commercial interior design - may 2010

An ITP Business Publication | Licensed by Dubai Media City

May 2010 Vol.6 Issue 5

The essential guide for Middle East interior design professionals

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THE SECRETS O

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HOSPITALITY D

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CONTENTS

www.constructionweekonline.com Commercial Interior Design | MAY 2010 1

May 2010

05 DESIGN UPDATE

TRENDSScarlet Opus’ Victoria Redshaw on ‘The Light Fantastic!’

INDUSTRY SPEAKDiscussing hospitality design.

SHOW REVIEWMilan Furniture Fair.

PROFILEIntroducing Arte Vivo.

DESIGNER Q&ALW Design’s Jesper Godsk on the merits of The Media One Hotel.

CASE STUDYWhy the new Mirdif City Centre is the fi rst, and last, of its kind.

FEATUREHow trends in spa and wellness design are making their way into the bathroom.

DESTINATION FOCUSThe low-down on Qatar’s interior design industry.

HOSPITALITY SUPPLIERS YOU SHOULD KNOWA handful of hospitality suppliers that you should know.

PRODUCTSA showcase of new products, including Smile and Vogue.

CONTRACTSYour monthly guide to contracttenders in the region, providedby Ventures Middle East.

OPINIONHow approaches to design are evolving, by Randa Tucan.

17

VOLUME 6 ISSUE 5

14

27

47

53

59

70

72

08 14

35

27

24

41

20

35

FORM FOLLOWS FLOW.Living City, design Phoenix Design 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: M.S.K Building Material +97 44 440 051 [email protected] Arabia: Articasa +96 6 2252 4402 (Jeddah), +96 6 1480 0720 (Riyadh) [email protected]

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

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

COMMENT


There are few designers who wouldn’t relish the opportu-nity to create an entire hotel from scratch. From rooms, restaurants, offi ces, spas and conference areas, to

bars, business centres and fancy bathrooms, hotels have a bit of everything – and present interior designers with a unique opportunity to show off their creative clout. Hotel projects mean more variety, greater scope, increased exposure and larger budgets. With a hotel project, a designer can show the

world, and themselves, what they are truly capable of. But the average hospitality project is also fraught with challenges – most

notably, juggling the often contradictory demands of owners and operators, and co-ordinating with everyone from the in-house purchasing, operations and house-keeping teams, to the procurement company. And, of course, in the current climate budgets aren’t what they were, which presents a whole other set of problems.

With the Hotel Show taking place from May 18 to 20, this month’s issue of CID has focused in on the world of hospitality design. We talk to Jesper Godsk of LW Design (page 27), the company behind some of the region’s most iconic hotels, about one of its latest projects, The Media One. According to Godsk, this four-star property in the heart of Media City is breaking new ground for Dubai’s hospitality industry, taking contemporary design to a whole new level.

We’ve also spoken to Teo Ah Khing, managing director of the Dubai branch of Teo A. Khing Design Consultants, about his design for the new Meydan Hotel (page 8). The hotel is being positioned as one of Dubai’s best, alongside the likes of Burj Al Arab, and Khing was tasked with creating a striking interior that would support these lofty ambitions.

The scale of a hotel project makes it critically important to work with partners and suppliers that are both capable and reliable, so we’ve also compiled a list of ‘Hospitality Suppliers You Should Know’ (page 53). In addition, we’ve asked a se-lect group of leading hospitality designers to share their thoughts on the evolution of hotel interiors in this month’s ‘Industry Speak’ (page 17).

According to them, the secret of successful hospitality design lies in forging a strong emotional connection with the guest, by creating an environment that is totally immersive. We hope that their expertise will help you with your next – or fi rst – hospitality project.

Hotel-tastic

SELINA DENMAN, [email protected]

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DESIGN UPDATE

QATAR: In stark contrast to many of his peers, Jeffrey Ornstein, CEO of J/Brice Design International, is promoting the importance of fash-ion, as opposed to design, when it comes to hotel interiors. “Ban the term ‘hotel design’ and replace it with ‘hotel fashion’,” he said.

“Design is too much about buildings. Fashion places all the focus on the guests and their social and cultural imperatives. Fashion creates guest experi-ences that resonate with today’s traveller. The great hotels of our decade will be created by fashion savvy cultural spies who can read the waves of change.”

Citing projects like the Armani Hotel in Dubai, the Hotel Missoni in Kuwait and Hotel Khalifa in Doha, Ornstein highlighted the increas-ingly-frequent convergence of the fashion and hospitality industries. “Fashion now drives hotel con-cepts and design; the memorable

ITS T IME TO ‘BAN THE TERM HOTEL DESIGN’, SAYS CEO OF J/BRICE DESIGN INTERNATIONAL

Ornstein: think fashion, not design

hotels of the 2010 decade will be regarded for sexy sophistication, daring interiors and mood-evoking colours,” he said.

The world of hotel design is evolving rapidly, he pointed out. Where location used to be the most important aspect of any hotel property, we have entered a new era where guests are con-stantly using the Internet to check, compare and contrast, causing a distinct shift in priorities.

“Location, location, location used to be the hotel industry mantra. But in the 2010 decade of the guest, the mantra is compare, compare, compare, as even the most wealthy and sophisticated travellers check the Internet to cre-ate their own personal experience and value proposition.

“Successful operators who deliver on their brand and reign in costs will boost their bottom line in the 2010 decade,” he noted.

And technology doesn’t just impact the decision making and booking process, he continued. It plays a key role in enhancing guest satisfaction upon arrival.

“People are travelling lighter and for shorter durations. They demand the technology to keep in touch. That means reliable and free wi-fi and a panoply of satellite channels; if they cannot get World Cup soccer from Soweto starting June 11, your property will be remembered – badly.”

Smart hotel owners and design-ers will also use technology to enhance their ‘green’ credentials, he added. “On all fronts, the latest green technology counts more than ever before in this decade.

“You cannot get by on stingy fl ow restrictors and low-fl ow toi-lets, when new eco-friendly plumb-ing technology exists to deliver guest comfort and conservation. Incorporate green technology into

the environment and guests will reward you by coming back.”

Speaking at the Concepts Mid-dle East 2010 Congress in Doha, Ornstein also highlighted the key colours weaving their way into hotels. “Colour trends to watch: bold reds and pure yellows, moss greens and lavender, especially in upholstery. For contrast, expect to see more charcoal grey. Textures will create excitement and fabrics as delicate as lingerie will be jux-taposed with metallics, including steel, to excite the senses.”

And the big no-nos for this decade? “Say goodbye to pock marked ceilings – treat the ceiling as you would any other design surface. There is no excuse for ugly utilitarian grab bars and other universal design elements either. Sophisticated alternatives abound as baby boomers grow older and the spa-as-sanctuary trend expands,” he concluded.

DESIGN UPDATE

www.constructionweekonline.com6 MAY 2010 | Commercial Interior Design

UAE: Interior designers have an important role to play in developing the sustainable, enriching commu-nities of future, according to Shashi Caan, president of the International Federation of Interior Architects and Designers (IFI), and founder of the Shashi Caan Collective.

Speaking at the Al Ain Women’s College’s inaugural interior design symposium, ‘The Impact of Design’, at the end of March, Caan highlighted the importance of the interior design profession, noting that designers currently specify $46 billion worth of product annu-ally, across the world. “This is a big industry with a big impact.

“Design is the creative industry of the 21st century. It is pervasive and manifests itself in every part of our lives. Good interior design shapes our actions for improved effi ciency and productivity; it inspires elevated states of being and uplifts human behaviour. It is a spatial narrative, creatively

HIGH-PROFILE SPE AKERS GATHER IN AL AIN TO HIGHLIGHT THE IMPORTANCE OF DESIGN

The impact of design

scripted using the language of de-sign elements, such as harmony, proportion, light, texture and colour,” she said.

The current economic climate is demanding that designers ques-tion their contribution to society, Caan noted. “The recession is a game-changer,” she said. “We must collectively regroup and ad-dress the depletion of our natural resources, clean up our environ-ment and start to build sustainable and enriching communities. These new communities must honour nature, respect creativity and, via design, inspire people,” she said.

Caan highlighted forward-thinking projects such as Masdar City, David Fisher’s Dynamic Tower, the Ultima Tower in San Francisco and the Shimizu Park Pyramid City on Tokyo Bay to demonstrate how the super-structures of the future will be self-contained, highly in-novative and entirely sustainable. “There are 22 mega cities that are

either on the drawing board or be-ing designed and considered at this time. And they are being designed based on sustainable and environ-mental methodologies.”

With many of these new struc-tures blurring the boundaries between indoors and out, and consequently, interior design and architecture, Caan encouraged interior designers to reassess their roles and responsibilities.

“We stand poised at the end of the fi rst decade of this century. By the end of this century, the world’s population will have tripled,” Caan said. “These are very serious chal-lenges. Interior design is the single discipline that deals most with hu-man beings, one person at a time, and with the intimacy of those environments that human beings need to occupy. If we don’t start addressing this, then who will?”

Caan was joined by three other high-profi le speakers: Jussi Anglesleva, guest professor at

the Berlin University of Arts and art director at ART+COM Design Agency, a specialist in digital media who presented some of the innovative installations that he has worked on; Farida Abdulla Kamber, president of the Association of Pro-fessional Interior Designers (APID) and founder of Cinmar Design, who charted her career path; and Tina Burger, head of corporate training and communications at Vitra, who outlined the company’s attitude towards design and sustainability.

The Impact of Design sympo-sium was inaugurated by Dr Tayeb Kamali, vice chancellor of the Higher Colleges of Technology. Lectures and discussions were followed by a range of breakout sessions, held by more than 28 presenters from the UAE and abroad. The event was sponsored by MJ & Co, Vitra, Broadway Inte-riors, Al Aqili Furnishings, Duram, Erco, Commercial Interior Design magazine and Al Qudra.


TEO AH KHING TAKES US ON A TOUR OF THE ME YDAN HOTEL

Racing ahead

DESIGN UPDATE

www.constructionweekonline.com

DESIGN UPDATE

Commercial Interior Design | MAY 2010 9

UAE: Two unavoidable infl uences have shaped the design of the new Meydan Hotel.

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

As such, the design embraces local infl uences and traditions, as well as the region’s Bedouin heritage. “The eclectic combina-tion of horse and local culture, with a touch of modernity, created several possibilities for a genu-inely unique design which is most appropriate only for the Meydan.

“The result is a design that is be-spoke and associated very much with a modern lifestyle,” explained architect Teo Ah Khing, managing director of the Dubai branch of Teo A. Khing Design Consultants.

A fl owing canopy at the ground level of the hotel, on the track-side, is a modern imitation of an Islamic tapestry wall hanging. In this instance, metal is used as a defi ning element to create a sleek, contemporary interpretation of a highly traditional concept.

In the hotel lobby, monumental arching pillars mimic the fronds of the ubiquitous palm tree – a fundamental and recurring motif in local Bedouin culture. Meanwhile, modern geometric patterns make their mark on pavement designs and textured walls.

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

“References to horses were used in grandstand atria which outline horse fi gures in concentric graphic forms when viewed from the ground level,” Khing detailed.

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

Accents of onyx, real horse-shoes, gold and silver mosaics, and 3D glass blocks offer dramatic

points of interest. The use of stain-less steel, metal trims and glass reiterates the highly contemporary ethos of the interior.

In the hotel’s Panoramic Suites, handcrafted carpets and Burmese teak wood fl ooring are paired with soft, low-lit lighting to create a sense of warmth and richness. The suites feature two gener-ously sized rooms, complete with en-suite bathrooms and 42-inch televisions, DVD players and iPod-friendly sound systems that can be controlled from the comfort of the king-sized bed.

Meanwhile, the two-bedroom Meydan Suite offers sweeping views of the Dubai skyline and is fi tted with white staturio marble and top-of-the range technology.

Climatic considerations played a signifi cant role in infl uencing the design, particularly when it came to orientation, Khing explained. “With the building form defi ned by its linear confi guration, the room bays were oriented to receive the benign morning sun at the south-eastern side, while the hotel atrium, with its large volume providing an insulating air barrier to the hot afternoon sun, was at the north-western side.

“This arrangement was imple-mented throughout the building plan, including the grandstand.”

DESIGN UPDATE


UAE: Exhibitors at Interiors UAE, which took place in Abu Dhabi from March 29 to 31, were unanimous in their assessment of the event. “I was disappointed at the low number of exhibitors but impressed with the quality of the people that visited the show,” said Lawrence Walmsley, managing director of International Graphics, a company that reproduces original artworks in various commercial sizes.

“I’m used to big exhibitions, and this was a very small exhibition. I didn’t realise it would be so small – but sometimes small is good,” said Nini Andrade Silva, president of the Portugal-headquartered design fi rm, Nini Andrade Silva Atelier. “We met many interesting people. The fair was not big but the people there were very interesting.”

Silva was invited to attend as part of the Sleepotel initiative, which welcomed two internationally renowned guest designers to pres-ent their vision for the future of hotel design, on the show fl oor. Swathes of fl owing material, a singular ap-proach to colour, and varied scales characterised Silva’s interpretation of a contemporary hotel entrance.

“People call me ‘nini’malist, be-cause of my name and the fact that I am a minimalist. But I always say that I am a ‘minimalist with soul’,” said Silva. “We create stories.”

Agreeing with Silva’s assess-ment of the exhibition, Matthew Nicholls, group managing director of Yarwood Leather, said: “It’s been a good show. It started quite quietly but then really picked up. It’s not necessarily about the quantity; it’s more about the quality.”

The UK-headquartered leather supplier has been doing business in the UAE for 25 years. “There’s a strong relationship between the UAE

E XHIBITORS AT ABU DHABI’S INTERIORS UAE IMPRESSED BY QUALIT Y OF VISITORS

Strong showing

and the UK and we’re very aware of that, and are quite proud to work with the Emirati people and all the developments that are happening here,” said Nicholls.

“They quite like our approach too. We are a British leather manu-facturer but we have a very creative side to what we do. You still get that traditional, British, engineered ap-proach, which means you get quality of product and quality of service, but we are quite innovative with it as well. There are no limits to what we can do. If it can be done with a piece of leather, we’ll be the ones who can do it,” he continued.

The company used Interiors UAE to showcase the breadth of its offer-ing – but visitors were particularly taken by the leather fl oors adorning the Yarwood stand, Nicholls noted. “One of the big hits has been the leather fl oor. We have two different versions. One is the fl agship, pre-mium product, which comes in a tile. We also do commercial, corporate grade stuff, which is harder wearing, and which doesn’t mark or scratch.”

Also present at the show was Perla Lichi of Perla Lichi Design, who reiterated her commitment to the UAE capital by unveiling plans to establish a presence in Abu Dhabi. “We’re growing. My main offi ce is in Florida, I have a gallery in Dubai and I plan to open a showroom in Abu Dhabi as well,” said Lichi.

The company has also estab-lished a factory in the UAE, to ensure that it is able to offer high-quality woodwork and joinery. “We put to-gether our own factory, with our own people and our own fi nishers.

“Popular demand has pushed me to make this massive investment – of my time and fi nances. People are very receptive to it. They welcome the design and the quality.”

DESIGN UPDATE


IRAN: The Persian carpet has a place in modern design schemes, Razi Miri of Miri Creations, one of the world’s leading Persian carpet producers, has insisted.

Partly because they are so steeped in tradition, and partly because of their tendency to dominate a space, interior designers tend to shy away from Persian carpets, said Miri, who represents the fi fth generation of his family to be involved in the carpet business.

Miri Creations has been respon-sible for leading a renaissance in traditional Persian carpet produc-tion, with Miri himself remaining committed to reviving and bolster-ing this varied and colourful craft.

“This belongs to the culture of the people and to the culture of the interior in Iran. When you see historical monuments in our coun-try, you’ll see that walls were not prepared for paintings; we didn’t have paintings – they belong to the west,” Miri explained.

“In the Iranian home, the most important object was the carpet. The carpet acted as furniture, it was a painting, it was something to sit on and to sleep on. The car-pet was something that you could relate to. I always say that we are working on the fi fth wall. Rooms have four walls, but in historical Persian culture, there was only one wall, and it was the fl oor.”

However, the intricate, colourful – and sometimes overwhelming – nature of Persian carpets means that they detract from other interior elements, mak-ing them diffi cult to incorporate into a contemporary context.

As a result, Persian carpet manufacturers are watering down

THE INTRICATE, EVER-COLOURFUL PERSIAN CARPET SHOULD NOT BE E XCLUDED FROM CONTEMPOR ARY DESIGN SCHEMES, INSISTS R A ZI MIRI OF MIRI CRE ATIONS

The art of the knot

their designs, a process that is diluting an ancient and important art form, Miri complained. “Carpet creators have been pushed to follow modernism and to remove many things, which impacts the authenticity and originality of the art. Nowadays you can see many different carpets that are design-less. Everybody says that these are ‘designer’ carpets, but I don’t see any design on them.”

The company is committed to creating ‘art of the knot’, rather than simple carpets, Miri, who is still heavily involved in the design of every piece, insisted.

“One is art of the knot, the other is a fl oor covering. Miri is a specialist in the art of the knot. To create a simple carpet is no prob-lem for us, but I don’t call it art of the knot. It is a fl oor covering in Miri quality,” he said.

“There is also a difference between the words creation and production. I never use the word production when I am talking about a Miri Creation. We ‘create’ Miri artworks. You ‘produce’ a carpet,” he continued.

But this ancient art is at a peril-ous crossroads. “We haven’t lost everything, but we have lost many things. You have to keep these roots alive. If you don’t keep them, you will miss them. I always say that real art of the knot is a good ambassador of our culture. We communicate with people we have never seen, in their homes.

“Sometimes, people say that traditional design is not for young people and I always answer, young people will be old too in a few years! This is something that comes from the heart of the hu-man. It cannot just stop.”

TRENDS


VICTORIA REDSHAW, LE AD TREND FORECASTER AT SCARLET OPUS, SHARES HER INSIGHTS

The Light Fantastic!

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TRENDS


All skilled interior designers know the crucial role that light plays in achieving a successful scheme; that it

can be used to create a sense of drama, to soften architectural features, to produce an intimate ambience or to establish a private space.

However, we are now seeing light take centre stage as the source of inspiration for artists, product designers and com-municators in new creative fi elds, who are harnessing the qualities of cutting-edge scientifi c and technological devel-opments to produce amazing results.

Buildings are being transformed into the latest communication tools via complex light projection software. Com-panies such as NuFormer Digital Media, based in the Netherlands, produce stun-ning 3D projection displays on building facades. This technology was used to great effect at the Vivid Sydney 2009 Festival when municipal buildings, art galleries and the Sydney Opera House itself were illuminated by wildly impres-sive projections, creating the impression of immense light sculptures.

Video installations, LED sculptures and digital projections are also being used by artists to communicate their ideas and ideals, whilst the Research & Development departments of major electronics companies are seeking solu-tions to environmental problems that use light as a source of energy.

One of the most exciting develop-ments is Sony’s ‘Hana- Akari’ (‘fl ower-light’ in Japanese) prototype which uses dye-sensitised solar cells to turn light into energy. The solar powered panels are used to form a lampshade that captures energy when light shines on the special dyes. These dyes can charge re-chargeable batteries in the daytime – and light their own bulb at night. Although there is no commercial release date scheduled, this prototype opens up a vast range of colour, pattern, form and product possibilities – no more ugly solar panels, for example!

Light sources are also inspiring product designers who are aiming to fuse technology with great design aesthetics, creating hi-tech looks that project a sense of kinetic energy and provide eye-catching innovations, such

as LED wallpapers like the ‘False Vision’ design from Meystyle. The vibrancy of their designs are purposefully controlled and sophisticated so they do not ap-pear overwhelming in room settings. The technology is not visually ‘loud’ although it has a strong, vibrant energy.

As Maria Yaschuk from Meystyle explains: “LED wallpapers are more than just decoration and frameworks for ambience. They are feature pieces which can be mixed and matched in order to create a strong impression and, ulti-mately, a deep visual experience which goes beyond the idea of background.

“Although lighting is a feature that we normally expect to see next to or at-tached to the wall, at Meystyle we have abandoned tradition and incorporated lights into our wallpaper designs. LEDs provide ambient lighting as they are incorporated into the material.”

The trends colour palette on the open-ing page is based on deep sea and deep space shades that are then illuminated by radiant accent colours. This palette clearly marks the renaissance of ‘blue’, with a spectrum of colours that resonate deep within us, as well as emitting a brightness that relates to a positive ray of light as we look to the future.

The colours project brilliance in the truest sense of the word and enable a broad spectrum of special effects to be embraced on surfaces for furniture (including bathroom furniture with light features such as the wonderful basins by Decotec Paris), textiles, wallcover-ings, fl ooring and tiles.

Special effect surface fi nishes include iridescent and refl ective sequins, changeant silks and foils reminiscent of butterfl y wings, transparencies that sim-ulate refracted light, liquid and mercury looks, dip-dyed ombrés, holographic and 3D effects, metallic foils, integrated LEDs which provide luminescence and crystalline glitters. Geometric pattern also plays a key role within this trend, with repeating hexagons, fi ne horizontal zig-zags that appear to vibrate rhythmi-cally, diamonds within diamonds and Op Art references ranking as favourites.

Elsewhere, there are layered irides-cent feather details on wallpapers, screens and lamps. Interaction is a key element of this trend, with many prod-ucts displaying ‘sensitive’ qualities (such as heat-sensitive, touch-sensitive and light-sensitive changes) that trans-form surface colours, reveal hidden patterns and light up at night like deep sea creatures.

In fact, the two extremes of deep sea and deep space exploration inspire many of the product designs that relate to this trend. I am presently head over heels in love with Florence Jaffrain’s ‘Belly Love’ sensorial sofa which draws inspiration from exotic sea life, as Flor-ence explains: “Belly Love is directly inspired by Sarcophyton Elegans, a soft coral found in the Indian Ocean. Travel-ling from the tropical reef to our home environment, it creates a paradise of the senses and a vessel for the body.

“Thanks to a new textile material using photo-luminescent components incorporated in the fi bre, Belly Love recreates the magical luminosity of the ocean fl oor. This sensorial sofa needs to be considered as a sensation of total wellbeing, abandon, letting go;a harmony that stimulates every fi bre of our being,” he adds.

Jaffrain’s work encapsulates the es-sence of this trend; an awakening of the senses, shimmering sophistication and hi-tech glamour. Plunge into the envel-oping, enlightening, invigorating depths of The Light Fantastic!

Trends forecast by: www.scarletopus.com; Visit our blog: www.trendsblog.co.uk; Contact Shelley to purchase our full trend report: +971 (0)50 524 0239.

1

Decotec basin

photographed by

Victoria Redshaw

at KBB show, UK.

(www.salledebains-

decotec.com).

2

Bellylove, designed

by Florence Jaffrain

(www.fl orencejaffrain.

com), for the

‘Preliminaries’ Love

Design exhibition,

co-edited by SLOTT

Gallery (www.

exquisedesign.com).

3&6

False Vision LED

Wallpaper (www.

meystyle.com).

4

Model photo

by Kateryna

Govorushchenko.

5

Dye-Sensitized

Solar Cell Prototype

from Sony.

7

Mosaic 20 x 20

brushed stainless

steel tiles by ALLOY

(www.alloydesign.

com.au).

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Photographed by D

ominic B

lackmore

INDUSTRY SPEAK


The greatest concern for designers is a short-term approach regarding quality of fi nish and

construction, putting occupancy levels and transaction activity at risk. We need to strike a balance.

their target guest segment and that is very much at the heart of how we approach any of our projects — creat-ing an environment that is immersive but builds strong connections with the guests and allows people to interact in very pleasurable and positive ways,” Wood explained.

This is partly achieved by creating a product that is connective and emotive of its physical, cultural and historical location, Wood continued.

“A great example of that is Six Senses Hideaway Zighi Bay, where it is a very unique experience that is very

here in the Middle East, and I believe they are probably interested in coming here at some point,” he added. “It’s a different game altogether from taking a celebrity’s name and slapping it onto a building,” he insisted.

However, while unique, culturally sensitive, highly emotive design is the order of the day, designers also have to ensure that their hotel projects are operationally sound. The ‘form versus function’ debate is particularly prevalent in a space that has to cater to a large number of people, and is operational 24-hours a day.

In many cases, the current economic climate has also meant that hotel budgets have been compromised, although designers are adamant that this should not impact the functional-ity or aesthetic quality of a property. For Aukett Fitzroy Robinson’s Kuzyk, it falls to the designer to ensure that standards don’t slip, no matter what happens to the allocated budget.

“The greatest concern for designers is the short-term approach regarding quality of fi nish and construction, put-ting occupancy levels and transaction activity at risk. We need to strike a balance between quality of design and quality of construction,” she insisted.

However, according to Julia Demp-ster, managing director of Interior Mo-tives, educating hotel owners on the critical importance of quality goods when they are determined to squeeze budgets is no easy task.

“This is happening more and more frequently and we are having real diffi culty getting owners to see that paying more to start with is more cost-effective. Some of the worst offenders are some Chinese lighting manufactur-ers; lighting is arriving on site rusty, not straight, with cheap dented shades and light fi ttings that burn when you touch them, which have both a massive impact on the look of the project and, more importantly, safety,” Dempster said.

After all, cost cutting efforts seldom go unnnoticed, Wojnowski main-tained. “Care should be taken to retain the key fi nishes. For example, there is a recently constructed, fi ve-star hotel in Dubai which features vinyl fl ooring in the key reception area,” he said.

“Obviously it was meant to be tim-ber originally. They should have found a cheaper timber or even a laminate option. Otherwise, they should have compromised on less signifi cant details or areas. The same applies to furniture; one can never compromise on the quality of a bed or mattress. Otherwise clever alternatives are con-sidered,” he asserted.

As Martin van der Reijden, director of the Miaja Design Group succinctly pointed out: “quality has a price…always had and always will”.

much tied to the community in which it is located. They’re working very hard to connect with the local population and not just supporting the community by building housing but also trying to support and foster local craft tradi-tions and exposing all of this to the guests as part of the experience.”

Another trend stemming from this, Wood continued, is the adaptation of entrepreneurial brands outside of the hotel business that already have very strong connections with their custom-ers. “We have developed a hospitality concept for Nobu, which everyone knows is a high-end chain of Japanese cuisine,” Wood said.

“Nobu himself has a very strong personality that’s very tightly bound to the restaurant brand, and people look to him as a kind of concierge — every meal is a handcrafted, deep experience for people and we found that those attributes map very well to a hospitality offering. There is a fi rst Nobu hotel being designed right now for a location in the US.

“We have one or two specifi c loca-tions in the US. I know they have had some conversations with developers

For Martin Wojnowski, design principal at Design Worldwide Partner-ship (dwp), interior designers are responsible for accelerating fi nancial returns for a hotel owner, which means that functionality and operational ef-fi ciency should always be the primary considerations. “Practicality always comes fi rst in a hotel or resort. Person-ally I always develop the circulation of the public spaces and required back-of-house areas fi rst. I know how a ho-tel works because I actually worked in restaurants, housekeeping, concierge and front offi ce,” he said.

“It was 20 years ago and I had to earn a living as a student. I never ex-pected this experience would prove to be crucial in my future as a designer. Without the practical, hands-on knowledge of the operating, ‘living’ hotel, I would have never even have thought about laying a groundwork for a hotel layout,” Wojnowski detailed.

“Interior design is an awfully practi-cal exercise. It has a lot to do with money and lead times and deadlines. Unfortunately, design schools do not prepare people for all that. Not enough emphasis is put on fi nancial planning.”

20 MAY 2010 | Commercial Interior Design www.constructionweekonline.com

SHOW REVIEW

Milan2010 REPORT BY M ARIEL BROWN AND ZOE STAVROU FROM THE TRENDS AND STR ATEGY TE A M AT GLOBAL DESIGN AND INNOVATION COMPANY, SE YMOURPOWELL

This April we once again joined the multitude of design lovers (a record 329,563 visitors) heading to Milan for the 32nd

edition of the International Salone del Mobile. Little did we know that an untimely volcano eruption would mean our stay would be an extended one! So, with all that extra time to look around the fair, what trends did we fi nd?

This year we observed a gentle progression and softening of last year’s ‘crunched’ themes and a growing sense of both nostalgia and the need for escapism. What felt particularly positive about the show was the level at which designers and manufacturers across the board were engaging with the issue of sustainability.

CONTEMPORARY CLASSICSThe utilitarian trend of the last few years has been noticeably softened. An accomplished example of this was Partricia Urquiola’s Klara armchair for Moroso. The design works on a simple, linear aesthetic that is harmonious in its curved yet essential shape, which is reminiscent of the fi rst serial produc-tions of the early 20th century.

Another elegant example of this trend was the Bessy lounge chair by Stefan Diez for German brand E15. Made of oak-veneered plywood with a simple fabric cushion, this armchair is a mod-ern interpretation of a classic lounge chair that has an enduring, almost

timeless appearance.

BLOW UPForms that appeared to have

been ‘blown up’ were seen in many guises throughout the fair. An innovative example of this

was Marcel Wanders’

1


SHOW REVIEW


Sparkling chair for Italian manufacturer Magis. The product is made of transpar-ent plastic (PET) and is produced using the same blow moulding technique com-monly used for bottles of water. By using this technique, Wanders kept plastic us-age to a minimum and the result was a chair that only weighs in at around 1kg.

British designer Tom Dixon’s new Void Lamp has a similarly turgid form that allowed him to innovate with the quality of light that the lamp gives off. Its spun double walls refl ect and soften the light emitted from a concealed halogen bulb.

Established & Sons collaborated with Italian glass company Venini to give the tradition of glass blowing an exciting refresh. One such project was the Print Lamp by Sylvain Willenz. The Print Lamp gathers within a single bubble of blown glass components usually found as separate items in pendant lighting. The shade, the colour, the refl ector and the diffuser have effectively all been produced within one elegant gesture.

A personal favourite from the Estab-lished & Sons and Venini collaboration was the Bouroullec Brothers’ Lighthouse Lamp. Here the emphasis was on creat-ing a sense of vulnerability. The idea was to light up a voluminous round glass structure that would be supported by a delicate aluminium stick.

RETROGRAPHICOne the most distinctive themes to emerge this year was the use of graphics and geometric patterns, coupled with a distinctly retro colour palette. With their Paper Plane chair, Nipa Doshi and Jona-than Levien skilfully combined shades of mustard, grey, black and beige, with a grid-like surface pattern with a subtle pinstripe of metallic thread. Although not initially noticed, this gave much de-light to passers-by as the light bounced off the thread, turning heads with its subtle shimmer.

Other standout pieces include Patricia Urquiola’s Silver Lake collection and Redondo sofa for Moroso. Again, shades of mustard, brown, maroon and grey dominated, but with fl ashes of ter-racotta, white and yellow. Both pieces were treated very differently: Redondo exuding softness with its quilt-like sur-face detail and cocooning form, and the

Silver Lake collection a more geometric aesthetic. The contrasting use of materi-als was particularly noted.

Quirky pieces such as the Amsterdam Armoire by Scholten & Baijings, were inspired by typically Dutch design, but with a twist. The proportions of the piece and the spherical feet made from pink glass, coupled with the use of pastel shades and a geometric surface pattern, had a fl avour of Ettore Sott-sass’s 1980s post modernist designs for Memphis, as did the ‘Phase Bureau’ by East London’s Patternity and furniture designer Toby Winteringham.

Their collaboration on the Phase range of furniture debuted at the Salone

1

Mangas Naturales

collection by

Patricia Urquiola.

2

Bessy lounge

chair by Stefan

Diez for Established

& Sons.

3

Jumper chair by

Bertjan Pots for

Established & Sons.

4

Silver Lake

collection

by Patricia

Urquiola

for Moroso.

2

3

4

Satellite this year, fusing bold pattern with traditional marquetry.

KNIT ONE, PURL ONEWhere weaving had captured many designers’ imagination last year, this year knitting and wool made a come-back, adding cosy warmth to a number of pieces. The Mangas Naturales rug collection by Patricia Urquiola is a lovely example of this trend. ‘Mangas’ (engl. Sleeves) is based on a patchwork of different wool knits, to create a collec-tion of various typologies with different shapes, going from Manga corta (short sleeve) to Manga de campana (bell-shaped sleeve). The result is a series of eight enchanting carpets with a wonder-ful variety of textures and colours.

Charmingly imperfect could be one way of summing up the suitably named Granny pendant lamp by Australian design group Pudelskern. Each Granny is hand knitted from Tyrolean sheep’s wool and is signed by the designer.

Equally quirky was Bertjan Pot’s Jumper chair for Established & Sons. Jumper consists of one continuous oversized woollen knitted cover that is created on a ‘Knit and Wear’ machine usually used for producing garments. The resemblance to a jumper is complet-ed by the addition of buttons that fi x the cover on to the underside of the chair.

Interestingly, wool was not just used to idiosyncratic effect. Bonbons by promising young Serbian talent Ana Kras is a sophisticated family of lamps cre-ated from wool leftover from a collection by knitwear company Ivko-knits. The wool was wrapped around coated steel wire frames to stunning effect.

BACK TO SCHOOLBringing a naïve and playful charm to this year’s show, many pieces pos-sessed a ‘classroom-like’ quality.

Utilising a colour palette of primary colours and simple, pale woods, many pieces referenced the archetypal forms of things that could be found in the classrooms of our youth. Although appearing in the fi rst instance very simplistic, many of the pieces had a cleverness to them, whether that be in the method of manufacture or the way in which they can be used. The JWC2 (Just

SHOW REVIEW


Wood Chair 2) by Florian Hauswirth for design collective Postfossil is an evolu-tion of his previous work, which uses an innovative wood joining technique. The chair consists exclusively of wood and does not require glue in its assembly. Instead, the heat generated by inserting the dowels releases adhesives present in the wood itself, forming a substantial welded bond in seconds.

Stefan Diez’s modular and stack-able storage system New Order for Established & Sons comes in a selection of primary colours and has a powder-coated aluminium exterior.

PRIMAL The force of nature was felt at this year’s show, and not just because of the Eyjafjallajokull glacier eruption; many designers took the idea of nostalgia to the extreme, fi nding inspiration in the early origins of man.

At Edra’s The Barbarians show, the Campana Brothers displayed their usual confi dence in form and material, exhibit-ing some bold new pieces. Cabana in particular caused a stir. Reminiscent of a strange creature, this piece is in fact a storage unit entirely concealed by dangling lengths of fi re-proofed raffi a! The brothers’ new table, entitled Cotto, had a similarly assured aesthetic. It is comprised of a stainless steel structure and legs with a thick aluminium top. The tabletop is set with eight large, variously shaped, and textured pieces of treated terracotta that speak of the Etruscans.

French brand Moustache launched its second collection of furniture at this

year’s show and Matali Crasset caught our eye with her new piece, Instant Arm-seat, a wooden chair with one armrest. The seat can be transform into a bench by joining two Instant Armseats to-gether. What felt particularly fresh about this design was the Pyrenees sheepskin that was thrown over each chair to add comfort. The aesthetic was reminiscent of a nomadic lifestyle.

ETHEREALImmersive, otherworldly atmospheres were a noticeable theme throughout the fair. All at once meditative and tran-scendent, the Toshiba ‘Lucèste’ lighting installation had the crowds sighing in wonderment. A ceiling-mounted LED installation diffused light through a veil of swirling mist to suffuse the exhibi-tion space with a spectrum of growing colour, proving that low energy lighting can be used to great effect.

This year, Swarovski’s Crystal Palace installation really captured the crowd’s imagination. Inspired by the theme of ‘palaces’, fi ve designers were commis-sioned to present their interpretations. Inspired by The Northern Lights, Rogier van der Heide’s Dream Cloud sees crystals that seem to be magically suspended in the air.

Yves Behar also embraced the use of low-energy LEDs in his piece, Amplify, a series of deceptively simple ‘paper lan-terns’ shaped like crystals, within which light was refracted from a real crystal, casting its patterns on the surface of the paper. Béhar’s design was created with a focus on sustainability and

affordability, featuring a faceted shade made from recycled materials, one crys-tal and one low-energy consuming LED light. The design featured six different crystalline shapes in varying sizes.

One of the stars of this year’s show was Tokujin Yoshioka, with much of his work possessing an ethereal quality. The Kartell store featured an installation by the designer, presenting his range of one-off chairs entitled The Invisibles. A forest of suspended crystalline shards of polycarbonate provided the perfect backdrop to the chairs – each of them possessing all at once the lightness of total transparency and the solidity brought by the thickness of the material.

For his Swarovski Crystal Palace installation, Yoshioka created a large globe encrusted with Swarovski crystals and lit from within by LEDs. Hanging in the centre of the room, it bathed everything in a soft and hypnotic light, bringing depth and intrigue to its accompanying piece: another globe suspended in a tank of water, on which crystals grew naturally.

CONCLUSIONIn spite of the volcanic plumes threaten-ing our return, this year’s Salone still managed to make a lasting impression. Many of the pieces were the evolution of work seen at previous shows, proving that some trends are very much here to stay. In a climate where tender green shoots are emerging from the recession, pieces that inspire nostalgia, transcen-dence, confi dence and monumental power are the ones that will connect on a deeper level and prove to be the ones that will go the distance.

5

Amsterdam

Armoire

by Scholten

& Baijings for

Established

& Sons.

6

Cabana by

The Campana

Brothers for Edra.

7

Sparkling by Marcel

Wanders for Magis.

5

6

7

PO Box 34625 • Dubai • Tel: 00971 4 3387399 • Fax: 00971 4 3387401 • Email: [email protected]

Think you know our wallcoverings?

PROFILE



PROFILE


WHERE?Arte Vivo celebrated the launch of its fi rst

showroom in the Middle East last March.

Located in the Design House in Dubai’s

Technology, Electronic, Commerce and

Media Free Zone (TECOM), the showroom

was designed to offer a taste of Arte Vivo’s

breadth and commitment to quality. “We

would like our clients to see the quality and

the craftsmanship that goes into each piece of

our furniture. All of the furniture that you see in

the showroom is handmade and manufactured

in Cebu, Philippines. Our core service remains

to be the design and manufacture of furniture

according to your specifi c needs and individual

preferences,” said Pass. “When you work with

Arte Vivo, you get the benefi t of our decades

of experience and expertise. Our extensive

and specialised facilities and resources ensure

speedy and high-quality manufacturing, as well

as a vast range of materials and processes at

your disposal,” said Pass.

WHY NOW ?From its Dubai base, Arte Vivo will target the

wider Gulf region, as well as nearby Asian and

African markets. “We are here to serve the

Middle East, Africa, India and Sri Lanka. We

look at Dubai as our satellite hub, but will be

targeting Abu Dhabi, Qatar, Kuwait and Saudi

Arabia as well,” said Pass.

THE FACEMike Pass is the managing director of Arte Vivo

and can be contacted on +971 (0)50 350 2623

or [email protected]. “Furniture and

interior design runs in the family,” he said. “It’s

something I’ve always wanted to be involved

with so these are exciting times for me and

my team. We chose the name Arte Vivo, which

means Living Art in Spanish, because that is

what we want to bring to Dubai and the region.

Arte Vivo as a brand is an authentic symbol of

Living Art which captures the timelessness of

luxury… a reverent nod to the generation that

was and a designer’s gift for that yet to come…”


DESIGNER Q&A


Cuttingly contemporaryTEN YE ARS ON AND LW DESIGN CONTINUES TO SE T NE W STANDARDS FOR HOTEL INTERIORS

W Design Group has spent the last ten years designing some of the region’s most

iconic hotels. The company’s bulging portfolio includes such hospitality royalty

as Emirates Towers, Raffl es Dubai, Grosvenor House and Hyatt Regency Dubai, to name but a

few. So when Jesper Godsk, the company’s creative partner, says that The Media One Hotel is the fi rst of

its kind, one can only believe it’s true. CID caught up with Godsk to fi nd out exactly how The Media One is setting new

standards for contemporary hospitality design in Dubai.

DESIGNER Q&A


statements in this hotel – a full glass wall separating the bathroom from the rest of the guestroom, for example. This will lose some customers but it will also gain some customers.

What makes it so modern and unique? We worked a lot on the lighting and on changes in the lighting. This was done by DPA Lighting who we partner with all the time. I think it really works. There were a lot of other gimmicks that we put into the hotel. Maintenance wise, of course, it’s a pain, but I think the benefi ts are much bigger. You have to have something that people talk about and we only had a certain

1&2

Restaurants and

bars are a key

contributor to a

hotel’s success,

says Godsk.

3&4

The Media One

Hotel is ‘the fi rst

of its kind’.

amount of space in the lobby to make that impact. The other thing is that everything fl ows together.

Why is there such a lack of highly contemporary hotels on the market, do you think?I think investors like to safeguard themselves by appealing to a broader segment of the market, whereas with The Media One Hotel we have narrowed it down to a very specifi c audience.

Last month there were days when the occupancy rate in this hotel was over 84%, which shows that there is room for something as specialised as this.

There are a lot of new hotels at this end of town – we designed the Bon-nington Tower which offi cially opened last month; that is also a modern hotel but the target market is a little older than The Media One.

Then you have the Radisson Blu in Media City which has a more tradi-tional design in the rooms, whereas the rooms in The Media One are very sexy.

What did you do with the rooms?The rooms are 24m², with a very odd shape. So how do you design a room that has very little space, and still include all of the things you need as a four-star operator? The biggest chal-lenge was that the Dubai tourism board changed their regulations so that you could no longer just have a shower, you also had to include a bath tub in the

What was your brief for The Media One Hotel? The brief was for a very modern, con-temporary hotel with a more design-orientated drive. The owner, Al Jaber Group, also wanted a hotel that people would talk about. They wanted this hotel to be a modern statement of what Dubai can do. I think it is the fi rst of its kind; it’s the fi rst hotel in Dubai to take modern design to such an extreme.

There is the Hilton by the Creek, which is similar, but that is at the other end of town, so there is defi nitely room for others. The Media One Hotel fo-cuses very much on the young and the trendy. There are defi nitely some bold

1 2

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Bahrain: SAYYAR TRADING AGENCIES W.L.L., Tel.: +973.17.290.111, E-mail: [email protected] · Bangladesh: GREEN AGENCY TRADING LTD., Tel.: +880.1.8619007, E-mail: [email protected] · Iran: BANA BUILDING IMPORTS, Tel.: +98.21.2613.1223, E-mail: [email protected] · Iraq: BESARANI TRADING, Tel.: +964.53.3123191, E-mail: [email protected] · Jordan: A. KAYYALI & CO., Tel.: +962.656.90016, E-mail: [email protected] · Kuwait: ABDUL AZIZ IBRAHIM AL-RUMAIH & CO., Tel.: +965.484.88.80, E-mail: info@4alrumaih · Lebanon: O-TEC CO. FOR SANITARY WARES & TILES S.A.L., Tel: +961.1.868.529, E-mail: [email protected] · Maldives: SONEE Hardware, Tel.: +960.333.699, E-mail: [email protected] · Oman: KHIMJI RAMDAS, BUILDING MATERIAL DIVISION, Tel: +968.24.852.702, E-mail: [email protected] · Pakistan (Karachi): ABDULLA & CO., Tel: + 92.21.585.04.90, [email protected] · Pakistan (Lahore): ABDULLA & CO., Tel: + 92.42.111.722.722, [email protected] · Qatar: SAYYAR TRADING Co. W.L.L., Tel: +974.469.69.23, E-mail: [email protected] · Saudi Arabia: MUHAMMAD SALEH BAHARETH CO. (MSB CO.), Tel: +96.2.66.33.462, E-mail: [email protected] · Syria: TRANS MEDITERRANEAN TRADING CO., Tel: +963.11.661.70.48, E-mail: [email protected] · UAE (Abu Dhabi): SANITARY MATERIALS CO., Tel: +971.2.677.13.63, E-mail: info@sanitary-uae · UAE (Dubai): HAMAD RAHMA ABDULLA ALSHAMSI GENERAL TRADING, Tel: 971.4.266.64.29, E-mail: [email protected] · Yemen: ABUALREJAL Trading Corporation, Tel: 967.1.272.519, E-mail: [email protected]

ROCA SANITARIO S.A. (Middle East Representation Office) Gold & Diamond Park, Building 5, Offi ce 111 · Sheikh Zayed Road, 4th interchange, next to Bur Dbai Trffi c Department · P.O. Box 282337, Al Quoz branch, Dubai, UAE · Tel. +971.4.347.64.00 · Fax +971.4.347.64.08 Mobile: +971.50.465.93.24 · Website: www.roca.com


DESIGNER Q&A


rooms. We got away with not having a bidet, so it was the toilet, bath tub-come-shower and, of course, the wash basin. The original design only had a shower in it, but I actually quite like the bath tub, which is quite avant garde in its shape. It also has a shower curtain, which some people think is not great but I think it really fi ts with the product.

I like the openness of the rooms. We tried to make sure that when you come in you can see the whole room through the glass.

Did you have to hold back with any-thing? Were there elements that were too modern for the client?Actually, no. We had to create two op-tions, one that was conservative, and the one that we have now. I was very happy that immediately, without any hesitation or doubt, Al Jaber picked this one. As I said, there were no restrictions. They went all the way; we had their full trust and complete carte blanche to do what we wanted.

Do you think we’ll see more and more hotels like this? Is the market moving in this direction, or is it generally still quite conservative?I think investors really need to consider their target group and not think that they can do everything. There are so many nice rooms on the market now so it’s very diffi cult to come up with a completely new room concept. You

need more than just a good room, you have to have the whole package, which means the lobby, the people and the service. Restaurants and bars have also become a major factor, I think. And location, of course. Even though they are doing their best to make the traffi c better, people still select what part of town they want to stay in very carefully, and each part of town has space for a similar kind of hotel to this.

What are the key ingredients of a successful hotel?You have to have a good operator and an owner who knows what they want – and can stay loyal to that. If you have

that, you’ll be fi ne. We do a lot of res-taurants; we’ve created over 100 bars and restaurants over the last ten years.

We know a lot about food and how to get a restaurant to work. We have made our mistakes as well, but I think design is only one third of the product – you have to have the food, and you have to have the concept.

A good example is Okku, which is a very successful venue with extremely good operators. They are very good at marketing themselves. They have been loyal to the concept of drinks, then food, then drinks again. They have a real long-term vision. It has been a very expensive journey for them but they are

5 6

7 5

Lighting was

fundamental

in creating a

contemporary

feel in The Media

One Hotel.

6

A glass partition

separates the

bathroom from

the bedroom in

The Media One.

7

It is important to

make an impact in the

lobby, Godsk noted.

DESIGNER Q&A


defi nitely getting it right. There are a lot of new places where you have opera-tors from outside coming in and making an independent investment.

This has also changed the market. The benchmark, even just fi ve years ago, was Buddha Bar, and there wasn’t really any competition at the time because bars and restaurants were still being run by the hotels themselves. And then, suddenly, this new entity came into the market.

Independent investors are more likely to push for the extra revenue because investment is not linked to a larger hotel, where the restaurant is only a small part of it.

With independent operators, the outlet is the whole investment. As a result, you will sometime see a very dif-ferent level of commitment from these independent investors.

What else are you currently working on?We have an architecture practice as well, so in terms of architecture, we are working on an Ibis and Novotel in Syria. We also have a beach resort, which is quite trendy, in Syria. We have the Centro roll-out, which is ongoing – we now have two Centros coming up in Syria and one in Beirut. When it comes to interiors, by summer we are going to open a new Gary Rhodes restaurant

in Dubai; and by the beginning of next year we are of course going to open Grosvenor House II, which is going to be big, and will have some big names for restaurants and outlets. What is the Syrian market like? How open are they to modern design? It’s quite surprising. Our project there will be quite contemporary, with open bathrooms and a very design-orien-tated approach. It’s a new Rotana. We have worked on a lot of projects with Rotana over the years and they are one of the operators that we really enjoy working with. They are very receptive to new ideas.

9 10

8

8,9,10&11

LW Design worked

with DPA Lighting

to create the right

lighting solutions.

11

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CASE STUDY: MIRDIF CITY CENTRE


Localappeal

THE NE W MIRDIF CIT YCENTRE IS THE F IRST,

AND L A ST, OF ITS KIND.

Commercial Interior Design | MAY 2010 35www.constructionweekonline.com


The new Mirdif City Centre is noteworthy for many reasons – not least because it could be the last big retail project to

open in Dubai for some time to come.According to a recent Jones Lang La

Salle report, entitled Dubai Retail: A Market in Transition, the opening of the new mall on March 16 2010 “marks the end of an era of wide-scale develop-ment of super regional malls in Dubai. Mirdif City Centre is likely to be the last of its kind, at least in the short

Keeping itTHE NE W MIRDIF CIT Y CENTRE IS THE F IRST, AND L A ST, OF ITS KIND.

to medium term, as this sector of the market approaches saturation”.

GOING FOR GOLDThe mall is very much of its time, and acts as a clear indicator of how Dubai’s retail industry is evolving. For a start, it is one of the fi rst retail developments in the UAE to be built with a LEED Gold rating in mind. “We decided that we wanted to be the fi rst of a new genera-tion of sustainable malls, and not the last dinosaur.

“So we went and set ourselves a target of LEED Gold, which is the highest stan-dard that we felt was in our reach, to set a new benchmark and test ourselves,” explained Jonathan Emery, senior vice president, project management, of mall operator, Majid Al Futtaim.

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

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“A lot of a LEED Gold rating has to do with getting the planning done correctly and understanding the relationship be-tween building confi guration and energy modelling,” Christian commented.

“The other part has to do with the team’s level of commitment, from design to construction to operations. From the start, the entire team was committed to the LEED protocols, and it was extremely rewarding to be involved in one of the fi rst retail centres in the region to have such a distinction,” he continued.

KEEPING IT SIMPLEA defi ning characteristic of the new mall is a distinct lack of gimmicks and over-the-top attractions. Instead, the emphasis was on creating a simple, straightforward, comfortable shopping experience. “While our aspirations for the design were high, we also knew that we had to create a space that was warm and welcoming rather than super glossy,” Christian noted.

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

“The scheme was designed as a series of interconnected rooms, each with its own personality, which creates

an overall sequence of experiences or events. The reason for this was not only to inform the design of the spaces but also to help shoppers orientate to the scale. Each room has a different mood or atmosphere. Some are seen as main events while some are seen as transi-tions,” said Christian.

In keeping with the desert villa theme, the food court area draws inspiration from the patios and courtyards com-monly found in local architecture. Food stalls are set around the perimeter, be-neath vaulted ceilings, while the central space is heavily landscaped to mimic an outdoor dining terrace.

Interior landscaping plays a sig-nifi cant role in the overall design of the mall, and supports its ‘green’ approach. Water features and soaring palms form part of the interior, creating an indoor oasis. Indigenous plants, which are better suited to the climate and easier to maintain, were used wherever possible.

This is complemented by an abun-dance of natural light, which is fi ltered through intricate ceiling and wall fi nishes. “We emphasised natural light as much as possible but used creative ways of diffusing that light so it was not overwhelming, so patterns and fretwork play a large role,” said Christian.

LOCAL FLAVOURThroughout the mall, preference has been give to high-quality materials,

which ties into the fact that Mirdif City Centre is predominantly targetting resi-dents, rather than visitors to Dubai.

While this is in keeping with the more residential locality of the project, it is also refl ective of a key trend currently shaping the emirate’s retail landscape, as highlighted by the Jones Lang La Salle report.

“Much of Dubai’s retail offer has been targeted at attracting tourist spending. The market is now adjusting to address the resident population. Industry play-ers are increasingly focusing on demand from those living within the city and how to capitalise on its potential in generat-ing retail sales,” the report pointed out.

This is something that UK-based creative agency Caulder Moore was acutely aware of when it came to design a Boutique 1 store for the new mall. “Because of the location, there are a lot more local people around there, so we thought there would probably be less tourists coming in.

“We wanted to keep the ethos of Boutique 1 – which is the discerning provider of premium, contemporary fashion and lifestyle design – but we also wanted to move on a bit from that,” explained Ian Caulder, creative director at Caulder Moore.

“In Mirdif we really wanted to add a sense of energy to the store and because it was focusing more on locals, I wanted them to feel like they could

1

The mall is fl ooded

with natural light.

2

Interior landscaping

plays a key role in

the design.

1 2



frequent the store more often, and that they’d see something different all the time,” he continued.

“That’s obviously different than when you are dealing with a tourist who will come in just once. As a local you might go in there every week, so we designed the store with elements that would feel like they were constantly changing.”

For example, the entrance to Boutique 1 is dominated by a huge, catwalk-like stage that can come apart and be reconfi gured. Meanwhile, a series of brightly-coloured boxes that act as a striking backdrop for products can be moved around or removed entirely.

As with any mall-based retail project, the challenge with Boutique 1 was transforming a large, empty, white box into a vibrant space that would stand out in a sea of outlets. So, Caulder decided to convert the 1,100m² box into a gallery-like space that was interesting, but also low-key.

“The site, like a lot of mall sites, was rather uninteresting; it was a square box with no real architectural merit. I liked the idea of creating a contemporary art gallery. We had these columns going through the site and we thought, rather than them being obstructions, they could become more like sculptures. So we actually made each column a differ-ent shape. The intention was to create a lovely, airy, loft-like space.”

For Steve Leung, founder of the Hong Kong-based Steve Leung Designers, and the man responsible for designing the mall’s Mango Tree Bistro, one of the main challenges of designing for a mall

setting is creating an effective entrance area that lures people in. “When design-ing a restaurant in a mall, we have to consider how the entrance can attract shoppers’ attention and draw them into the restaurant,” he said.

For this new setting, Leung was asked to extend the design concept of the orig-inal Mango Tree Dubai, which is located at Soukh Al Bahar, but to present it in a more casual way. “Various features have been maintained, including the pavilion, the use of a bronze mirror and the rectangular patterns on the metal screens, which all originated from Thai architecture,” said Leung.

“A wooden-beaded, layered, rectan-gular chandelier in the main dining area becomes a focal point of the restaurant.

Loose furniture and some bench seat-ing have been used to cope with the fast turnover of the bistro, while a big table made with walnut wood and Nero Portoro marble is purposely designed to enable food sharing among guests.”

EASY SHOPPINGThe mall took 31 months to construct and opened on March 16 with 350 stores – some 1.8 million ft² of retail space – operational, a new record for the industry. “Completion in March was something we wanted to achieve so we didn’t have the luxury of slowing every-thing down,” said Emery.

The end product is easy to get to and easy to use, which, unfortunately, is not always a given with Dubai’s mega-malls. “In terms of the product, I think it is quite fresh. It is certainly different to other malls in the region and globally,” Emery commented.

“It is of a large scale and it is acces-sible; it is light, it is very simple to navi-gate your way around, it is clean, it feels safe and secure, and it gives customers a range of choice. It ticks all the boxes it needs to tick to be a good mall.”

Caulder agreed. “It’s a very comfort-able mall to shop and it’s very easy to navigate. It’s very practical to get in and out of; access is really easy. It feels very pleasant,” he said.

However, not all of the stores do the mall justice, Caulder suggested. “I just thought some of the shops weren’t very exciting in their design. It is a shame, because the mall deserved better.

“I think people have obviously cut back and are trying to do things on a budget and are probably reusing design from elsewhere. I think it’s a shame because I don’t think that there will be many new malls like that opening anytime soon,” he commented.

And in a region where shopping rep-resents a fundamental lifestyle activity, and consumers are well-travelled and exceedingly savvy, the need to create ef-fective experiences is particularly acute. “The shopping culture here is huge,” said Caulder. “It’s the major lifestyle activity, so more here than anywhere else, you have to be competitive. Middle Eastern consumers are looking for things that will excite them.”

3

The mall

was designed to be

easy to navigate.

4

The interior promotes

a ‘desert villa’ theme.

SOURCES Cinmar Lighting Systems

Philips Lighting Middle East

Sanipex

Aati Contracts

Bin Dasmal Doors

Bin Ghurair Trading

Shah Granites

Thorn Gulf

Proscape Landscaping

Alec Ceilings

Jotun Paints

Henraux of Italy

Al Abbar Aluminium

3

4


FEATURE: WELLNESS

Creating harmonyEFFECTIVE SPA DESIGN CENTRES ON THE CRE ATION OF HARMONIOUS, NOURISHING SPACES – THE SA ME PRINCIPLES CURRENTLY SHAPING THE BATHROOM

1


FEATURE: WELLNESS


Successful spa design hinges on the ability to create spaces with a multi-sensory appeal. For example, intelligent sight

lines should promote an inward focus; effective use of lighting should ensure a magical transformation at dusk; and the chosen atmosphere should be entirely consistent across a series of spaces.

“You have to pay attention to transi-tion spaces to maintain the ‘energy intent’ of the guest experience,” sug-gested Samir Patel, managing director, Six Senses Spas. “It is important to segregate areas and access to various areas of the spa, based on energy ap-peal and the needs of the specifi c guest experience – for example, fi tness versus therapy zone rooms; spa guest versus gym guest. You have to create lockers

and common facilities that do not al-low for a clashing of intent and energy levels,” he pointed out.

SPA SECRETSFrom a practical point of view, effective spa design also has to take safety and hygiene standards, operational ease, and unimpeded guest and service fl ow, into account. Back of house, storage and staff rest areas have to be intel-ligently handled, and all of these issues have to be addressed without compro-mising on the overall sensory appeal of the space.

The ability to create balanced environ-ments that nurture all of the senses, from sight, touch and taste to smell and sound, is what sets Six Senses Spas apart, Patel noted. “So does the use of

local, natural materials to create clean spaces that are not clinical but, rather, are soothing to touch and feel, physi-cally and spatially.”

The company is also careful to har-ness natural light, wherever possible, and takes a non-negotiable approach to sustainability and the conservation of natural resources, Patel detailed. “The experience must be evocative of our philosophy of ‘SLOWLIFE’ – sustainable, local, organic, wholesome, learning, in-spiring and fun experiences,” he added.

Some of the most commonly made mistakes in spa design are over-the-top schemes that do not take operational ef-fi ciency, costs and fi nancial return into consideration. “Operationally cumber-some and ineffective service and guest fl ow, improper lighting and auditory sensitivity are other commonly made mistakes,” said Patel.

Too often, guest safety, hygiene and comfort are sacrifi ced in the name of creativity, or design elements are introduced with little thought for how they can be maintained. Ultimately, spa design must be sensitive and soothing but, also, intelligent and practical.

PERSONAL RETREATMany of the trends that are fundamental to effective spa design are also making their way into the bathroom, where the emphasis is now on creating calming, nourishing spaces that users can retreat to after a diffi cult day.

“After a hard day people are looking for an oasis where they can escape, if only for a short period, from the

2 3

4

1&4

Duravit has

created a series of

products that bring

the spa experience

into the home.

2&3

Sketches of the Six

Senses Spa at Al

Bustan Palace.

FEATURE: WELLNESS


demands of their day. The bathroom becomes a refuge where people want to destress, slow down and unwind,” Toni El-Kadi, UAE branch manager of sani-taryware company, Duravit, explained.

The transformation of the common bathroom into a personal haven of relaxation has been well documented, and is one of the most signifi cant design trends of recent years. “Many people look at their bathroom as a place to rejuvenate and relax, and they want to invest in different types of experiences that create that,” said David Kohler, president and COO of Kohler.

Kohler has responded with a series of products, including its VibrAcoustic technology, which introduces a combi-nation of music and sound vibration to the bathing experience. Four original compositions blend sound vibrations and music to encourage the bather’s breath and heart rate to synchronise with a slower rhythm.

Kohler has also developed customis-able chromotherapy technology, where light changes colour in a soothing sequence to enhance the bather’s relaxation. The experience is available in variable intensity and in a whole spectrum of colours.

In addition, the company has intro-duced its cast iron BubbleMassage baths. A 360 degree staggered air jet design, along with targeted foot and lumbar airjets, delivers a full-body

massage. This bathing experience can also be totally personalised with 18 levels of adjustability, Zones of Control and optional chromatherapy.

“There will be many solutions that help to create a more individual, more sensual and more comfortable bathroom experience – new materials, touch-free features, electronic devices, light and sound will all pervade the bathroom. And of course, there will be even more sophisticated technical solu-tions that help people to save water and energy without losing out on comfort,” said Ivan Zupanovic, international sales and marketing manger, Laufen.

“Laufen’s Mimo series features a bathtub that can be transformed into a bespoke wellness oasis – just by add-ing a coloured LED light and whirlpool system with air massage,” he said.

“Instead of a conventional touch panel, Laufen and its partners have de-veloped an innovative, touch-sensitive control for the whirlsystem: the control symbols are simply lasered into the tub rim. This is a stylish, absolutely hygienic and scratch-resistant solution that can be cleaned easily and in no way detracts from the beautiful curvaceous contours of the bath tub,” he detailed.

For Duravit, creating a personal haven of relaxation and regeneration goes beyond the bathtub. Recognising that furniture plays an equally important a role in creating the overall mood of

the bathroom, the company recently partnered with the prominent German furniture designer, Christian Werner, to create the brand new Ketho range of bathroom furnture.

When Werner turned his attention to the bathroom, sensuality was at the very top of his agenda. “Today, people are no longer uptight about personal hy-giene. Personal hygiene has become a pleasurable focus of attention and so, in turn, has the bathroom. It has become a sensory space for regeneration, some-where that we enjoy spending time.”

Ketho is a complete range of bath-room furniture featuring 44 compact elements. The range is characterised by sleek, rectangular forms with a fi ligree frame measuring just 1.6cm in thickness. Another striking feature is a continuous aluminium strip handle that runs along the cabinets at rhythmical intervals. Ketho is available in white, basalt, graphite and garnet red.

“We tend to keep a bathroom even longer than the kitchen and longer than any sofa or dining table. This means there is a strong need for certainty; the certainty of knowing that we won’t tire too quickly of looking at it,” said Werner.

“For this reason, Ketho furniture doesn’t shout out: ‘Hello, here I am’, but, with its clear contours, succinct proportions and fi ne colours, it makes an elegant contribution to the harmony of the room as a whole.”

5

6 7

5

Six Senses Spas

capitalise on

natural light and

local materials.

6

The new Ketho

collection was

designed by

Christian Werner.

7

Duravit has

also launched the

Vero collection.

Visit us at

Sheikh Saeed Hall 2

Stand No. C250


DESTINATION FOCUS: QATAR

An abundant supply of natural resources, coupled with a bullish approach to development, is making Qatar

an interesting proposition for designers. A couple of high-profi le ‘anchor’

projects are currently emerging in the country, and speak volumes about Qa-tar’s unique, more culturally-sensitive approach to development. Dohaland’s Musheireb project, for example, will see a huge section of the capital city of Doha being rebuilt in an attempt to reduce urban sprawl. “Skyscrapers and isolated living compounds are not the communities we aspire to in Doha. We therefore decided to revive our past, rediscover our traditions and regenerate the communities we have lost in this world,” said Issa Al Mohannadi, CEO, Dohaland. “We will do this by combining the spirit and aesthetic of yesterday with the environmentally-friendly and sustainable know-how of tomorrow.”

Groundbreaking on the mixed-use development, which will contain 226 buildings and be home to some 27,600 residents, took place in January. The project will also have a dedicated tram-way, with a combination of commercial and residential properties, and retail, cultural and entertainment areas.

Spread across 350,000 m², Mush-eireb will be completed in a total of fi ve phases, with the fi rst phase due for completion by 2012 and the entire project due to be ready by 2016.

Work on a new mixed-use develop-ment in Lusail, Qatar’s newest city, is also set to commence this year, following KEO International Con-sultants’ design contract win at the beginning of March. The waterfront project, valued at around $800 million, will offer 160,000m² of commercial space, 130,000m² of offi ce space and 30,000m² for retail.

A residential area covers a further 87,000m² and comprises 640 apart-ments as well as 27 four-bedroom town-houses. KEO is also providing project management services to the develop-ment, which is yet to be named.

While Qatar presents undeniable opportunity for interior designers, it is likely that larger, more established fi rms with an international presence will benefi t fi rst, suggested Bivas P Mishra, managing partner – strategic planning, at the Dubai-based 3 Square Interior Design. “There will be more competition for fewer jobs at this moment.

“Also, as a market, I think we will fi nd that the more ‘glamorous’ jobs will be awarded to larger, more established fi rms, as compared to boutique fi rms, largely due to many companies playing it safe and going with established names who have an international or regional presence, as opposed to being more UAE-based,” he predicted.

David Rees, managing director of Luxe Interior, agreed. “All Middle East markets are diffi cult to break into these

THERE IS PLENT Y OF OPPORTUNIT Y IN QATAR – JUST MAKE SURE THAT YOU STAND OUT FROM THE CROWD, SAYS SELINA DENMAN

Qatari ambition

days. The main hurdle is that clients are only interested in companies who have a proven track record and have been in the market for a few years. New com-panies are seen as a risk, and I guess given the number of new companies that didn’t survive the downturn, clients are right to be cautious.

“All markets are very tough at the moment,” he reiterated. “Clients are driving really hard bargains on fees and have very high expectations of service. Qatar is no different from anywhere else in this regard,” he noted.

Luxe Design is currently working on its fi rst job in Qatar, a Carluccio’s restaurant. “Many years ago, our design director developed the original Carluc-cio’s design concept in the UK.

“Given that heritage, when Landmark brought the brand to region, we were the natural choice to design the new outlets,” said Rees. “The design has just started, and will be complete and signed off within six weeks. We are also in dis-cussion with one of the main hotels in Qatar for some new restaurant concepts, although, at this stage we can’t disclose details,” he revealed.

The secret to breaking the Qatari market is making yourself distinguish-able, Rees suggested. “Knocking on doors is soul destroying and will rarely lead to anything solid,” he warned. “Find a point of difference, and market this as your USP. There is still enough activity in Qatar for newcomers.”

1

Doha, Qatar.



The new Nobu Doha will speak, emphatically, of the sea. Echoes of Doha’s pearl diving history will weave their way in

and out of the space, whispering of wa-ter, shells, fi sh and milky white jewels.

“The façade resembles a coiled shell, with elliptical ribbons of river stone that, when lit at night, create a magnifi cent waterside façade. In the open-air entry court, there is a massive suspended installation of hundreds of iridescent pieces of porcelain that resemble scales of a fi sh, created specifi cally for Nobu Doha by the Canadian artist Pascale Girardin,” explained Shawn Sullivan of the Rockwell Group, who was the princi-pal designer on the project.

The perimeter of the building will be surrounded by a refl ecting pool that elegantly accentuates the building’s close relationship with water. “In the main dining room on the second level are columns clad in white sea shells, a generous terrace area with expansive views of the harbour, and two bars, a white and a black pearl bar that operate throughout the day and are clad in white and black pearl-inspired fi nishes,” Sullivan highlighted.

Covering 26,000ft², the restaurant will include a main dining room with a capacity of 82, a private dining room able to fi t 20 people, an outdoor terrace

for 40 and a bar/lounge that is able to accommodate 50 people.

There will also be a rooftop terrace with an outdoor lounge that offers commanding views of Doha’s increas-ingly impressive skyline, Corniche and harbour, and has a capacity of 72. Indi-vidual sculptural resin canopies, made by Kenneth Cobonpue, will be coupled with custom globe fl oor lighting to cre-ate a sense of intimacy in this space.

Nobu Doha, which is now due for completion in late 2011, will be set on a peninsula on Doha Bay that forms part of the Four Seasons Hotel Doha. The freestanding, three-story structure will anchor the northern end of the city’s grand Corniche and act as an iconic new addition to Doha’s striking skyline.

The building will give the impression of fl oating effortlessly over the marina – but creating such an intricate structure presented an inherent set of challenges, Sullivan explained. “A huge challenge was to fi t the programme within the very intimate site,” he noted.

“What was equally exciting and chal-lenging was that it allowed us to lift the building up so cars could circulate and drop guests off underneath a cantile-vered building,” Sullivan continued. “As people approach and see the build-ing from a distance, it will appear to fl oat above the glass entry lobby and

Echoes of the seaTHE ESSENCE OF WATER WILL WE AVE ITS WAY THROUGH THE NEW NOBU DOHA

refl ecting pools surrounding it. It is a complex structural system, which goes along with all the co-ordination issues involved in creating a building sur-rounded by the sea on all sides.

“The building is meant to be visible from every angle, so every piece of equipment needs to be elegantly con-cealed,” Sullivan detailed.

This will be the second Middle East location for Nobu, after Nobu at the Atlantis, Palm Jumeirah, Dubai. Rockwell Group has worked with Nobu since the opening of its fi rst ever restaurant in New York – making the US-headquar-tered design fi rm particularly tuned-in to the essence of the brand.

As a result, the company had no problems injecting the highly distinctive ‘spirit of Nobu’ into the design of the new Doha restaurant. “The Nobu experi-ence is unique in that it combines a rar-efi ed culinary experience with a vibrant, relaxed atmosphere. This Doha location will be a unique work of architecture that will be elegant and iconic, and that will house a collection of spaces that are dynamic and thrilling,” said Sullivan.

However, while it was essential to capture the essence of the brand, it was also important to infuse the design with cultural context, Sullivan noted. This is no cookie-cutter brand, and this is no cookie cutter design.

1

Echoes of

Doha’s pearl

diving history

will permeate

the new Nobu.



“First and foremost, this is a free-standing building that we designed from the ground up for this one-of-a-kind location. The specifi c harbour context allowed us to really refi ne our design into a very fl uid water metaphor. Although the attention to craft, texture and storytelling will remain the same in this Nobu as in the others, the design concept and details are entirely tailored to the context and history of Doha.”

On the one hand, this meant drawing inspiration from age-old Qatari forms and traditions. But it also required an understanding of contemporary Qatari culture, codes and rituals. “As with any new market it is important to understand the local culture and how your design work needs to respond and accommodate it.

“Relationships are extremely im-portant in Qatar. And doing business in Qatar is also a little different – it is important that you have a good under-standing of the specifi c dining rituals, the necessary amenities, and how local codes are handled,” said Sullivan.

“Our challenge was to embrace ritu-als that are grounded in history and

culture, but are presented with a fresh and reinvented vision.”

For Sullivan, this offered an exciting opportunity to embrace new styles and avenues of inspiration. “For me, the context, landscape and history of Qatar has brought about all sorts of new and exciting challenges and inspirations for our design: from talented business and design collaborators, local craftsman and artists who contribute to our de-signs, to new materials and techniques to experiment with that we might not have been exposed to before,” he said.

“Doha presents such opportunity for designers of all nationalities. An extraordinary group of architects and designers from all over the world are making their mark on museums, air-ports, cultural centers, education facili-ties and residential islands in Doha.

“The confl uence of cultures and voic-es in these regions is really outstanding and inspiring – in a part of the world where western culture could seem so alien, there is such an effort to mix cul-tures, breed creativity and innovation, and welcome differences.”

2

Attention to

craft, texture and

storytelling are the

defi ning features of

any Nobu interior.

3

The restaurant

will be surrounded

by the sea.

2

FACT SHEET: NOBU DOHALocation: Four Seasons Hotel Doha

Use: Restaurant and bar

Size: 26,000ft²

Clients: Nobu and Sheikh Hamad bin

Jassem bin Jaber al Thani

Operator: Four Seasons Hotel Doha

Architect of record: Islam Shaheen, Dara

Engineering in Doha

Interior designer: Rockwell Group

Completion Date: 20113

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or 971-4-364-2650 to learn more about all KOHLER bathroom products.

www.constructionweekonline.com Commercial Interior Design | MAY 2010 53www.constructionweekonline.com Commercial Interior Design | MAY 2010 53

From rooms, restaurants, offi ces, spas and conference areas, to bars, business centres and fancy bathrooms,

hotels offer unlimited scope. For interior designers, hotel projects represent greater opportunity, increased exposure and, more often than not, larger budgets.

However, there are also inherent challenges involved in dealing with projects that are so large – and so multi-faceted. Juggling the demands of owners and operators, in-house purchasing, operations and housekeeping teams and procurement companies, as well as

HOSPITALIT Y SUPPLIERS YOU SHOULD KNOW

the usual consultants, is not always a straightforward task, particularly when many of these entities have confl icting priorities.

“The main role of the commercial interior designer is… very commercial,” suggested Martin Wojnowski, design principal at Design Worldwide Partnership (DWP). “The interior designer should develop a scheme that will bring value to the project and accelerate the fi nancial returns for hotel owners – in line with the operator’s design guidelines.”

And while there is no secret formula for any successful hotel project, a solid relationship with both clients

and suppliers is as good a place as any to start, Wojnowski maintained. “There are no tips regarding the smooth run of a project. Every job is different, but good and friendly relations with all trades and clients should always be established.”

Tight deadlines and big orders are an inescapable part of the process, making it all the more important to work with partners and suppliers that are capable, and completely reliable.

Over the next few pages, we have invited a handful of hospitality suppliers to outline how they can help you ensure that your next hotel project runs smoothly.

SUPPLIERS YOU SHOULD KNOW



CID speaks to Paul Vittecoq, managing director of Dubai-based fi replace company, Momo Fire.

Tell us about your company.Momo Fire is an eco-design fi replace company based in Dubai, providing the entire Middle East region with the latest in trendy furniture for indoor and outdoor decoration. We are the exclusive representative for different European brands, including Planika and DigiFire. We combine modernity and international design with the advanced technology of environmentally-friendly, renewable, liquid fuel, smokeless, ethanol-based fi re. Our products are fuelled by Fanola, a special ethanol based bio-fuel for use in bio-friendly fi replaces. Our products are portable, odourless, ventless, safe and easy, and are also certifi ed to the highest environmental safety standards.

What sets you apart?Our large range of products, competitive prices, and the fact that we work on a case-by-case basis, all sets us apart. We offer tailor-made design, as well as certifi cation. We also have special collections that cater to architects and designers, such as Refl exo, Onyx, Firebox and Orbiter.

What hotels have you supplied?We have worked with Hilton, Kempinski and InterContinental hotels.

What do you add to a hotel project? A friendly and unique atmosphere, exclusive design, and an interesting attraction for restaurants.

How do we contact you?We can be reached on tel: +971 (0)50 454 9009 and email: info@momofi re.com. For more information, please visit our website: www.momofi re.com.

Catching up with Farokh Khoie, manag-ing director of Khoie Industries.

Tell us about your company.Khoie Furniture Manufactory is one of the foremost furniture manufacturers based in south Germany. Managed and controlled by Farokh Khoie, a German national with 30-years of expertise in this fi eld, the company has an interna-tional track record in the business of manufacturing, supplying and fi xing top-quality kitchens, bath cabinetry, wardrobes and doors for the residential and commercial segment, in line with stringent German standards.Khoie Furniture Manufactory set up its UAE subsidiary in 2007, Khoie Industries LLC in Ras Al Khaimah.

What sets you apart?Our state-of-the-art factory in Ras Al Khaimah is fi tted with the best comput-er-controlled machinery from Germany and Italy, and the focus is essentially to offer German-quality products to this burgeoning market. Utilisation of the lat-est kitchen technology, know-how and CNC machines, coupled with a vastly

experienced, creative and skilled team of people, is what gives Khoie Industries its competitive edge. In short, your specifi c requirements are handled by a team of highly-experienced experts, who believe in getting it right the fi rst time, and every time.

What do you add to a hotel project?Khoie Industries offers its customers a high level of fl exibility, offering a product package in line with UAE market requirements. Accessories and appli-ances being supplied by Khoie Indus-tries are hand-picked and imported from Germany, bearing testimony to the fact that the fi nal product package is of the highest quality standards.

Our long years of experience in this specifi c segment, a highly accurate and modern computerised production line, and adherence to the most stringent German standards and specifi cations, can only auger well for hotels in the UAE.

How do we contact you?PO Box 14535, Ras Al Khaimah, UAE; tel: +971 (0)7 2444377; fax: +971 (0)7 2444378; email: [email protected].

KhoieIndustries

Momo Fire




By Victor Schoone, country manager, Middle East, Roca.

Tell us about your company.Roca’s vision is to be the ‘leading global bathroom brand’ by the year 2020. The defi nition of this vision was set by Jose Miguel Roca in 2007 and has sparked the creation of numerous ‘total change’ strategies throughout the company.

Roca is aiming to be the leader in ev-erything related to our business. It has defi ned fi ve key values, which are inno-vation, design, wellness, sustainability and leadership. Any change programme or strategy must ensure that we improve in one or more of these fi ve areas.

New designs like W&W show our commitment to the environment and to innovation, as the water from the washbasin is reused for fl ushing the WC. This concept has won numerous awards. Other innovations in wellness include Tr-anstube, a shower cabin with automatic sliding doors, and the Home Beach.

Roca has also shown its leadership through the establishment of a new concept of showrooms called Galleries, in which our values, goals, objectives and desires are transmitted to the end customer. We explain about the projects we are working on and the history of the company. Roca now owns such Galleries in Barcelona, Madrid and Lisboa, and in 2010 a new London Gallery, designed by Zaha Hadid, will be opened.

What sets you apart? The fact that Roca is still a family busi-ness, and is considered to be one of the largest family-owned businesses in Europe, makes it unique within the bath-room sector. The fact that a family runs the business allows for good ideas, and even philanthropic ideas, to fi nd a way to the market, which really puts a signa-ture on each and every Roca product.

One such idea is a fund established by Roca called ‘We are water’. This is a programme that will raise funds in order to give support to people in need of fresh drinking water, hygienic sanitation and a healthy living environment.

We have already started contacting celebrities and have seen good results; in 2010 we are going to launch this programme in the Middle East.

What hotels have you supplied? Many hotels, of all kinds, from fi ve-star properties like Le Meridien, Four Seasons, Hilton and Sheraton, to three- and four-star hotels around the globe. In the UAE we have supplied all the Le Meridien hotels, the Grosvenor House I and II, and the Moevenpick in Deira, among others.

What can you add to a hotel project? High-quality bathroom products with an excellent fi nish and design, and with a uniform and perfect matching of colours among the different pieces in

Rocathe bathroom; low maintenance, easy maintenance and availability of even the smallest spare parts for a minimum of 15 to 20 years; designs by David Chip-perfi eld, Rafael Moneo, Schmidt & Lack-ner, Herzon & De Meuron and Benedito Designs. Water and energy saving are standard, without any extra cost, in all Roca products.

The latest news is a collaboration with The Armani Group called Armani/Roca, which is a new bathroom concept which will be installed in all Armani hotels around the world.

How do we contact you? Gold & Diamond Park, Building 5, Offi ce 111, Sheikh Zayed Road, 4th inter-change, Dubai, UAE; tel: +971 (0)4 347 6400; Mobile: +971 (0)50 465 9324; and website: www.roca.com.



The low-down from Domenic Zaffi no,managing director, Mobilia.

Tell us about your company.Mobilia has over 40 years combined experience in furniture design and manu-facture. The success of Mobilia has led to us being recognised in Australasia as one of the premium furniture design and manufacturing companies. Over the past decade, Mobilia has been able to capita-lise on its nationwide footprint in Austra-lia to expand internationally through the establishment of purpose-built facilities and regional distribution offi ces in Asia, Europe and the Middle East.

Mobilia satisfi es the furniture require-ments for projects of a residential, contract or commercial nature. Mobilia prides itself on being reliable and able to deliver what we promise in a cost-effective manner, with excellent lead times, therefore making us ideal suppli-ers for large-scale projects. Our experi-ence in manufacturing original designs and customer OEM requirements means that we can offer a comprehensive service you can trust.

What sets you apart?Being manufacturers with factories in four countries, we have full control throughout the manufacturing process. Mobilia is not just another furniture supplier supplying a second party’s product. This control, along with having

a base here in the UAE, gives us the ability to enforce strict deadlines on delivery times, to maintain quality, and also offers us the possibility of catering to any budget.

What hotels have you supplied?In the Middle East our most recent proj-ect was the refurbishment of the Hilton Hotel in Jumeirah with the successful supply and installation of 680 armchairs for guestrooms. This project was a sig-nifi cant milestone for us as we had the opportunity to showcase our capability with a deadline of only four weeks from order confi rmation. We manufactured 680 armchairs in our factory in Australia in under 10 days and with a 19 day shipping time we had three days left to install the product into each room from the arrival of the last shipment.

What can you add to a hotel project?We are able to supply a variety of contract furniture, loose furniture and fully upholstered furniture. We have the ability to collaborate with the client to manufacture a particular, unique design or style that they require for their premises, as we have done for some of the themed hotels in Macau.

How do we contact you?You can visit our showroom in Al Barsha, Dubai, call us on +971 (0)4 323 6988, or visit us at www.mobilia.ae.

Mobilia




CID talks to Joe Hepworth, general manager, Middle East, Indigo Living.

Tell us about your company.Indigo Living has been in Dubai for four years and operating in Hong Kong for almost 30. We are unique in that we have successful furniture retail and rental divisions, as well as our project business. We are specialists in custom furniture design and manufacture for the hospitality industry. We offer a complete FF&E turnkey solution to our clients, with everything managed from shop-drawing stage through to install and snagging on site.

What sets you apart?Indigo wins all its business fi rst and foremost on price. We deliver value and savings as well as quality FF&E. Having been in business for so long, we are experts at what we do and in helping our clients meet their goals – in the last few years there have been so many new companies on the scene who promise much but can’t deliver and we pride our-selves on an honest and quality service. With so many years under our belt, In-digo has a manufacturing and sourcing network that is second-to-none, which means we will produce a particular product at the best possible source and for the best possible price, and we are not bound to sub-optimal factories. We can custom manufacture to any design

and specifi cation. Our in-house interior design team means we’re equally adept at working with the client’s appointed A&D fi rm or in taking on the interior de-sign job ourselves and providing a total interiors service. We also do OS&E, and are refurbishment specialists.

What hotels have you supplied?In this part of the world we’ve done the FF&E for The Address Marina, Dubai; The Westin, Dubai; The Dubai Marriott Harbour Hotel & Suites; Trader’s Hotel, Abu Dhabi and Greenlakes Serviced Apartments, Dubai. In the Far East our projects include The Venetian - Four Seasons in Macau and Marina Bay Sands in Singapore, as well as a host of four- and fi ve-star serviced apartments throughout the region.

What can you add to a hotel project? At the moment, the main thing that our customers want to see is that we are cost effective. All our jobs come down to the bottom line so whilst it’s obviously positive to be able to talk about our experience, strong portfolio, design expertise, product quality etc, the most important thing for the client is that Indigo can deliver savings compared to their other options.

Our complete turnkey model is cheap-er than taking the procurement route; when you also add in the benefi ts of having a professional organisation like

Indigo LivingIndigo managing the design, production, QC, shipping, clearance and installation, it is an even more compelling option.

We are currently seeing a lot of interest for hotel refurbishments in the region and our approach is perhaps even better suited to this sort of work because hotel operators want to keep the rest of the property running, so having Indigo’s expertise to completely manage the refurb project means they can still focus on their guests.

How do we contact you?Joe Hepworth, general manager, Middle East, Indigo Living can be reached at [email protected] or +971 (0)4 3397705.


PRODUCTS


New on the market

IPE Cavalli Group has unveiled the latest additions to its Visionnaire col-lection. Designed by Samuele Mazza, the new collection includes the Domus sofa, Coliseum washbasin and bathtub, and the Augustus Mobile Bar. The

VISIONNAIREpieces are reminiscent of the houses, palaces and villas of the late Roman Empire, as well as the mosaics of the ‘Villa del Casale’ in Sicily. Plaster mas-terpieces, columns, metals, velvets and leathers all contribute in creating a new

chapter that Samuele Mazza defi nes as ‘Visionnaire Contemporary Past’.

IPE CAVALLI GROUP

+39 51 618 6311

www.ipe-cavalli.it


PRODUCTS

MILOSIn the tradition of the ches-terfield, BoConcept has introduced a modern, casual looking sofa, Milos, which plays with the effect of check

patterns and stitches. The Milos sofa is both soft and taut in its expression, and light legs introduce a modern touch. Consisting of 13 different

BOCONCEPT DUBAI

+ 971 (0)4 341 4144

www.boconcept.com

JOKOKristalia has launched the new Joko chair. Suitable for both the home and contract sectors, the chair is minimalist in style, and upholstered in fabric, leather or eco-leather. It has a variable-density polyurethane core, which is injected onto a metal frame.

KRISTALIA

+39 434 623678

www.kristalia.it

Rolling Waves is the new dra-matic, multi-dimensional wall treatment from Móz Designs. A series of decorative metal panels for ‘feature walls’ in contempo-rary commercial or hospitality environments, Rolling Waves can

be quickly set up onsite, with no special tools or surface prepara-tion required. Environmentally-friendly, Rolling Waves aluminum panels contain 80% post-industrial recycled aluminum and contribute to LEED 2.0 MR Credit

4 – Recycled Content. Rolling Waves panels are hand-etched, with a choice of 14 patterns.

MÓZ DESIGNS

+1 510 632 0853

www.MozDesigns.com

ROLLING WAVES

modules, the new sofa offers the freedom to create different sofas from the same units. The sofa is available in a variety of leathers and fabrics.


Chella’s new Venezia Collection translates the finery, fluidity and kaleidoscopic colour of a Venetian Masked Ball into three striking designs for modern living: San Marco, a Fortuny-inspired acanthus and vine design woven out of lush, sustainable chenille yarns; Murano Strie, a variegated spiral of colour evocative of the uniquely Venetian Murano glass-making technique; and

THE VENEZIA COLLECTIONRialto, a sumptuous solid available in an 18-colour spectrum that significantly broadens the Chella colour palette. All Chella solution-dyed acrylic fabrics, sheers and trimmings are lightfast, machine washable, and stain- and mould-resistant.

CHELLA TEXTILES

+1 805 560 8400

www.chellatextiles.com

CHÂTE AU La Cornue’s Château range is now available in a brand new colour, aquamarine. With this latest addition, La Cornue can now offer each of the eight Château models in 25 different colours and 12 fi nishes, including chrome, stainless steel and brass. La Cornue stove components are coloured using a traditional enamelling process where components are dipped together in a unique colour bath to ensure that they are identical in every aspect. La Cornue ranges can be found at the Carpe Diem showroom in Dubai.

CARPE DIEM

+971 (0)4 344 4734

www.carpediem.ae

PRODUCTS

PRODUCTS


Nora Lighting has launched a new series of slimline GU24 compact fl uorescent track fi xtures that eliminate bulky ballast housings.

The fi xtures utilise energy-effi cient GU24 lamps, which are self-ballasted and offered in a range of wattages. The new GU24

GU24NORA LIGHTING

+1 800 686 6672

www.noralighting.com

HB965TZLG Electronics has unveiled its HB965TZ Home Theater System. The Blu-ray audio system delivers rich sound from slim, wall-mountable speakers, and wirelessly connects to limitless content. The system features two slim front-channel speakers,

two surround speakers and a subwoofer with total power output of 1100 watts.

LG ELECTRONICS

+971 (0)4 334 0066

www.lge.com

CF lamps are rated up to 10,000 hours and can save up to 75% of energy costs when compared to incandescents.

RUN PERSONALTechnogym has enhanced its Run Personal treadmill with the introduction of VISIOweb technology. Designed by Antonio Citterio, the treadmill is now fi tted with the fi rst integrated display offering internet, TV and iPod connectivity during workouts. In addition to internet,

the 19-inch VISIOweb screen also includes numerous other exclusive functions, including a USB port for viewing and listening to multimedia plug-ins; an online personal trainer offering interactive exercise guidance; games; Plug&Train, the opportunity to save your favourite training exercises on a USB key and activate the machine automatically; and IPTV, the fi rst interface that can receive a TV signal via the PC network.

TECHNOGYM

+971 (0)4 3375337

www.technogym.com

Chill Bed is exclusively distributed in the GCC by NAKKASH GALLERY

Visit us at The Resort ExperienceDubai World Trade Centre, May 18-20, 2010

Hall 7 Stand B301

Al Huda Bldg. Garhoud St.P.O. Box 26767 DubaiTel: +971 4 2826767Fax: +971 4 [email protected] w w.na k kashgaller y.com

PRODUCTS


VOGUENovaBell has launched Vogue, a new collection of coverings characterised by ample dimensions and extreme fl exibility. The coverings are applicable both horizontally and vertically and create an elegantly understated bathroom atmosphere. Glossy or satin fi nishes generate an unexpected play of refl ections and depth, while large, airy fl owers look like hand drawn, tone-on-tone lines, and seem to move in soft waves.

NOVABELL

+39 053 686 1111

www.novabell.it

SMILESmile is the new armchair by Sand & Birch Design. Elegant, casual and witty, Smile is available in two versions. One is the plain version in blue or

white, produced in hard and varnished polyurethane. The other version is covered in velvet, cotton and silk, and available in grey and white.

SAND & BIRCH DESIGN

+39 (0)773 1762584

www.sandbirch.com

ANY SHAPEA completely new production technique at Ege allows anyone to hand in a sketch of an outline of a rug and get it produced in exactly the shape they want. The technique is called ‘Any shape’. Furthermore, the company’s Soft Dreams collection has recently been extended with the addition of seven new colours, bringing the total number of available

options up to 21. The rugs are produced in 100% polyamide with high wear, and are per-manently antistatic, as well as tested and approved in accordance with Danish Indoor Climate Labelling.

EGE

+45 97 11 88 11

www.ege.dk

PRODUCTS


L A DIVAVilleroy & Boch has launched a series of new tile collections for 2010. These include La Diva, a wall and floor concept inspired by the multi-cultural influences of traditional Asian and European crafts. La Diva’s mosaics, complete with gold, are taking mosaic art, a centuries-old tradition at the house

of Villeroy & Boch, into a new era. The subtly decorated floor is crafted from fine non-vitreous ceramic tiles and inspired by the mosaics of cultures past.

VILLEROY & BOCH

+971 (0)4 3642613

www.villeroy-boch.com

BOAT WOODCOLLECTIONIndigo Living has launched an environmentally-friendly collection of furniture made entirely out of recycled ship wood. Solid slabs of recycled timber taken from old fi shing boats in South China are transformed into striking pieces of furniture characterised by strong, robust lines. The Boat Wood collection consists of a table, bench, chair and bookcase. Each piece is unique and traceable to the boat from which it was recovered. To attest to its history and inherent value, each piece comes with a plaque showing the year the boat was registered and where it sailed in its former life.

INDIGO LIVING

+971 (0)4 339 7705

www.indigo-living.com

CONTRACTS


PROJECT TITLE CLIENT CONSULTANT MAIN CONTRACTOR VALUE / VALUE RANGE (US$. MN)

PROJECT STATUS PROJECT T YPE

Buraimi University College Building Buraimi University College Gulf Engineering Consultancy Al Adrak Trading & Contracting 60 Project under construction

Educational Facilities

Renovation of Intercontinental Hotel in Muscat

Omran Offi ce Pentago Spowers International

Not Appointed 16 - 30 Project under design Hotel

Dhofar University in Salalah - Pack 1 Dhofar University National Engineering Offi ce Al-Hashemi & Al-Rawas Company

21 Project under construction


New Television Studio Complex Ministry of Information Austro Consult Bahwan Contracting Company 33 Project under construction

Others

Headquarters Building for Bank of Muscat

Bank of Muscat Atkins Galfar Engineering & Contracting


Commercial Buildings

Development of Jabal Al Akhdar Resort Hotel

Omran Offi ce AW2 Not Appointed 31 - 100 Project under design Hotel

Fairmont Hotel Fairmont Hotel & Resorts/The Wave Muscat

Echo Designer Consultants Not Appointed 101 - 250 Project under design Hotel

Crowne Plaza Duqum Resort Omran Offi ce/Inter Continental Hotel Group

KEO International Not Appointed 251 - 500 Project under design Hotel

Hospital in South Salalah Ministry of Defence Ibn Khaldun International Contractors Company

16 - 30 Project under construction

Hospital

Psychiatric Hospital at Al Amerat Ministry of Health Khatib and Alami Bahwan Contracting Company 107 Project under construction

Hospital

Renovation of Sheraton Oman Hotel Al Hasher Group Atkins Zubair Furnishing 25 Project under construction

Hotel

The Malkai at Barka Al Maeen Real Estate Services Company Triad Oman/AW2 Not Appointed 250 Project under design Mixed Use

Musandam Airport Ministry of Transport & Communication

Not Appointed Not Appointed 101 - 250 Award awaited for the consultancy contract

Airport

Bone Marrow Transplant Unit Block Sultan Qaboos University Hospital Gulf Engineering Consultancy Not Appointed 16 - 30 Project under design Hospital

Showroom for Al Mutahidha Transport

Al Mutahidha Transport Company Not Appointed Not Appointed 2.5 - 15 Project in concept stage

Commercial Buildings

International Maritime College Oman

Ministry of Manpower Gulf Engineering Consultancy Al Khalili United Enterprises 35 Project under construction


National Cardiology Centre at Royal Hospital

Ministry of Health Asi Etudes Galfar Engineering & Contracting


Hospital

Redevelopment of the Crowne Plaza resort Salalah

Ministry of Tourism Consulting Engineering Services

Not Appointed 31 - 100 Project under design Hotel

Court Complex at Al-Buraimi Ministry of Justice Sundaram Architects Not Appointed 2.5 - 15 Award awaited for the construction contract

Others

Natural History Museum in Muscat Ministry of Heritage & Culture Not Appointed Not Appointed 16 - 30 Award awaited for the consultancy contract

Recreational Facilities

Project Focus

www arabianbusiness com/construction Commercial Interior Design November 2007 101bi b i / t ti86 C i l I t i D i O t b 2007

COMMERCIAL INTERIOR DESIGN IS COMMIT TED TO HELPING ITS RE ADERS GROW THEIR BUSINESSES, SO WE HAVE TE AMED UP WITH VENTURES MIDDLE E AST TO BRING YOU THE L ATEST TENDERS FROM AROUND THE REGION ON A MONTHLY BASIS.

OM A N PROJEC T S DATA B A SE

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

Arte Vivois your partner in design excellence: a fusion of aestheticsand fuctionality, of cutting-edge design and solidmanufacturing experience that enjoys global recognition

Arte Vivo FZ-LLC

Loft B304 Design House

Al Sufouh 1, P.O.Box 502481

Dubai, United Arab Emirates

T: +971 4 4456 899

F: +971 4 4456 898

E: [email protected]

www.artevivo-designs.com

Ar te Vivo designs and manufactures customised furniture according to your specif ic needs and unique vision, guiding you throughevery step of the process. Backed by years of design andproduction experience, we provide invaluable assistance with:

• Planning• Design conceptualisation• Design development• Documentation

• Bidding• Design implementation• Project supervision• Quality assurance


OPINION

As hospitality and retail designers, we stay ahead of current design trends by fo-cusing on the drivers behind

the trend, rather than the trend itself.Design, like any other art form, is

evolutionary, and is infl uenced by the prevailing socio-economic environ-ment. Looking back at the last decade, culminating with the recent economic downturn, there has been a major shift in outlook on the world and on our approach to design.

We have realised that our economic and environmental resources are not infi nite. At the same time, we are not ready to become non-consumers. Rather, we want to consume differently.

How does that translate into design? We are creating leaner but more inspired material palettes that better connect to the user’s psyche and tell a meaningful story.

Here, high touch meets high-tech. In many cases, we source textiles that resemble the character and personality of hand-made fabrics, with a cultural connection or ethnic twist.

For example, Alpha by Pollack offers a collection of patterns and colourways from the Alpha Workshops, a pioneering collective of decorative artists living with HIV/AIDS. Their work is spirited, complex, textured and very meaningful.

The Common Threads collection is another great example, where DesignTex partners with Arzu, a fair trade, nonprof-it organisation employing 700 women

weavers in nine villages in Afghanistan. They create contemporary DesignTex-designed rugs using traditional – and folkloric – Persian knot techniques.

Why the search for meaning? These days we are so technologically connect-ed that we’re left with a yearning for the human touch. The popularity of social networking on Twitter and Facebook is evidence of our overwhelming desire to connect with our community. We can buy merchandise online, but we like the social activity, the chatting with our friends, and the opportunity to touch and feel what we are going to buy.

This trend relates to another, the one-of-a-kind. I don’t want my – you can fi ll in the blank here – to be the same as everyone else’s. Mass produc-tion of sameness is in a down cycle. Technology now lets us customise at a reasonable cost.

These and other trends have infl u-enced our design for the Tibetan-in-spired Chi Spa at the Shangri-La Hotel in Doha, Qatar, slated for completion in 2011. For instance, I was asked if the throw cushions in the spa lounge were made of Thai silk. While the product is machine-made, it has an embroidered look that emulates the personality of a more traditional fabric, which guests will fi nd satisfying.

With the intent of integrating context with the spa’s brand, our design team seized the spa’s rendition of a mashrabiya screen as a vehicle to bring local vernacular to the space.

Traditionally, these screens are panels of lattice woodwork carved with geometric patterns, and are used to em-bellish the exterior of Arab houses. For the spa, we adapted a more fi gurative, Asian-inspired pattern and laser-cut bronze sheet metal for a contemporary approach to an ancient tradition.

The screen demonstrates another design trend: playful use of scale. By enlarging the pattern, the guests can experience it in a new way.

Elsewhere in the Doha hotel’s hospi-tality areas, our team created a ‘super-graphic’ in a restaurant themed after a Xian warrior, who peers out ominously from the end of the entrance corridor.

Get too close and the image pixelates because it was created with glass tiles. The face disintegrates into a series of squares. This ‘now you see it, now you don’t’ effect links to one fi nal trend: movement. Movement adds playful-ness, energy and life to environments.

It would be easy to assume that the realities of fi nite resources would result in a more sedate or plain design. In-stead, we are inspired by the challenge: creating meaningful, culturally relevant and playful spaces with less.

Designs from this decade will tell the story of creativity in the face of adver-sity and, as with all evolution, today’s design will be the springboard from which new trends will emerge.

Randa Tukan is vice president of hospital-ity and retail interiors at HOK in Toronto.

BY R ANDA TUK AN

Inspired materials

1

Randa Tukan.

2

Xian restaurant

entrance.

1 2

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

commercial interior design - may 2010

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