTVs, Philips has made a point of combining cutting-edge technology with iconic design. The new range features the latest version of Philips Active Frame technology, so the outer frame sur-rounding the TV emulates the colours on the screen with an ever-changing

glow of light. In addition, the improved Active Frame features a new brilliant pearl colour, made from high-quality glass with anti-refl ective coatings.

The Aurea, which is available in a 42” format and features a Full HD 1080p LCD display, also includes an invisible speaker system with six speakers fully integrated into its rim.

Aurea can be paired with a white Am-bisound Soundbar, a single unit home theatre system that produces an im-mersive 5.1 sound performance. “Philips has implemented various improvements

Intelligentinteriors

1


FEATURE TECHNOLOGY


based on extensive consumer feedback and recommendations received since launching the fi rst Aurea LCD TV in 2007.

“The new Aurea range has unrivalled levels of functionality, a stunning design with a full-glass front, and offers con-sumers a unique entertainment experi-ence in their living room,” said Vincenzo Ventricelli, director of customer market-ing, Middle East and Africa, Philips Consumer Lifestyle.

The Infi niti range from TechVision is taking the audio-visual experience out of the living room and into the bathroom with its waterproof LCD televisions. Available as a 7” or a 17” screen, with a modern black surround or mirror fi nish, the televisions are fi tted with a heated glass screen to prevent misting.

The products can be wall or stand mounted – with the option of having the TV recessed neatly into the wall, with no need for sealants.

The high-resolution, wide screen LCD panel is suitable for all wet environ-ments, features built-in ‘Freeview’,

offering digital TV and radio, connects to separate stereo speakers and comes with a fully waterproof remote control.

Meanwhile, Dubai-based Galtech has strengthened its home theatre offering with the launch of the Sunfi re Theatre Grand Media System. “This is a high performance, modular and scalable media server for music and movies with storage options ranging from 1TB up to 6TB,” explained Leila Hechaime, sales director of Galtech.

“The TGM-100 system is as easy to use as it is sophisticated. Customers can easily load their entire collection of DVDs and CDs onto a highly reliable, enterprise-level storage solution.

“Artist, album, genre, fi lm, direc-tor, even cover art, are downloaded automatically using Gracenote online metadata – making it a breeze to sort through extensive collections. A stun-ning, animated TV interface provides intuitive and instant access to the col-lection – all at your fi ngertips from the comfort of your favourite seat.”

Galtech is a regional distributor of home automation products ranging from in-wall touch panels, keypads, wireless control devices, amplifi ers, speakers, controllers and home theatre solutions, to sub-woofers and everything needed to get these items connected and work-ing, including cables and accessories. One of its most popular products is the Elan Home Control system.

LEAVING HOMEWhile a signifi cant proportion of interior-related technologies originate in the home, they are not confi ned to residential applications. Even what is commonly known as ‘home automation’ can be extended far beyond the confi nes of a residence.

“There is great demand for our prod-ucts from hotels. Hotels are particularly interested because interior automation conserves energy. They already have it in a number of hotels here, and now most of the new ones coming up are requesting it. Our product is more on

2

3

4

2. Solutions

from Galtech.

3. Jung screen from

Al Mazroui ICAS.

4. Demand for

technology is

growing in hotels.

3


FEATURE TECHNOLOGY


replacing ordinary light switches with intelligent switches. Using wireless connectivity, switches on a network will communicate with each other, and also with remote controls, whether they are touch screen or push buttons.”

The system’s strength lies in the straightforwardness of use, installa-tion and maintenance. “The end user is demanding smart technology but they’ll switch off it is not simple and unobtru-sive,” Prince pointed out.

The intelligence is in the switch, he explained, which means that normal socket switches need to be replaced – and that’s about it.

“The intelligence is built in. Most systems are very complicated and have data cables and black boxes and control-lers. This is a simple technology. It is a simple install, and a low-cost install. It is also very easy for the user to make

the residential side, but it can also be applied to small and medium-sized com-mercial applications,” said Hechaime.

Like Hechaime, Andrew Prince, man-aging director of RoomWithNet Trading, is also seeing growing interest in smart automation products from the hotel sec-tor. “A lot of hoteliers are very interested in improving the guest experience. Obvi-ously, they are tending to baulk at huge capital investment at this time, however, there are several hotels that we are talking to that are keen to make the step into using this kind of technology.”

RoomWithNet Trading has launched a home automation system, Zity, which is as suitable for a villa or palace as it is for a hotel. Zity allows the regulation of lighting, air-conditioning, heating and security systems, which can all be regulated by remote control and timer switches. “At a simple level, you are

changes as and when they want – they do not need to call an IT expert in,” Prince detailed.

There is also the opportunity to play around with the aesthetics, which will appeal to the design community. “The front of the plates can be confi gured. You could have a pewter front plate, or a gold one. They also have little LED lights when you turn them on or off so you can have those in anything from cool white to blue,” said Prince.

WIRELESS INTELLIGENCELutron Electronics is also promoting wireless automation solutions. The com-pany recently launched a wireless ver-sion of its Lutron’s Grafi k Eye QS, a fully customisable preset light and shade control system, providing convenient control, energy savings, and enhance-ment of the visual environment.

5,7&8. Commercial

applications of

wireless automation

systems from

Lutron Electronics.

6. Zity by

RoomWithNet.

5

5 6

87


FEATURE TECHNOLOGY


9. Interior

automation

solutions from

Al Mazroui ICAS.

10. The Philips

Aurea Flat TV.

The new Grafi k Eye QS Wireless offers the same integration but in a wireless confi guration. This allows for reduced installation time and cost by eliminat-ing the need to run or pull wire from the Grafi k Eye QS to other components.

Grafi k Eye QS Wireless also features a host of energy-saving features, including an energy savings indicator, a built-in astronomical and programmable time clock, direct connection to occupancy sensor for manual on/automatic off, daylight harvesting of both incandescent and fl uorescent lights, and the ability to dim lights to preset levels.

“These components, along with other advanced features, comprise one easy-to-use system that can simultaneously control fl uorescent, LED, and incandes-cent lighting, as well as shades and wireless components,” said Jesus Guer-rero, product manager, Lutron.

“The system delivers better lighting control, scalability, and improved en-ergy effi ciency. Grafi k Eye QS Wireless is appropriate for a single room to an open offi ce, and new construction or retrofi t,” Guerrero added.

GREEN TEAMLutron introduced its Wireless Oc-cupancy Sensor earlier this year. The sensor is specifi cally designed for easy installation in conference rooms, copy

rooms, small offi ces, classrooms, liv-ing rooms, bedrooms, restrooms, and other spaces where automatic lighting shut-off is desirable.

The system can be installed in a matter of minutes by simple placing the sensor on the ceiling and replacing the standard light switch with a compatible Lutron dimmer or switch. The sensor contains front-accessible buttons for easy setup and an illuminating lens to verify ideal locations.

“We are very excited about this breakthrough product. Now homeown-ers, facility managers and contractors can retrofi t a space in minutes to save energy and money, without any rewir-ing,” said Eric Lind, director, commer-cial marketing, Lutron.

Greater consumer awareness of the need to be energy effi cient is acting as a key driver of business for interior automation suppliers. “Everyone wants to save on energy these days and this has been to our advantage, since home automation is the fi rst step in saving on energy consumption,” said Hechaime.

Al Mazroui ICAS, which incorporates a strategic business unit focusing on automated systems for residential and commercial applications, has also pinpointed energy savings as a major driver in the take up of technology. The company offers video intercom, lighting

control, CCTV, sound and LAN systems for commercial applications.

Lighting control systems based on KNX protocol are its most popular product and it launched Facility Pilot, the latest software in lighting, blinds, sound and AC control, last year.

Meanwhile, RoomWithNet has launched the eco-friendly Tucana Global All-in-one LCD-PC. The recyclable product offers space-saving all-in-one benefi ts with an integrated high-defi nition LCD TV. Suitable for conference rooms, waiting areas and training facilities, it allows us-ers to fl ip back and forth between PC and TV modes, or use both TV and PC at the same time in split screen or PIP modes. Every Tucana Global offers optional built in wi-fi and webcam.

Available as wall mountable or desk-top models, there are no hard drive towers or wires, and installation is simply plug and play. Tucana Global units start at 26”, which run on as little as 12 volts, with screen sizes that go up to 65” and optional built-in webcam and wi-fi on every model.

“It is all built into one unit, which is energy effi cient,” said Prince. “That’s where we are coming from. It’s one power socket for four devices. This is important for designers to keep in mind – things must be energy effi ciency, user-friendly and low-cost to run.”

9 10


HEADING OUT


EGO TRIPEgo Paris has incorporated two new colours, gold and aubergine, into its 2009 collection.

The company has launched the ‘gold powder’ aluminium lacquer and Batyline mesh with dual gold and silver thread. A member of the Les Effets range, the eco-friendly Batyline textile resists UVs particularly well, is naturally water re-pellent because of its open weave, and is rip resistant due to a weld at every crossover point. Its texture is described as ‘iridescent and satin-like’.

The aubergine shade has been developed for the company’s aluminium lacquers, Batyline mesh and Sunbrella fabrics, and injects an element of time-less glamour into the product range. The company now offers over 300 colour and material combinations.

As part of its 2009 offering, the company has also enriched its Kama collection. Designed by Benjamin Ferriol and Thomas Sauvage, Kama is warm,

HEADING OUT… our monthly look at the outdoor design industry

OUTDOOR FATBOYDubai-based Desert River has intro-duced ‘fatboy outdoor’, the latest addition to the fatboy family. The new version of the fatboy lounge bag is spe-cifi cally designed for the outdoors and can be utilised in gardens, on terraces, or on the beach. It is particularly suit-able for use in high-traffi c environments such as hotels and restaurants.

In terms of aesthetics, the fatboy outdoor has the same robust design characteristics as the classic version. This extra tough fatboy variant is made of high-quality durable material, specifi -cally selected for outdoor use.

UV resistance is optimal and the new coating gives the outdoor variant strong resistance against both water and weather. Modifi cations have also been made to enhance comfort; a special strap and a heavy-duty grommet make

comfortable and entirely modular. It combines a lacquered aluminium struc-ture with rounded angles reminiscent of the 1970s, with soft outdoor cushioning that can be used in a range of positions.

New additions to the range include the Kama Dyvan (below left). The Dyvan’s fi ve cushions can be rearranged to create nine different confi gurations, changing the unit into a sun lounger, a day bed or a sofa. A new set of modu-lar tables, the Duo and the Quattro, have also been incorporated into the Kama collection.

In addition, the company has ex-tended its Tandem range this year, with the new Tandem sun lounger duo. With their adjustable backrests, the Thomas Sauvage-designed duo can be arranged end-to-end, side-by-side, opposite one another or staggered.

An extendable bar set and extendable dining set have also been launched as part of the Tandem line.

it possible to adjust the fatboy into the ideal seating position. The fatboy out-door is available in eight colours: black, red, orange, brown, taupe, white, lime green and turquoise.

“There is great demand for funky, stylish and contemporary products [in this region]. Our products are versatile and made in Europe to the very highest

standards,” said managing partner, Desert River, Claudia van der Werf.

Complementing its range of outdoor products, Desert River has also launched the Ice Cube, a large ice cooler for outdoor use, manufactured in Belgium. Ice Cube is made of rotation moulded polyethylene, which ensures ideal isolation of the ice.


HEADING OUT


Outdoor FurnitureChildren’s Collection

“Lauralee”

Tel: +971 4 347 57 01Fax: +971 4 347 14 71

Email: [email protected]: www.dubaikudos.com

KETTALIZING DUBAISpanish outdoor furniture specialist, Kettal is showcasing its latest collections, from internationally-renowned designers Patricia Urquiola and Marcel Wanders, in its Dubai showroom.

The unveiling of the new pieces forms part of a dedicated drive to raise awareness of the Dubai showroom. A high-profi le event was organised in association with the Spanish Embassy at the end of April, with the aim of introducing the facility, and the company, to Dubai’s design community.

The new Urquiola and Wanders collections highlight Kettal’s commitment to working with the most infl uential designers in the world, Rosa Aznar, Kettal’s communications director, ex-plained to Commercial Interior Design. “The designers that we work with are the very best. Every year we try and introduce the designers that are the most brilliant, at that moment, into the catalogue. Like Patricia Urquiola and Marcel Wanders.”

Taking pride of place in the showroom is Patricia Urquiola’s Maia collection (below), which features a hand-braided design with fl ower shapes, combined with a sturdy aluminium structure. It is offered in a range of fabrics, all designed by Urquiola, and is also now available in white.

“This was a big jump for outdoor furniture. Only a few years ago, you could not imagine that outdoor furniture would look like this,” said Aznar. “Javier Mariscal, a well-known designer from Spain, has said that the Maia relaxed armchair is one of the most iconic, emblematic chairs on the market.”

Meanwhile, the Atmosphere collection of modular furniture by Marcel Wanders consists of an aluminium and porotex chassis that is resistant to extreme weather conditions. “It is extremely weather resistant. It can be used in Helsinki, where it is minus 40 degrees, and in the Gulf, where it is plus 40.”

The company is also keen to formally introduce its ‘Kettal-ize it!’ service to the region. The service allows buyers to fully customise their Kettal furniture by selecting from a range of colours and fabrics. A new online tool allows buyers to explore and implement the different options on the Kettal website.

“Everyone can choose the colours and the fabrics that they like. People enjoy this combination of freedom and creativity. The consumer ultimately feels like they are a part of the whole process,” Aznar said.

Universal Trading Co., member of Universal Group, was established in 1973 with a wide scope of supply of both products and services, ranging from heavy equipment to electrical appliances. We have exclusive agencies of diff erent brands imported from all over the world mainly, Germany, Italy, and the United States of America.

Our organization consists of three main divisions:• Domestic Appliances Division• Kitchen and Wardrobes Division• Heavy Equipment and Machinery Division

UNIVERSAL TRADING CO.ABU DHABI, Istiqlal StreetP.O.Box 4399Tel: 02-6335331/6336252 • Fax: 02 6211957

AL AIN P.O.Box 1503Tel: 03-7216660

UNIVERSAL ELECTRICAL EQUIP. Est.DUBAIP.O.Box 6809Tel: 04 2823443 • Fax: 04 2821634


PRODUCTS


CLUB CHAIR The Club Chair is part of Lee Broom’s Rough Diamond collection. Based on a classic chesterfi eld design, all the buttons have been replaced with LED light fi ttings and capped with a fairground bulb casing. The lights are on a six-channel phasing unit, which means they are programmed to move in the same way a fairground ride would move, but can also be set to be still. The chair comes authen-ticated by an engraved polished brass plaque, and is available in brown/copper or white leather.

Lee Broom

+44 207 820 0742

www.leebroom.com

New on the market

TORSODesso has unveiled its second fully sustainable, ‘cradle-to-cradle’ carpet tile, Torso. This follows the launch of the Pallas tile (right) earlier this year and is part of Desso’s drive to have a complete ‘cradle-to-cradle’ product line by 2020. The Torso tile is being produced in 60 different colours.

Desso

www.desso.com

+31 416 684 100

UTÖStockholm-based Limited Edition and Gallery has launched Utö, a table inlayed with sterling silver. Elmroot is used for the top of the table and the legs are in walnut. It comes in a standard height of 77cm, with a diametre of 110cm, but custom sizes are also available.

Limited Edition and Gallery

+46 8650 99 19

www.leandg.com


PRODUCTS


FENDI CASA Fendi Casa, a leader in contemporary fashion and lifestyle luxury, is displaying its home range at Aati. The collection of sofas and armchairs features warm and golden tones, like amber, topaz and ivory; these reinterpret the dark nuances of lead and black or become changeable with bright combinations of burgundy and cyclamen. The fabrics, a result of continuous research, have a strong decorative component and are used in several versions and fi nishes.

Al Tayer

+971 (0)4 2011111

www.altayer.com

FOUR SEASONS RAMESH GALLERY Four Seasons Ramesh Gallery has created a series of three-dimensional artworks that combine contemporary, classical, and photographic images. These new artworks are a collage of beautiful and bold images. The company has two showrooms in Dubai, one at Mall of the Emirates and the other on Zabeel Road.

Four Seasons Ramesh Gallery

+971 (0)4 3349090

www.fourseasonsgallery.com


PRODUCTS


DIGITAL MEMORIES Bisazza has launched the Digital Memories collec-tion, three new pieces of furniture designed by Tord Boontje for Bisazza Home. Each piece expresses a romantic and poetic style, inspired by the shapes and colours of nature, Tord Boontje’s unique trademark. The three storage units, Dark Waters, Night Vision and Summer Trees, are made of lacquered wood and distinguished by functionality and essential lines, enhanced by new decorative mosaic patterns.

Bisazza

+39 02 76021313

www.bisazza.com

ZERO 7Italian designer, Giovanni Baccolini has combined the ergonomic needs of today’s working environment with modern comfort and style in the Zero 7 range from Ares Line. The Zero 7 range offers lumbar support and a nylon mesh backrest to signifi cantly reduce back pain and discomfort. It comes in black, grey or white, with supporting frames in chrome-plated steel, and soft polyurethane for the backrest.

Ofi s

+971 (0)4 3352499

www.ofi sdubai.com

MOBALPA Mobalpa’s 2009 collection incorporates over 142 fronts. The collection includes Niobé, which features a shiny laminate front in blackcurrant, mandarin or guava green. Meanwhile, Crystal, with its new wall cabinets in black or white lacquered glass, is more sober. Cyane, the high-sheen kitchen, features an acrylic front that matches the feel of glass. It comes in metallic blue, metallic graphite or metallic white gold, providing mirror effects that make for a light, delicate kitchen. Meanwhile, Tallys groups all of the fi nest aesthetic innovations found in the new range: a dark purple and blackcurrant satin lacquered front, a laminated white oak worktop in a structured fi nish, and another in tempered glass.

Societe Fournier

+65 9168 374

www.mobalpa.com

complete

key


PRODUCTS


KRISTALIA Kristalia has unveiled a new range of seating systems for both residential and commercial use. Plana (left and below) is a new stackable chair, designed by LucidiPevere, which is suitable for both indoor and outdoor use. This marks Kristalia’s fi rst venture into injection-moulding technology and also sees a new beige colour added to the portfolio. The company has also launched the Pikaia Family by Angelo Natuzzi. This collection includes a chair with armrests, on a slide frame, on castors with or without armrests, or on a multi-seat beam. Meanwhile, Bikappa is the new elegant chair by Bartoli Design, which is also available in a hide version.

Kristalia

+39 0434 623678

www.kristalia.it

TRAPEZIUM UK-based shower designer and manufacturer, Roman has launched the ultimate space-saving shower enclosure, the Trapezium. The Trapezium Enclosure is a defi nitive bath-room statement piece and offers the ultimate in fl exibility when considering small spaces. This extremely fl exible product can be easily installed to a number of confi gura-tions, depending on the bathroom layout and design. In addition, the Trapezium Enclosure features Roman’s popular inward-opening Collage Bi-fold Door, which cleverly avoids projection into the bathroom, maximising the overall showering space. The Bi-fold Door is supported at each end by two Collage Frameless 8mm thick side panels, to achieve a sturdy and secure single wall installation.

Roman

+44 1325 311318

www.roman-showers.com


PRODUCTS


IMPACT Skopos Design has introduced Impact Faux leathers, an extravagant collection of four faux leather designs injecting unparalleled energy and charisma into hotel and leisure upholstery. With a colour palette that embraces the modern metallics of pewter and bronze, fashion colours of bright white and lime green, and the traditional leather deep reds and browns, as just a few highlights, Impact has a colour option perfect for every interior. Combine the exciting colouring with four character designs, ranging from the stunning Vision and the shimmer of Verve through to more natural textures of Poise and Power, and Impact is the col-lection versatile enough to make whatever statement your scheme requires. Impact fabrics are available now, are suit-able for use as upholstery, and are fl ame retardant to UK, international and IMO standards

ALTOAlso new from Skopos Design is Alto, a luscious collection of shimmering, wide-width Trevira CS Plains presenting a luxu-rious wide-width solution for linings and soft furnishings for the contact market. Twenty fi ve colours form an exciting colour palette embracing shades from calm key neutrals, stylish classical chic, through to Altos vibrant modish punch, to form this versatile collection.

STRATASkopos Design has also introduced the rugged new woven collection, Strata. With eight expertly detailed designs infl uenced by the ebbs of the earth and its natural formations, Strata brings the strength and robust character of geological forms into hotel and leisure interi-ors worldwide. With designs ranging from the irresistibly touchable Ailsa to the dramatic multi-tonal stripe of Can-yon, Strata fabrics combine to form an upholstery range suitable for all contract schemes. All Strata fabrics are fl ame retardant to UK, international and IMO standards.

Skopos Design, +44 1924 465191, +971 (0)50 257 3392, www.skoposdesignltd.com


CLASSIFIED


DELMA INTERIORSP.O. Box 5582, Dubai, UAE

Tel.: 04-2940088Fax: 04-2940110

[email protected]

“Our Seating Provides You WithComfort and Style”...

To advertise in this section, please contact Michael Stansfi eld on +971.4435.6359 or michael.stansfi [email protected]


CONTRACTS

Commercial Interior Design is committed to helping its readers grow their businesses, so we have teamed up with Ventures Middle East to bring you the latest tenders from around the region on a monthly basis.

PROJECT FOCUSKUWAIT PROJECTS DATABASE - Building Projects Focus

PROJECT TITLE CLIENT CONSULTANT MAIN CONTRACTOR

VALUE/(US$.MN)

PROJECT STATUS TYPE OF PROJECT

Centre for Research & Studies at Sharq

Ministry of Public Works Gulf Consult Al Jaraih Contracting 12project under construction

Commercial Buildings

Kuwait Trade CenterCommercial Real Estate Company

Norr GroupSayed Hamad Behbe-hani & Sons

76project under construction

Mixed Use

Wafra MallWafra Real Estate Company

Soor Engineering Bureau

Not Appointed 52award awaited for the main contract

Shopping Centre

Injassat Tower Injassat Real EstateProjacs/KEO Inter-national

Ahmadiah Trading & Contracting



Police Headquarters at Hawali Ministry of Public WorksSalem al-Marzouk & Sabah Abi Hanna

Not Appointed 30project under design


CFC Laboratory Building at Shuwaikh

PAAAFR Bonyan Design Not Appointed 2.5 - 15bidding under-way for the main contract

Others

Health Centre at Bayan Palace Ministry of Public Works In HouseAlamiah Building Company


Hospital

Immigration Headquarters at Farwaniya

Ministry of Public WorksKuwait Technical Consultant

Not Appointed 2.5 - 15project under design


Ideal High School at AqailaMinistry of Public Works/Ministry of Education

Al Zamami Con-sultant

Not Appointed 16 - 30award awaited for the main contract

Educational Facilities

Kuwait Business Town at Al Mirqab Area - Zone 3

Kuwait Business Town Holding Company

Projacs/Pace/Fen-tress Bradburn

First United General Trading & Contracting


Mixed Use

Al Hamra Tower Ajial Real Estate Com-pany

Al Jazeera Consul-tants



Mixed Use

Ideal High School at Abu HalifaMinistry of Public Works/Ministry of Education




Aknan Resort in Al KhairanAknan Global Develop-ment for Real Estate Co.

Saleh Al Qallaf Engineering

Not Appointed 31 - 100project under design

Hotel

Special Forces Training FacilityMinistry of Public Works/Ministry of Interior

Dar Al HandasahAlamiah Building Company



Ideal High School at Al FarwaniyaMinistry of Public Works/Ministry of Education




Kuwait Business Town at Al Mirqab Area - Zone 1

Kuwait Business Town Holding Company

Projacs/KEO Int’l/Gensler Associates



Mixed Use

Salmiya Hotel Gulf Development HouseSaleh Al Qallaf Engineering


31 - 100project under construction

Hotel

Yousifi Tower Al Yousifi Option One Not Appointed 31 - 100project under design

Residential Buildings

Petroleum Research Laboratory Building in Ahmadi Phase 2

Kuwait Institute for Scientifi c Research


Not Appointed 2.5 - 15award awaited for the main contract


Mangaf Neighbourhood Centre Ministry of Public Works KEO International Burgan Contracting 31 - 100project under construction

Mixed Use

Arabilla McDonaldKuwait Engineering Group

Not Appointed 2.5 - 15project under design


Restaurant Building at SalmiyaAl Tamathul Trading & Real Estate

Saleh Al Qallaf Engineering

Construction Manage-ment & Building Co;


Hotel

Residential Building at Salmiya Mr. Abdul Latif Al Mana Scale ConsultantAl Bahar Construction Company




CONTRACTS

www arabianbusiness com/construction Commercial Interior Design November 2007 101www arabianbusiness com/construction86 Commercial Interior Design October 2007

Note : The above information is the sole property of Ventures Middle East LLC and cannot be published without the expressed permission of Ventures Middle East LLC, Abu Dhabi, UAE

PROJECT TITLE CLIENT CONSULTANT MAIN CONTRACTOR

VALUE/(US$.MN)

PROJECT STATUS TYPE OF PROJECT

New Business College at Ardiya - Female Campus

Public Authority for Applied Education & Training

Gulf ConsultKuwait Arab Contrac-tors



Suma Tower Mr. Bassam Tuftuf Option OneAl-Amarat Al-Jadidah Trading & Contracting



New Headquarters for the Interior Ministry

Ministry of Interior/Min-istry of Public Works

Industrial & Engi-neering Consulting Offi ce

Khalid Ali al-Kharafi & Brothers Company



Police Headquarters at Al-Far-waniya

Ministry of Public WorksSalem al-Marzouk & Sabah Abi Hanna

Not Appointed 30project under design


Ministry of Education Headquar-ters

MPW/Ministry of Educa-tion

Cambridge 7/NBBJ/Gulf Consult

Not Appointed 200bidding under-way for the main contract


Basic Education Campus at Ardiya - Female Campus

Public Authority for Applied Education & Training

Pace/MorgantiUnited Gulf Construc-tion Company



20 Storey Building at Salmiya Mr. Aqeel Behban Option OneAl Shahla General Trading & Contracting Company



Villa Compound at Fintas Mr. Humaizi Option One Not Appointed 2.5 - 15award awaited for the main contract

Residential Develop-ment

United Tower at SharqUnited Real Estate Company

Salem al-Marzouk & Sabah Abi Han-na/Kohn Pederson & Fox Associates



Mixed Use

Crystal Tower at SharqArab Real Estate Com-pany

Projacs/HOK/Osa-ma Bukhamseen

BIG Contractors/Shanghai Construction



The Gardens in MahaboolaCommercial Real Estate Company

Option OneWara Construction Company


Residential Develop-ment

Headquarters Building for Minis-try of Awqaf

Ministry of AwqafKuwait Technical Consultant Bureau

Not Appointed 31 - 100project under design


Health Science College for GirlsPublic Authority for Applied Education & Training

Projacs/Al Zamami Consultant

Not Appointed 31 - 100bidding under-way for the main contract


LAL Department Headquarters Ministry of Public WorksAl Jazeera Consul-tants

First Kuwaiti Trading & Contracting



Neighbourhood Centre at East of Al Ahmadi

Ministry of Public WorksKuwait Technical Consultant Bureau

Not Appointed 40award awaited for the main contract

Mixed Use

Al Ghunaim Tower in Qibla Area Saleh Al Ghunaim SonsSaleh Al Qallaf Engineering

Al Bahar Construction Company



Diyar Al-Fintas ResidentialA’ayan Real Estate Company

Loay Al Saleh Engineering Consul-tants Offi ce

Construction Manage-ment & Building Co.




OPINION


crystal sculpture, symbolising the en-ergy source of the Atlantis, rising below the grand dome. Spanish artist Albino Gonzalez hand-painted eight murals around the dome telling the story of the ancient mythical city.

Months of research were involved in sourcing the world’s most exotic materi-als and ancient artifacts. Shimmering semi-precious stones and intricate fossilised shell and fi sh stone are seen throughout this luxurious escape. Hints of Arabian architecture are revealed both in the exterior and interior of the resort. We consciously used geometry as a design tool, from space planning to intricate pavement patterns, which is very classical and Arabic.

The Lost Chambers Suite is the ultimate underwater haven within the resort, and one of my favourite spaces. These three-fl oor underwater suites allow the guest to experience the magi-cal aquatic feel above and below the lagoon. One of the most talked about aspects of this resort is this opportunity to literally ‘sleep with the fi shes’ – the master bedroom and bath all have views into the Ambassador Lagoon. A playful element within this space is an enter-tainment lounge where guests can enjoy Nintendo Wii on the fl at-screen TVs.

You might think that it would be a challenge to take the cultural aspect of the design and the Islamic architecture and reinterpret this into the Atlantis, but I believe what was so benefi cial to our team was our strong presence in the Middle East. Over the years, we have

When asked to be the interior archi-tectural designer of Atlantis, The Palm Jumeirah, we jumped at the challenge.

It would mark my 14th project with my dear friend, Sol Kerzner, executive chairman of Kerzner International, and another unforgettable design experi-ence. There was just one hitch –the design had to have hints of Arabian infl uences and be exponentially grander than what we had previously designed at the Atlantis Paradise Island in the Bahamas during phases I and II. Our design team was off and running, with a goal to redefi ne the Dubai resort experi-ence with the creation of this mythical Atlantean fantasy.

I just love designing big projects with Sol! He is constantly pushing the enve-lope. He never settles. It is very exciting as a designer to use your creative ener-gies to the fullest. What amazes me is the way he interprets and understands the drawings. He motivates us to really look into the design and evaluate it with him. Communication was the key to making sure the vision was executed.

It is said that the Atlanteans were the fi rst to discover the power of the quartz crystal. These crystals were not only used for healing, but to store informa-tion and energy. This theme of crystal and light energy is creatively revealed throughout the design of the resort to incorporate moments of unexpected wonder. We commissioned a team of art-ists and artisans to make this happen.

Renowned artist Dale Chihuly con-structed the awe-inspiring nine-metre

learned so much through our work on both phase I and II of the Only&Only Royal Mirage, the Park Hyatt Dubai, The Palace Old Town and the Four Seasons Cairo at the First Residence. Blend-ing experience and innovation with indigenous design traditions has always been my focus.

Thinking back, the one thing I would have loved to have seen developed would be another infamous Bridge Suite. However, we would have needed two more towers! During construction there was so much buzz around the site about it. You could feel the excitement! I knew it would be a huge success and I hear it has been booked ever since the opening. The dazzling, custom-crystal chandeliers, precious stone accents and shimmering hand-embroidered silk fabrics all truly remind the guest that they are at the heart of Atlantis.

Six years and almost half-a-million air miles later, I found myself at the Atlantis grand opening, listening to the hits of pop sensation Kylie Minogue, at what was rumoured to be the world’s most expensive private opening. I was truly living large in this world that we had helped inspire.

Who could ask for more?

Founded in 1971 by Trisha Wilson, Wilson Associates employs over 350 professionals in its offi ces in Dallas, New York, Los Angeles, Singapore, Johannes-burg, Shanghai and an associate offi ce in Cochin, India. For more information, visit www.wilsonassoc.com.

Atlantis: a behind-the-scenes look Trisha Wilson, Founder/CEO, Wilson Associates


THE BIG PICTURE


T he Radisson Blu Hotel Sandton is the fi rst of two Radisson hotels planned for Johannesburg’s

business district. Both are designed by MKV Design, which has offi ces in the UK and Greece. The 15-fl oor hotel inhabits a newly-built tower with a large, independent spa below and two fl oors of penthouses above. Youthful

and confi dently hip, the property is a reinterpretation of modern-day, cosmo-politan tastes. The aim was to create a property that captured a genuinely modern, European essence and would appeal to a younger generation of well-travelled business people demanding new experiences, without sacrifi cing familiar references and comforts.

Radisson Blu: Johannesburg

SCHRÖNO® upholstered furniture: The Number 1 brand for hotels and large building projects.

®

The premium upholstererwww.schroeno.com

SCHRÖNO® Middle East/Asia Prime Project UAEMr. Michael Kriesten RAK Free Trade Zone P.O. Box 10559 Ras Al Khaimah UAETel. +971 7 2076137 Fax +971 7 2041010 mobil +971 50 141 3078 [email protected]

CALL TODAY FOR AN APPOINTMENT: +971 50 141 3078

FANTASY MEETSTRADITION

commercial interior design

Documents

design updatedepa

skopos design

kart design

wellness spa design

middle eastern design

outdoor design industry

interior automationdemand

interior automationwhy