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An ITP Business Publication October Vol.

7 Issue 10
Index 2011
A touch of SPICE
Spanish Design
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d eON& I b eON& I d{U d d UU wd I se b I d9R UUL d YOQ I WOJ qu I wJ U
CONTENTS Commercial Interior Design | OCTOBER 2011 7
October 2011
Find out more about ISG.
CID speaks to Alfred Johnson
about his expansion plans.
The Spanish Furniture Fair.
A personal touch given to the
interiors of the Ideaspice ofce.
Two Emirati sisters collaborate on
a project for the Effa Boutique.
An origami-based design in a
stationers shop in Singapore.
Spa design by HBA London in
the tallest building in Hong Kong.
Saudi Arabias interior design
industry is booming.

A preview to the tradeshow.
Kevin Dean, artist and designer,
on his Middle East projects.
42 76
COMMENT 8 OCTOBER 2011 | Commercial Interior Design
always prefer meeting people in person rather than
corresponding over the phone and via email. It adds
that personal touch to a conversation and messages
can get misconstrued on the internet.
Thats why October is such an important month for me.
Its a time to make the most of numerous events happen-
ing in the region, put a face to a name, add new people to
my contacts book and share discussions about the state
of the industry with like minded individuals.
On my radar this month is Chelsea College of Art &
Design (CCAD), London, hosting a number of courses in association with Big On
Learning, at the Pullman Dubai, Mall of the Emirates between October 13-28.
It is the jrst time CCAD has come to the Middle East and includes interior de-
signer, Lyndall Fernie, Sue McGregor from Interior Statements, which specialises
in projects for hotels, residential developments, private and commercial proper-
ties and furniture designer, Debbie Blandford, who has worked on projects with
the government of Saudi Arabia.
I look forward to greeting many of the guest speakers at Index, such as Khuan
Chew, design principal and founder, KCA International, who will be appearing at
the APID Interior Design Congress and I want to see the Nomad and Evolution
collections from Bruno Triplet and Porta Romana respectively, who will bring their
products to the Middle East for the jrst time.
Its unusual to have so many industry professionals under one roof at one time
so its great to take advantage of it. And, I cant wait to feel the buzz of excite-
ment at this years CID Awards. Its great to recognise so many people for their
hard work and see the faces of the winners when they are called to the stage.
Next months issue is going to be bumper packed with details of the award en-
tries and pictures from the night so make sure you dress to impress. I know I will.
Face to face
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Cover image:
Ideaspice ofjce,
Al Diyafah,
Dubai. Image
by Shruti Jagdeesh.
Published by and 2011 ITP Business
Publishing, a division of the ITP
Publishing Group Ltd. Registered in the
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An ITP Business Publication October Vol.7 Issue10
Index 2011
A touch of SPICE
Spanish Design
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Commercial Interior Design | OCTOBER 2011 11
Colour chameleon
UAE: Italo Rota, best known for his
interior design of the Cavalli Club in
the Fairmont Hotel, Dubai, has been
hired by Jean Samman, CEO, Byblos
Hospitality, to design The Chame-
leon nightclub, which opened at the
Byblos Hotel in Tecom, this month.
The Euro 4.5m venue has been
under construction for two years
and has a 6.5 metre by 5.5 metre
chameleon covered in 15,000
LED lights with a tongue that rolls
across a heart shaped ceiling as the
centerpiece of the club.
With over 65,000 LED bulbs
incorporated into the design, the
lighting will change colour in time
to the music.
Rota said Samman asked him to
create something unique and differ-
ent to anything else in Dubai.
He said all his ideas stem from
the chameleon itself, which is seen
as a dragon, a reptile, something
to be scared of, but, the beautiful
creature is actually a loving animal,
a cuddly pet even.
He wanted to capture the charac-
teristics of the chameleon, such as
the colour changing, as the concept
for the club.
I had this image for a while
about the chameleon and how it
changes colour and the signijcance
of such a wonderful thing, he said.
This started as my inspiration,
which has evolved into this fantas-
tic place that is like nowhere else.
Your mind will be blown away by
the lights, colours and atmosphere
and this is exactly the effect we
wanted to achieve.
Samman said the quirky interior
offers something different for club-
bers in Dubai.
With VIP rooms, a vintage-style
Victorian alcove and a separate res-
taurant, each room offers a different
atmosphere and concept.
After entering the lift from the
hotel lobby, which is adorned in
black and crystal-dusted tiles,
guests arrive at the Penthouse
level which leads into the club.
The VIP area, has soft-leather
sofas and thousands of skylight
installations that create patterns
on the ceiling. Then, there is a pink
dining area, covered in LED lights
housed in acrylic wall boxes.
The koor is covered in pink
and crystal-dust tiles that rekect
light throughout the space and
has hot pink dining chairs and
tables. The colour pink portrays the
connotation of love and there are
heart shaped windows and a heart
shaped ceiling.
The restaurant offers Italian and
Japanese cuisine by chefs Alessan-
dro Miceli and Myo Zaw Aung (who
used to work at Zuma), respectively.
DESIGN UPDATE 12 OCTOBER 2011 | Commercial Interior Design
Turkish delight
TURKEY: Wilson Associates has
completed the jrst phase of its
renovation of The Marmara Taksim
hotel in Istanbul, Turkey.
The refurbishment includes the
lobby entrance and reception, lobby
lounge, Tuti Restaurant, business
centre and lounge, pre-function
area and meeting space.
Other work, to be completed by
the end of the year, includes the
Chocolate Shop, Panorama Res-
taurant, ballroom and conference
space, spa, pool and gym.
Dan Kwan, senior VP and execu-
tive design director, Wilson Associ-
ates said the owners of the hotel
wanted a unique out-of-the-box
design rekecting the richness of the
city. The jrst phase took a year to
complete from design to comple-
tion and due to the hotels aged
architectural structure, the building
revealed many challenges for the
team ie, the design work had to be
structurally safe, to avoid disturbing
the existing structural elements.
We faced many challenges.
Naturally, being an old building, a
lot of the history was hidden behind
years of renovations and cosmetic
changes, said Kwan.
When we removed everything,
all this history was revealed in its
full glory. For example, we found
columns and beams we thought
would not be there. The challenge
was trying to tailor-make a new
suite around a grand dame.
Inspiration was drawn from the
people and history of Istanbul, tak-
ing the vibrant colours of Ottoman
kaftans and incorporating them into
each space of the design.
While the red tones of the lobby
evoke warm feelings of passion
and desire, the serene blue accents
revealed in the conference rooms
bring an air of wisdom and dignity.
Turkey has a rich and varied
history, from Byzantine to Roman
to Ottoman to Ataturk to modernity:
like a jne piece of kaftan fabric,
each thread was painstakingly
woven into this jne fabric of life,
that protects and nurtures the city,
said Kwan. The kaftan represents
all that is beautiful in Istanbul, and
what we did was super size the
weaving pattern, abstract it and
turned it into the architectural ele-
ments that you see in the property
today. Each area is an abstraction
of some pattern from this kaftan,
from the ceiling to the screens to
the column coverings.
Inspiration came from the colours
of Istanbul, blue for the Bosphorus
and red from the setting sun. Red
factors heavily into our scheme as it
represents the life blood that binds
us all and the passion that Turkish
culture is known for.
The design jrm used local
artisans and craftsmen, honouring
the 20-year-old propertys cultural
heritage, installing a glass chande-
lier, created by local artist Nahide,
in the entrance lobby.
Nearly all the lighting jxtures
and control systems are low voltage
LEDs to preserve the natural colours
of the materials, highlighting them
and not washing out their richness.
Cheap LED lights make everything
look ghostly. We took a conscious
decision to invest in this technology
for the good of everyone. 14 OCTOBER 2011 | Commercial Interior Design
UK: London-based The Interiors
Group set up its UAE operations
in Abu Dhabi in 2009, and since
then has acquired and completed
several new projects.
They include: the ofjce of legal
jrm, Herbert Smith; design and
construction of ofjces for Hogan
Lovells; a jt-out for real estate
investors Pramerica; and a new
marketing suite for Aldar in Trust
Tower, Abu Dhabi.
Herbert Smiths ofjce in Abu
Dhabis Central Business District,
is on the 23
koor of the Mubadala
development in Sowwah Square.
The Interiors Group is working with
designers Woods Bagot, Chapman
Bathurst and CS Technology with
project management handled by
Arcadis Middle East. The work is ex-
pected to be completed this month.
The design, as you can imagine,
is very high-end using specialist
materials sourced from around
the world. We have managed to
ensure that the building restraints
are adhered to, but the designers
and clients intent is kept, said
Jonathan Milner, general manager,
The Interiors Group.
The jrm also partners with other
design companies while working
on projects. Milner said it has
consciously chosen to do this to
maximise the elements of design.
Traditional design and build
companies produce the same look
for clients everything is off the
shelf and doesnt push boundaries
anymore. They know a detail works,
why change it? he added.
According to Milner, this was a
boring way of carrying out a project
and doesnt give value-added
designs to the client. By utilising
the capabilities of different design-
ers, we ensure that they are in
cohesion with what a client wants
and how they work, he said.
The jrm also won the contract for
Hogan Lovells ofjces in Sowwah
Square, which comprises a heavily
cellularised koor space arranged
over the 20
level of the building.
For this, it teamed up with Pringle
Brandon for the architectural ele-
ments and Wallace Whittle for MEP.
For the jt-out of Pramerica, the
company partnered with architects
and designers, HLW and Wallace
Whittle again for the MEP.
The jrm also delivered a
marketing suite in the Lord Foster-
designed Trust Tower in the Central
Market Development in Abu Dhabi.
The suite designed by Gensler,
uses new-to-the-market Optima
Partitioning systems, bespoke join-
ery and kooring systems, Herman
Miller furniture and specialist AV
presentation systems.
The koor space complements
the buildings unique design and
illustrates to Aldars potential
tenants what can be achieved.
The space uses a system recently
brought into the market by Optima,
the glass partition specialists, com-
plemented by bespoke furniture
systems from Herman Miller. It also
uses LEED carpets from Standard
Carpets in the UAE, said Milner.
Our growth, innovation and
expertise in the UK jt perfectly with
what is happening in the UAE,
added Andrew Black, CEO, The
Interiors Group.
Capital designs
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Emirates, Phone +971 4 7017117, Fax +971 4 7017121, Duravit Saudi Arabia LLC, Al Hamra district, Aarafat street,
Shahwan commercial center, 3rd floor Office number 4, P.O. Box 9135, 21413 Jeddah, Phone +966 2 66 580 54 / +966 2 66 176 94,
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DESIGN UPDATE 16 OCTOBER 2011 | Commercial Interior Design
A grey anatomy
EUROPE: Interior architects i29 has
designed the ofjces of a digital
marketing agency, Tribal DDB, both
in Amsterdam, using grey felt.
The jrm was not given a brief
from Tribal DDB concerning colours
or fabrics to be used, only that it
had to create an open-plan ofjce.
Jeroen Dellensen and Jaspar Jan-
sen, partners, i29 interior architects
said the design had to rekect an
environment that was friendly and
playful but also professional and
serious. The new ofjce is located
in a building where some structural
parts could not be changed, which
was challenging.
The design team worked hard to
jnd a solution to various problems
around the structural issues. It re-
quired a material that could work as
an alternative to the ceiling system,
which covered structural parts like
a big round staircase, and would
improve acoustics.
This led the team to the use of
fabrics in the design. Jansen said
fabric, as a material, can work on
three different levels.
Firstly, it is playful, and can
make a powerful image on a con-
ceptual level, he said.
Dellensen said the team also
used it to cover the scars of
demolition in an effective way, as
the space was gutted, which dam-
aged the ceiling. Apart from this, it
absorbs sound and creates privacy
in an open space.
There is probably no other mate-
rial which can be used on koors,
ceiling and walls to create pieces of
furniture and lampshades than felt.
Its also durable, acoustic, jreproof
and environmentally friendly,
said Jansen. However, he said it
wasnt easy to make all the custom-
designed furniture and lamps, walls
and ceiling in the same material.
The fabric used is a combina-
tion of industrial felt and felted
by hand (for the lamp shades). It
was sourced by the jrm Ecological
Textiles and VanVilt, a Dutch studio
which specialises in producing
custom-made felt objects.
The linear design contrasts with
the materials softness. It was
this kind of duality we wanted
to articulate: being nice, being
friendly, even soft. But at the same
time, it needed to be at the top of
the game and super professional,
said Dellensen.
Having an iconic professional
and outstanding workspace but
with minimum cost and low carbon
footprint was important, Dellensen
said. In addition to the felt, other
materials used included white
epoxy kooring and steel.
The space is spread over 650m
and currently houses 80 members
of staff. The designers said the goal
was to create interiors that allow
staff to interact with each other and
be creative, as well as help concen-
tration and increase productivity.
Jansen and Dellensen said Tribal
DDBs staff was happy with its new
ofjces, especially with large open
spaces where they could interact.
The Dutch interior architect jrm
is working on many projects right
now, including several residential
projects, a school, and a sociale
werkplaats, a training ofjce for
disabled people.
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DESIGN UPDATE 18 OCTOBER 2011 | Commercial Interior Design
Majestic design
SINGAPORE: Its been jve years
since the New Majestic Hotel
opened in Chinatown, Singapore,
but it still emphasises strong de-
sign, local culture and the arts.
The architect was DP Architects,
and the interior design was carried
out by Ministry of Design, under the
principal Colin Seah.
The hotel, under the manage-
ment of KMC Holdings Pte Ltd,
opened to promote the New Asia
genre of hotels, where history co-
exists with modernity and interna-
tional trends meet local designs.
The owner of the hotel, Loh Lik
Peng said he did not give a detailed
brief to his designers, instead
deciding to work with someone he
trusted. He said it was important to
give designers autonomy.
I think it (the design) should
always be a collaborative effort and
something that allows the design-
ers to be creative, said Peng.
From the open concept period-
inspired lobby with restored vintage
Compton fans, to the pool with
glass inserts koating above the res-
taurant, to the selection of period
colonial furniture from Singapore
in the 1920s-1960s, New Majestic
Hotel is an eclectic mix of heritage.
Each of the 30 rooms are differ-
ent, from its vintage and designer
furniture to the customised baths.
Room highlights include suites
with private gardens and attic style
rooms with loft beds with six-metre
high ceilings. There are four types of
interiors: the Mirror Room, the Loft
Room, the Hanging Bed Room and
the Aquarium Room.
The hotel is housed in a conser-
vation building, which means it
came with restrictions on what can
be done with them.
These restrictions, which many
people saw as a disadvantage,
I saw as an opportunity. Why
shouldnt we do each room differ-
ently if we can? he added.
The Mirror Room features mirrors
on the walls, climbing up to the
ceiling, and returning to the ground
to form the bed-head. The Hanging
Bed Room has murals spanning
whole walls, which form the bed-
head behind a modern interpreta-
tion of the classic four-poster bed.
In the Aquarium Room, a glass-
encased bathtub dominates the
middle of the room. In the Loft
Room, resting on slender columns,
the sleeping chamber koats above
in a light jlled attic space, celebrat-
ing the architectural qualities of the
classic Singaporean Shophouse.
New Majestic Hotel collaborated
with Asian Art Options to use local
art in the hotel with nine of Singa-
pores emerging artists: Safaruddin
Abdul Hamid (aka Dyn), Andre
Tan, Lee Meiling, Heleston Chew,
Tay Bee Aye, Kng Mian Tze, Miguel
Chew, Sandra Lee and Justin Lee.
Peng said he started out with a
long list of local artists and whittled
it down to the ones who best jt the
vision he had for the hotel.
I often work with professional
curators and this helps in terms of
getting a critical eye on the works of
different artists, he said.
It also features jve rooms per-
sonalised by individuals from differ-
ent jelds of work. Each person was
given free rein over their individual
rooms from kooring selection, to
the colour of the walls, and person-
alised interior decoration.
Working with niche luxury brand,
Ploh, which develops down pillows
and bedding, the hotel used the
bolster (long narrow pillow) in its
design and has added feather
pillows, a featherbed, and a light-
weight white goose down duvet.
DESIGN UPDATE 20 OCTOBER 2011 | Commercial Interior Design
Caf lab culture
EUROPE: Caf Coutume, a coffee
shop which has opened in Paris,
France, has been designed in a
minimalist style to resemble a
scientijc laboratory using trans-
parent plastic curtains, white-tiled
surfaces and lab apparatus.
French interior design jrm, Cut
Architectures, founded by Benja-
min Clarens and Yann Martin, was
inspired by a blend of traditional
coffee-making and alchemy in
creating the design.
The owners asked us for a new
kind of caf since they were intro-
ducing the speciality coffee seg-
ment in Paris. However, they still
wanted the place to be related to
Paris since it represents a French
brand, said Clarens.
Cut Architectures tore down the
ceiling and took down the
wallpaper from the earlier space to
reveal a high ceiling, mouldings,
columns and an old shop door,
along with bare walls. The high
ceiling, according to the designers,
is typical of Parisian interiors. The
team put together a new oak koor-
ing to further add to the chic and
trendy Parisian atmosphere.
To carry out the scientijc look,
the designers used white square
tiles, grid lighting, stainless steel,
industrial plastic curtains and
laboratory glassware.
Plain oak tables were designed
for Caf Coutume (which refers to
the legal customs in France), to
represent the fusion of a Parisian
interior and a scientijc laboratory.
Drinks are served from conical
kasks, with an industrial-looking
roaster behind a plastic curtain.
Pastries are kept behind a white
tiled cabinet, with plants inside
stainless steel sinks.
The design, which took four
months to complete, rekects a
typical Parisian caf, which is
bright and looks like it has walls
that havent yet been jnished.
The project had to be managed
quite quickly, as we got the brief at
the end of October 2010 and con-
struction started in late November.
The caf opened in early March
2011, said Martin.
The 90m space is built with
materials that are sourced from
several countries.
The tiles are made in Portugal,
the wood is plain oak from France
and the glassware (lab acces-
sories) is from Germany, said
Clarens. The lightbulbs by London-
based Plumen, are energy saving
and received the Brit Insurance
Design of the Year 2011.
In spite of the stripped-down
interiors, the designers said the
budget given to them was a prob-
lem they tackled. The budget was
quite challenging, so we had to
jnd a good balance in the design
to respect the budget and offer a
new kind of place and interior to
the client, said Martin.
The customers at the Parisian
coffee shop are intrigued with the
unconventional looks of Coutume.
Most of the clients enjoy the inte-
rior; they jnd it very cosy and yet
different from the old fashioned
Parisian style cafs, said Clarens.
Still, a few customers are
asking when the walls will be
painted, added Martin.
DESIGN UPDATE 22 OCTOBER 2011 | Commercial Interior Design
Fire and Ice
UAE: Miele has opened its new
multi-purpose gallery with the
GCC launch of the Fire/Ice range of
products in Dubai.
It was inaugurated by Dr Markus
Miele, managing director and co-
owner of Miele, who had kown in
from Germany for the event.
The gallery, at Sama Tower,
showcases over 80 appliances
on the lower koor, with the mez-
zanine level furnished to host
events, from product launches and
demonstrations, fashion shows, art
exhibitions and training sessions,
with a fully equipped cooking sta-
tion, which can be used for private
cooking classes. Also on display is
a product history museum featuring
some of the companys early in-
novations, dating from the birth of
Miele 112 years ago.
The new gallerys architecture
embodies luxury, elegance and con-
temporary design three elements
that represent the very essence of
the brand in a full white setting,
extenuating the sense of detail,
construction and craftsmanship
for which the brand is renowned,
appealing to quality conscious
consumers of all nationalities, said
Gaby Koudsi, managing director,
Miele GCC.
A separate room in the centre of
the gallery includes the collection,
Fire/Ice, with gold and chromium
jnishing respectively.
This gallery now takes its place
alongside 50 marvellous galleries
in Berlin, London, Milan, Paris and
Singapore, added Koudsi.
With the introduction of the col-
lection, Dr Miele said the company
wanted to create a new look to
differentiate it from the rest. Miele
conducted a survey across the 47
countries it operates in to see what
its consumers wanted.
We had two streams of thought:
one came from places like Dubai
and Russia, where people wanted
more shiny appliances to create
a warm feel. But then we got a lot
of feedback from places like Italy,
where people wanted something
cold and minimalistic. When we
put that together, we created the
Fire/Ice collection, said Dr Miele.
He added the overall design and
technology used in the products is
what makes it special, along with
the enormous size and kexibility of
the collection to choose from.
We cater to interior designers
and architects who like to experi-
ment with new material, whether
that is furniture, kooring or wall-
covering. Weve stretched this to
appliances, added Koudsi.
He added the general trend with
kitchen design is that it is more
integrated within the living space
than it used to be.
There are a lot of things you
have to think about in kitchen
design that you didnt have to think
about years ago, added Dr Miele.
Were projecting a 26% growth
against last year. Coming up next,
were starting in Saudi Arabia in Q1
2012, and focusing on business de-
velopment in Qatar, said Koudsi.
Dubai is a perfect hub for us to
spread the Miele brand around the
region. Its very accessible, even
from Germany, and is the kagship
for the GCC, added Dr Miele. 24 OCTOBER 2011 | Commercial Interior Design
Chair of the board
UAE: Coalesse, the premium
furnishings brand of US company
Steelcase has launched the SW_1
conference room collection to the
Middle East, designed by Scott
Wilson and Minimal.
The collection provides an
alternative to generic conference
room products and is designed
to enhance social connectivity
giving users the freedom to change
postures and positions while sitting
in meetings.
The line includes occasional,
standard, low conference height
tables, low conference lounge and
standard conference chairs.
Made of aluminum and steel, the
chairs and tables are almost 100%
recyclable. The upholstery on the
chair is designed so they can be
updated over time while re-using
about 85% of the existing product.
It has snap-off cushions to extend
the life and use of the chair instead
of having to buy new furniture.
Wilson started working for
Steelcase in the 90s when it owned
IDEO, design consultancy. He is the
former global creative director at
Nike and founded Chicago-based
Minimal in 2007.
After setting up his own design
studio he was contacted by Bob
Arko, VP of design with Coalesse to
explore a new collection.
The SW_1 range started as a
two-piece collection but has grown
to three chairs, an ottoman and
over 50 tables ranging from oc-
casional tables, low collaborative
conference tables and standard
height tables up to six meters
long, said Wilson.
We also created a simple acces-
sible power solution called the Pow-
erPod for top-of-table use which
has received a strong response.
The PowerPod is a portable
power source and accessory tray in
one. It can be used for ipods, ipads,
cell phones and laptops and has a
power strip which works on top of
the table. The Coalesse research
provided initial insights. Then this
was combined with my experience
working in creative cultures such
as Nike and the behaviours which
occur in these environments, said
Wilson. From an aesthetic and
material standpoint, I wanted to
create something that didnt feel so
institutional and felt more inviting
and conversational. Something
people would look forward to
using during long meetings.
Wilson said it was his jrst foray
into contract furniture and there
was a lot to learn. He added the
conference-lounge chairs provide
ergonomic comfort for a more
relaxed lean back posture and
freedom to move and the low
collaborative tables offer a more
social and informal experience
than conventional conference room
products, featuring a tablet that
extends off the table to create a
personal work zone.
The collection comes in a spec-
trum of sizes and materials, includ-
ing round, square, super-square,
rectangle and super-elliptical.
All SW_1 products are BIFMA-
certijed with a 10-year warranty.
SW_1 chairs and tables are
produced domestically by Coalesse
and built to order in six weeks. Commercial Interior Design | OCTOBER 2011 25
Viennese whirl
UAE: Studio Two Contracting (S2)
is an interior contracting jrm
specialising in design, jt-out and
turn-key solutions. It was asked to
design the new ofjce of the com-
mercial division of the Austrian
Embassy, which was relocated
from Khazna Tower to Al Wahda
Tower in Abu Dhabi. The client
wanted a simple but inspiring of-
jce with maximum use of daylight
and a kexible space.
The project took over jve weeks
to complete covering 230m.
The interior design was done by
Hassan Sherazi, director, S2 and
the site management and delivery
was carried out by his business
partner Amir Shah, director, S2.
Trying to create a simple ofjce
without it looking naked and in-
complete can be more challenging
than to overjll it, said Sherazi.
The main challenges for
the team were relocating the
oversized furniture, the number
of staff in the new ofjce and an
awkward shell and core layout
on a curved facade with three
1.3m diameter columns centrally
located on the ofjce koor.
Sherazi reduced the on-site
project delivery time from eight
weeks for the client to move in
on time. The environment offers
varied views from different areas
of the ofjce, something which
we set out to do with the use
of simple notions of glass and
white walls. We believe a good
designed ofjce energises and
inspires its employees.
S2 draws inspiration from post
modernism and deconstruction
architects i.e. Morphosis and
Coop Himmelblau.
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DESIGN UPDATE 26 OCTOBER 2011 | Commercial Interior Design
Quick draw
UAE: The Boutique Hotel in Deira,
Dubai, is Draw Link Groups latest
venture, bringing together a colour
theme of orange, blue, green and
yellow alongside the solid ele-
ments of the interior design, which
includes marble and wood.
The abundance of glass, from the
translucent lift to the see-through
railings, creates a transparent
theme in combination with the
natural light from the skylight,
creating a feeling of space.
To add to its dcor and ambi-
ence, the 103-room hotel has jlled
its interior with furniture sourced
from brands traditionally unknown
in the hospitality domain, such as
Fritz Hansen, Eddiar, Andreu World
and Gandia Blasco.
As you approach the Boutique
Hotel from the outside, you are
greeted with an impressive faade
made up of a Z-shaped solid
surface and a stylish black glass
covering acting as a curtain wall.
The faade already reveals the
multi-coloured scheme used for the
levels with illuminated coloured
glass panels referring to each
colour scheme, said Daousser
Chennouj, general manager and
key architect, Draw Link Group.
Orange for the jrst koor, green
on the second, blue and yellow
for the last two koors respectively.
The rooms have a two tone colour
scheme, combining white and the
colour of the koor level. The colours
separate the living area (colour)
and the sleeping area (in white).
The hotel has four executive
suites, one on each level. Each one
has two rooms, a sitting room and a
bar with stools and a bedroom.
The project took 26 months from
conception to complete.
One of the main features of the
hotels architecture is the wide-
spread use of solid surface; durable
and practical, this seamless and
versatile material is privileged for its
powerful aesthetic effect, added
Chennouj. It is the jrst time in the
GCC that a solid surface has been
used on the outside for a building.
There is a skylight above the
main lobby with a discreet glow
of colour-changing RGB light. An
impressive piece of white artwork
goes from the ground right up to the
roof, which adds to the grandeur of
the space. The relief is a reference
to the classic design.
The walls have a marble jnish
to them with subtle light effects.
Solid surface has been predomi-
nantly used for wall cladding and
the koor levels. The reception area
is covered with wood panels, said
The sides of each koor are
connected by bridges covered in a
solid surface and with a transparent
glass railing enabling impressive
views of the lobby and the artwork.
Because this is a hotel of surprise,
the transparency theme allows
maximum visibility to guests at all
times, he added.
Facilities include three res-
taurants, two meeting rooms, a
business centre, a mens and ladies
spa, gym and swimming pool.
There is an international restau-
rant, a tapas bar and all day dining.
On the jrst koor is the business
centre and conference rooms.
The conference rooms have wood
cladding and kexible areas with
folding partitions.
Chennouj said he drew his
inspiration from entrepreneur Ian
Schrager, who jrst created the idea
of a boutique hotel and affordable
luxury through a series of concepts
including the hotel as a home away
from home and cheap chic.
DESIGN UPDATE 28 OCTOBER 2011 | Commercial Interior Design
UAE: Pringle Brandon is putting its
stamp on the GCC with jt out con-
tracts worth more than $9.6 million
secured through its Dubai ofjce.
The UK-headquartered interior
architecture jrm has over 25 years
experience in sustainable work-
place and hospitality environments,
from small boutique ofjces to
headquarter buildings exceeding
one million square feet.
It entered the UAE market in late
2010 in response to increasing
demand from multinational and
regional clients.
International expansion into the
region has been on our radar for
several years, and with the worlds
leading jnancial institutions head-
ing to Dubai, as well as a rebound-
ing hospitality sector primed for
aggressive development, the time
was right, said Steven Charlton,
MD, Pringle Brandon MENA region.
A report published by industry
specialist UBM Built Environment,
estimated the GCC interior design
and jt out market would see $8.6
billion worth of contracts in 2011, a
40% increase over the $5.1 billion
awarded in 2010.
UAE-based business advi-
sory, Ventures Middle East, claims
spending on interior design and jt
out in the commercial sector alone
in the UAE would reach $821 mil-
lion in 2011, up from $709 million
last year, while the UAE hospitality
sector shows impressive growth,
awarding $1.3 billion worth of con-
tracts in 2011, compared with $406
million in 2010.
We arent just space designers;
our strategic approach focuses on
working with the client from the
beginning with location sourcing,
then developing the value chain
from pricing analysis and costing
through to delivering a bespoke de-
sign and jt-out, added Charlton.
While the company is a relative
newcomer to the market, the UAE
design team is made up of sea-
soned industry practitioners, all of
whom are familiar with the regional
markets - enabling them to jump
straight in and move benchmark
projects forward to deliver on time,
on budget and on spec.
By the end of the jrst quarter this
year, the total project jt out value
reached over $5.5 million, covering
more than 250,000 square feet,
and included the 300-key Radis-
son Blu hotel in Sharjah, Pjzer
headquarter buildings for Jeddah
and Riyadh, Hill Internationals and
Norton Roses ofjces in Abu Dhabi,
and a number of Dubai projects
including Royal Bank of Scotland
and Goldman Sachs.
A healthy forecast for the rest of
2011 moving into 2012 is envis-
aged with jt out contracts valued
in the region of $4.1 million across
109,000 square feet. Pringle Bran-
dons client list includes Microsoft
ofjce projects in Abu Dhabi, Boeing
Abu Dhabi, as well as research
agency TNS in Dubai and headquar-
ters for Halliburton Dubai.
Were also seeing growing
interest from the wider African con-
tinent, with the 100-key Starwood
hotel development in Nigerias
commercial and jnancial capital,
Lagos, giving us a foothold in the
region, said Charlton.
Pringle Brandon wins $9.6m contracts
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DESIGN UPDATE 32 OCTOBER 2011 | Commercial Interior Design
UAE: Wild Peeta is UAEs jrst fusion
shawarma restaurant with the inte-
riors rekecting the social side of its
owners, with elements such as the
Thought Wall and Twitter Wall.
Two Emirati brothers, Mohamed
and Peyman Parham Al Awadhi,
started Wild Peeta, and used social
media sites like Twitter and Face-
book, to advertise themselves and
created a fan base before anyone
tasted what they had to offer.
Mohamed is the voice behind
@wildpeeta on Twitter and said its
customers and Twitter followers are
what he calls Goam Peeta (tribe
of Peeta in Khaleeji).
We have democratised our
brand and see our followers as our
invisible board members, who inku-
ence our business decisions on an
ongoing basis, he said. With this
mindset, they used social media to
ask its tribe what the interiors of its
jrst outlet in Dubai Healthcare City
(DHCC) should look like.
Members of the public were
invited onto the premises before
its opening to give their opinion
on how it looked and what could
be tweaked. Wild Peeta founders
posted questions and polls online
to ask people what they wanted to
see in their ideal restaurant.
The idea for Wild Peeta came
to the brothers a decade ago. As
part of our business plan, we had
to visualise what it would look like,
but we couldnt afford an interior
designer, said Mohamed.
He said it was important to them
to have an Emirati identity, which
is why pop art donated by UAE
national artists adorns the walls.
We did everything in our power
to draw out the Emirati element
through the art, through ourselves
as we work at the outlet, and
through the music ambience.
The predominant colour scheme
is orange and green. We chose
those to rekect fast, healthy food.
There is also some white and a lot
of browns thats represented in the
furniture, said Mohamed.
He added, while the restaurants
design had to rekect its Emirati
roots, he wanted the outlets to be
seen as an international franchise
to counterbalance the sentiment
in the region, where locally made
items are not seen as qualitative as
compared to what is imported.
The DHCC outlet has since
closed, and two took its place: one
called Wild Peeta Open Space (OS)
at Dubai World Trade Centre and
a fast food stand at the Deira City
Centre food court.
When the jrst outlet in DHCC
opened, Mohamed said it was just
a matter of painting the walls and
putting up frames, since they did
not have an interior designer.
The Wild Peeta OS opened in
April 2011 and Mohamed said the
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interiors of the second outlet was
even more special than the last.
The aim of the OS was to create
a community space for people
to use without any obligation to
spend money. One of the brothers
friends, Randah Taher, a lecturer at
the Architectural Engineering de-
partment, Sharjah University, asked
if there was any way she could help.
Her students were then given a
chance to design the new outlet.
Taher put together a team of 15 pu-
pils to conduct sessions to generate
ideas for the design. The process
took jve months, with the students
discussing ideas for people who
wanted to sit at the restaurant for
an extended period of time.
They discussed everything from
the layout and access to simple
things like power plugs and having
tables specijcally produced on
what they were going to be used
for, said Mohamed.
An integral part of the Wild Peeta
outlets is the Thought Wall, a large
pane of glass that is used by people
to write on with marker pens.
Mohamed said this came about
thanks to Wild Peetas followers,
who wanted to write messages on
the walls. He said people use it to
leave drawings and messages for
each other including poems, and
areas for children to write on the
lower half of the wall.
Groups such as the Twitter Book
Club and EmiratesMac user group
have also held meetings in the res-
taurant and use the Thought Wall as
a brainstorming tool.
Even though the OS was rede-
signed, elements of the earlier
store, like the colour scheme and
pop art are retained in this space.
The students also visited UAE-
based interior design jrm, GAJ,
which gave the budding designers
advice on their work.
Mohamed said initially, the lay-
out for the Wild Peeta OS had jxed,
functional areas, but were advised
by GAJ that since the restaurants
name is open space, it would be
more interesting to have an open
koor plan. Now, nothing is jxed in
the restaurant, with customers free
to move around at their own leisure.
Another element of the interiors
is the Twitter Wall. Using a projec-
tor, an entire wall is jlled with
tweets from Wild Peetas followers
when they mention the restaurant
and/or any events happening there.
Mohamed said aside from the
design, staff use the Twitter wall
to check feedback on their service.
Its a virtual and transparent
feedback board. Were totally open
about it and plan to have it in every
future Wild Peeta outlet.
In addition to the two outlets in
Dubai, the brothers want to open
100 venues by 2015 in the GCC.
Now that the restaurants have
been successful, the Al Awadhis
are rethinking their interiors again.
Currently in the concept design
stage, they have retained the
London-based jrm, Born Design, to
carry out a complete makeover of
Wild Peeta Open Space.
This redesign is taking place be-
cause we evolved so much. I think
we grew out of our image one or
two months after opening, and now
look like a franchise. Wild Peeta
was everything you felt but not what
you saw. Were going to change that
now, added Mohamed.
Paint: Dulux
Furniture: IKEA
Contractor: Hitec Interiors,
Al Reyami Group
DESIGN UPDATE 34 OCTOBER 2011 | Commercial Interior Design
What will eventually be a regular feature, the jrst
in the series of Making of the CID cover was for
the September issue of the magazine. Just before
Ramadan, Simon Cobon, CIDs designer, Mosh
Lafuente, ITPs photographer, and Devina Dive-
cha, CIDs reporter, visited the local case study
site, Bloomsburys, Al Wahda Mall, Abu Dhabi at
7am to get the perfect shot for the cover.
DesignMENA is working to create a Twitter list
of interior designers and architects in the MENA
region, to help create a community of similar
individuals. Its still in its infant stages and
anyone who is in the profession should tweet
to @designMENA to be added to the list. It cur-
rently has a mix of professionals from UAE, Saudi
Arabia, Lebanon and more.
Asaad M. Ali
Apparently Zaha Hadid did some Radical
Changes to her website. Now the website is
worthy for an architect. #WellDoneZaha
Jody Brown
Architects are scrappy when cornered - and by
scrappy I mean sad
Decor Girl
Pantone announces spring 2012 fashion #colors
- coming soon to a #home near you! #Interiors
almost always follow runway. Nice happy colors!
Santi Maggio Savasta
Herman Miller Airia Desk
1 Sandcrawler receives The International
Architecture Awards for 2011
2 Map of architecture and interior design
Twitter users takes off
3 Shortlist announced for ME Architect Awards
4 Design for worlds tallest tower unveiled by
Adrian Smiths jrm
5 25 essential iPad apps for interior design
For me, a great and child friendly panoramic in
Salford Quays where previously, only grassland and old
shipping equipment existed.
Mark Whitkeld on Dubai-inspired MediaCityUK crowned worst building
in Britain
A major redesign is needed and so far has not been
undertaken. This is a major law in the plan for Masdar
development an eco city with no workable internal transport
system solution. Its pretty, but non-functional at this time.
Jerry Schneider on Masdar City will be worth the wait, says Siemens boss
Great article guys and thanks for letting us know.
We have also added ourselves to the map in the UAE.
Zen Interiors on Map of architecture and interior design Twitter users
takes off
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Commercial Interior Design | OCTOBER 2011 37
ith the boom in
networking sites
such as Facebook,
Twitter, LinkedIn
and now Google+, it would seem
everyone is using it, including inte-
rior designers and architects.
It remains to be seen if the
Middle East is picking up on what
is largely an international trend,
where celebrity designers such as
British MBE, Kelly Hoppen has over
8,000 followers on Twitter and
Karim Rashid, over 6,000.
Emma Stinson, founder, Studio
Em, said her jrm uses Twitter,
blogs and LinkedIn to communi-
cate with its clients, contacts and
suppliers, along with a wider audi-
ence interested in interior design.
As social media is evolving and
becoming more popular it is very
important we keep these accounts
as active as possible. However it
is also important we post the right
content and dont water it down for
the sake of being active, she said.
Stinson added she was con-
scious of companies with Twitter
accounts or blogs without new
entries for three or four months.
We do not want to fall into this
category as it does nothing except
to raise negative opinions. An inac-
tive account is far more detrimen-
tal than having no account.
However, Indu Varanasi,
architect, ir design, discounts the
importance of social media in the
interior design and architecture
jelds. She uses social media both
on a personal and professional
level, but on a very limited basis,
and only to announce an event.
She hinted social media such as
Twitter is not a serious mode of
social media and said: We cannot
categorise all social media into
one bracket. Blogs can be serious
channels of information dissemi-
nation and opinion generators.
Dubai-based interior designer,
Dina Murali Belgami disagreed:
I dont agree when people say
tweeting and blogging are a waste
of time. Doing it shows how ex-
posed you are to trends and styles
that come and go every day.
This is supported by Mark
Schumann, director - programme
cost consultancy, Middle East, Da-
vis Langdon, who said while noth-
ing beats direct communication
with clients and colleagues, social
media gives equal and instant
access to a network of like-minded
individuals and companies. He
added businesses ignoring social
media could be at a disadvantage.
In an industry where we tend to
win projects and new work through
referrals, recommendations and
repeat business, social media
gives us a simple way to engage
with our followers in real-time. In
just the few months that I have
been using Twitter, I have renewed
contact with a number of fellow
professionals and businesses
from my past, and developed
new relationships with people
and practices I had previously not
been aware of. In some cases, I
would not hesitate to put my new
contacts forward for opportunities
simply due to the inkuence and
social etiquette I have seen on
Twitter, said Schumann.
Emma Stinson.
Dina Murali Belgami.
Mark Schumann.
Indu Varanasi.
INDUSTRY SPEAK 38 OCTOBER 2011 | Commercial Interior Design
Varanasi disagreed and said
while social media is important to
publicise new projects, she has
her doubts if it helps getting cus-
tomers in. Projects are secured on
the basis of the conjdence design-
ers are able to convey to the client,
not something written online.
Stinson said the question on
the benejts of social media is a
double-edged sword. She said
before social media, business was
still being done, buildings were
still being built and interiors were
still being designed, companies
survived and continued to do so
without social media, which is why
many say it is not important.
Does it help with customers?
There is no easy answer. Have we
ever got a project directly because
of social media? No. Have we had
possible clients contact us be-
cause they have seen us on social
media or been recommended to us
because of it? Yes, so it depends
what you see as useful, she said.
Schumann agreed and said
he has seen big benejts in his
short time on Twitter. One is the
implementation of #ArchitectMap,
where I collaborated with Su
Butcher, practice manager at Bare-
foot & Gilles, to create a global
map of all architects, designers
and consultants on Twitter. The
map has jlled up with hundreds of
architects and design consultants
from around the world. It has
snowballed in a short period of
time and shows the appetite mem-
bers of our profession have, both
for social media and for looking for
new ways to promote themselves.
Belgami said in Dubai, interior
designers talk about networking,
but never get actively involved.
Exposure, new clients, enquiries
and opportunities. To be seen and
heard for free isnt that a fair
deal? She added she would like
to have a tweetup (a get-together
for people who use Twitter) for
designers in UAE, to connect at a
professional level.
Varanasi completely discour-
aged professional tweeting. Pro-
fessional tweeting is something I
would not advise; this would be a
breach of conjdentiality of the cli-
ent. Tweeting about products may
be okay but why waste time limit-
ing yourself to words? I suggest
having a serious blog instead.
Schumann said on a social
network, everything a user does
is useful in one way or another.
It could always be argued that if
you are spending time maintaining
Twitter or Facebook wouldnt that
time be better used working
but I dont agree. The benejts far
outweigh the negatives.
Those using social media for
instant rewards need to stop
immediately, as people can clearly
see them pursuing self-gain,
according to Stinson. She added
while useful, social media and
marketing will never replace old
school methods of marketing, and
there is no better networking than
meeting people face-to-face.
Stinson said while she doesnt
see being accessible as being a
downside, she warns people have
to be mindful they are running a
business. Your competition are
following you and reading your
tweets. You would never leave your
door open to your ofjce and leave
it empty for your competitors to
root around in, so why would you
tweet pitching to XYZ Company
today about a new restaurant
concept they are looking for, wish
us luck, This opens the door to
them to contact XYZ Company and
perhaps pick up some work.
Belgami echoed this and said
as a designer, she will not discuss
projects she is pitching for, but
loves to share her completed work.
Varanasi only said time was the
biggest problem with being active
on social media. Schumann agreed
that one challenge is jnding time
to maintain various accounts. He
said there are a number of tools to
help people manage social media
accounts, which he has found very
helpful. Belgami said there was no
need for Twitter updates every two
minutes, but an opportunity to be
there must not be wasted.
But are interior designers and ar-
chitects picking up on social media
in the region? Schumann said he
was disappointed, as he expected
to jnd more than he has. You
only have to look at the list curated
by @designMENA of Middle East
architects and designers to see we
have a long way to go. If you also
look at the Twitter #ArchitectMap
and compare the Middle East to
the UK, you can see a huge differ-
ence in the number of people in
our industry who use Twitter in our
respective regions. He said this
could be because in the Middle
East, professionals tend to be a
bit slow in adopting new methods
and approaches, especially in the
construction industry.
Stinson said she is equally
puzzled by the lack of interior
designers and architects on social
media. Perhaps we are fortunate
to have a social media enthusiast
in the ofjce that enjoys doing it.
Projects are secured on the basis
of the confidence designers are
able to convey to the client,
not something written online.
Varanasi said she doesnt know
how many designers are active on
social media, but has seen com-
ments from some on LinkedIn.
Belgami said very few are ac-
tive in the sphere. I think jrms,
whether architectural or interior
design, must actively involve its
designers to share a trend, a story,
a concept, to be seen and heard.
Schumann said future success
for winning work and having inku-
ence in the industry is going to be
driven through social media, and
advised others to get on social
networks like Twitter to interact
with customers and peers.
Varanasi disagreed and said
there cannot be a blanket rule on
it. If the designers have the time
to invest in this, they should. But
to expect serious enquiries being
generated is wishful thinking.
Belgami contradicted this: I
have been lucky to get projects,
connect with suppliers from all
over the world via my blog and
tweets. I have received letters on
how my blog has impacted another
persons life/career. Companies
not up-to-date on social media
have no clue of whats going on
around them. They are dejnitely
lagging behind if they consider
tweeting and blogging as childs
play. This is here to stay.
Stinson said there isnt any
reason for designers not to be on
social networks. Get on it, tell us
about what you do, great designs
that inspire you, designs you
dont like, great contractors, poor
contractors, brilliant materials or
materials that let you down. Lets
start enhancing the design indus-
try and getting the MENA region
known as a design hub.
Companies not up-to-date on
social media are definitely lagging
behind if they consider tweeting
and blogging as childs play.
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Deira City Centre, Dubai
Fugato, Magneos, Stylid and Dynalite Controls
Philips Lighting
Case study
Commercial Interior Design | OCTOBER 2011 41
Al Futtaim Retail Division
Marks&Spencer Store
Deira City Centre, Dubai
Luminaires and controls
Philips Fugato, Philips Magneos,
Philips Stylid & Dynalite Controls
CDMTc Elite 70W
Lighting design (optional)
Philips Lighting design
Project info
Established in the 1930s as a trading business, Al Futtaim is one of
the most progressive regional business houses headquarted in Dubai,
United Arab Emirates. Al Futtaim operates through more than 65
companies across sectors as diverse as commerce, industry and
services, and employs in excess of 20,000 people across the UAE,
Bahrain, Kuwait, Oman, Qatar, Saudi Arabia, Egypt, Pakistan, Sri Lanka,
Syria, Singapore and Europe. Few of the leading brands represented
by Al Futtaim are: Marks&Spencer, Toys R Us, Intersports and ACE
Al Futtaim were working on the new store concept as per the
guidelines set by the M&S international team. Lighting was one of the
most important parameters that was paid attention to for this new
concept. M&S unveiled its new concept of the changing rooms which
was one of the highlights of the store. This store has been installed
throughout with energy ef cient Philips light xtures in conjunction with
Dynalite controls.
By applying Philips energy ef cient and LED xtures in the Sales
Area, Changing Rooms and Back of the House, Marks&Spencer now
enjoys optimum crisp, bright light with a typical energy saving of 20%
on its lighting electricity usage in comparison with other stores using
conventional light sources.
Al Futtaim store development team believes that the lighting solution
should be able to reect the true colours of the entire spectrum of the
The changing rooms had to be equipped with lighting controls that
create interactivity with the shoppers using these rooms. Philips central
design team along with the local liaise team designed an innovative
lighting solution for the changing rooms using state of the art LED
luminaires equipped with lighting controls. For the retail area, Al
Futtaim store development team wanted to have a crisp and high colour
rendering lighting solution keeping energy ef ciency in mind.
High ef ciency Luminaire ensured optimum quantity of Luminaire to
achieve the desired lighting results which not only reect savings on
the connected load but also on the maintenance schedule. Usage of
LED luminaries with lighting controls in the changing rooms creates
interactivity with the users and also ensures energy ef ciency. Overall,
the store was well received by customers and the operations team at
the store is very enthusiastic about the store environment created by
the success of this store.
42 OCTOBER 2011 | Commercial Interior Design
ISG Middle East is part of ISG Plc, the award
winning, $US 2 billion jt out and construc-
tion services business based in London. ISG
now employs 2,500 people globally in 31
countries. Our core activity has always been
commercial interior jt out, where we have
a 25% market share of the London market.
However ISG offers more than just delivering
great ofjce space. The broader sector capabil-
ity of ISG is illustrated by the successful hand
over of the Olympic Velodrome, the jrst new
stadium to be completed for London 2012,
while at the same time during the past year,
helping our global retail clients to open 637
retail banks, 141 food retail outlets and 123
high street and shopping mall retail projects.
Within the Middle East market, ISG does
not offer a design service, however we are
involved with successful design and build proj-
ects collaborating closely with the best design
jrms. Testimony to ISG client commitment is
that 70% of our activity is repeat business.
This month ISG is sponsoring the Student
Challenge at Index. To provide a focused ser-
vice for our retail clients we have established
ISG Middle East retail division. This year we-
won Contractor of the Year at the Retail and
Leisure Awards and 2011 Fit Out Company of
the Year at the Mixology Awards in London.
We have just moved to Sama Tower on SZR,
Dubai which gives our staff a terrijc work
environment easier access and communica-
tions with most of our clients within the Dubai
central business district. Recently we have
established an ISG ofjce in Cairo. In addition,
we are currently setting up our Qatar ofjce
which will be opening in November 2011.
Commercial Interior Design | OCTOBER 2011 43
Consistency is what we aim to deliver for our
clients so that they know what they are going
to get from ISG. Delivery of great space every
time. We have stability with kexibility. Being
part of the larger ISG group gives us capacity
to respond to challenging technical projects
and our geographical coverage allows us to
respond to multinational clients on a global
basis. At the same time we are responsive
locally. ISG Middle East is set up as a fully
functional business with full support services.
Our local staff have a clear understanding of
the specijc requirements of operating within
the Middle East region.
We recently picked up the International Project
Award at the British Safety Council (BSC)
awards ceremony. This award was in recogni-
tion of ISG excellence in Health and Safety
standards achieved on a special project for
a global oil and gas company in Dubai. This
was the jrst award of this kind for a project
within the UAE. ISG is completely committed to
health and safety, and we always aim to bring
our high global standards to all of our work
within the region. It is this global consistency
that sets us apart.
In UAE during the past year we have recently
completed projects for Mubadala, Yahsat,
Pjzer, Siemens, Philips, Exxon, Bristol Myers
Squibb, RBS, and Latham & Watkins.
Currently, in the new jnancial district on
Sowwah Island, Abu Dhabi we are working on
six commercial ofjce projects. We are also
actively working directly for the developer on
Etihad Towers, Abu Dhabi. The pipeline of new
opportunities to work with our global clients is
still evenly balanced between Dubai and Abu
Dhabi. The Qatar projects next year will mostly
be for existing ISG clients.
Alan McCready managing director
Roger Clement business development
ISG Middle East
Sama Tower, Ofjce 602
Sheikh Zayed Rd, PO BOX 120397,
Dubai, UAE 44 OCTOBER 2011 | Commercial Interior Design
The best of the best
Commercial Interior Design | OCTOBER 2011 45
ollowing the success of our
involvement with Index over
the past few years, we were
delighted to be invited to
speak at the international design
exhibition again this year. Preparations
for another exciting programme are
now well under way as we get ready
to conduct our popular VIP Trend Tour,
jam-packed full of valuable trend
information and the best products and
innovations from the show through
the eyes of a trend forecaster. This is
a snapshot of the best of the best the
show has to offer the perfect way to
ensure you dont miss a thing.
In addition, well be presenting an
inspiring trend seminar on Tuesday,
October 25, at 1.30pm, where well give
a short introduction to the forecasting
process we follow at Scarlet Opus.
Then well be looking in detail at the
International Interior Design and Colour
Trends that well see evolving through
2012 into 2013, with a particular focus
on textiles but also including colours,
materials, patterns and textures,
shapes, surface jnishes, and styling
that will resonate with consumers over
the next couple of years.
So in this months trend feature we
want to share a sneak peek at some of
the key trends well be talking about
next month. At Scarlet Opus we have
forecast six Interior Trends for the A/W
2012/13 season. Here is a preview of
things to come;
We head towards 2013 with a sincere
yearning to protect and preserve but
also a bold urge to challenge and
strike-out in new directions. The past is
as much of an inspiration as the future
as we explore heritage, craft, folk,
traditions, and ancient history together
with innovative new techniques, ma-
terials, and technologies. The seasons
colours both challenge and soothe us:
light radiates and cleanses us, colour
spectrums surge forth and energise us,
plastic brights and felted mid-tones
fuse to intrigue us, stormy dark shades
fascinate us, and marble-toned neu-
trals deliver deep serenity.
Aurora has an ice-cold, silent, very
pure beauty. It is a well-being trend,
reinforced by our growing obsession
with health and clean air post-Japans
nuclear meltdown. We continue to see
biomimetics informing design as archi-
tects and designers look at microscopic
medicine, biology and chemistry for
form and structure. Coloured spec-
trums of light bursts make up this
palette in an ethereal mix of ber pale
tints and iridescent shimmer.
Tokujin Yoshiokas eight metre-high
installation, Rainbow Church, for in Seoul last
year was made of 500 crystal prisms
creating a spectacular space jlled with
spectrums of refracted light and colour.
This dream-like project is a beautiful
visual description of this trend.
Virtual Reality is hi-tech and conj-
dently intelligent, exploring the new
visual language being created by
contemporary light artists. Think LED
architecture, urban laser projections,
and Holokinetic Art. A move on from
our S/S 2012 trend, Colour Capital, this
trend works on a more mature palette
of modern darkness: cold steel, bolts
of electric green, laser blue, and a
dynamic violet strobe with neon ac-
cents; dense, precise cuts of coloured
light playing on a black backdrop. This
is plugged-in sophistication.
The fourth koor of Madrids Hotel
Puerta America by Plasma Studio,
perfectly captures the mood and dyna-
mism of this electric trend.
Old To New, the seasons new fusion
trend, perhaps more signijcant than
any we have previously
explored; bringing together
the trend for simplicity and
self-sufjciency with an ener-
gised integration of technol-
ogy inspired by plugged-in
urban homesteaders.
Combining technology and
the contemporary aesthetics
of fast-paced modern life
with rural sensibilities, com-
munity spirit, and a nod to
nostalgic traditions.
Forces of Nature. Earth, Air,
Fire and Water: At a time
when the forces of nature
seem to be conspiring
against us, international
designers take inspiration from the
natural powers of earthquakes, volca-
noes, and intense weather systems.
Aspects of hot kowing lava, cracked
structures and surface jnishes, light-
ning strikes, and deconstructed forms
converge in this trend built on a dark,
stormy colour palette.
Ancient Times explores ancient ele-
ments from the great civilisations of the
Mediterranean. This trend projects a
beautifully understated grandeur. Qui-
etly conjdent simplicity comes in the
form of an investigation into sculpted
and smooth forms and jnishes juxta-
posed against the crumbling, crum-
pled, and peeling layers of architectural
ruins. A fascinating balance between a
heavy, monolithic minimalism is offset
by diaphanous and ornate detailing: a
purposeful restraint prevails.
Mathieu Lehanneurs altar and
baptistery in St.Hilaires Romanesque
church in Melle, France epitomises the
values of this trend as the dialogue
between the classical architecture of
aging columns and the biomorphic form
of the altar creates a bridge between
the past and the present.
Emporium is the elaborate sibling to an-
cient times with a highly embellished,
sophisticated glamour. This is a fusion
of the great empires as designers take
inspiration from ancient treasures and
arts as well as the captivating beauty of
ancient queens such as Cleopatra and
Empress Theodora.
Expect to see a 1920s Pari-
sian vibe in Art Deco geos
alongside Damasks and
Eastern inspired scrollwork.
Mixed metallic effects work
with a rich palette of beauti-
ful, Byzantine jewel tones
and an old, aged gold.
Step into a new era we
look forward to seeing you
at the show.
Forecast by: www.scarleto-; visit our blog:www.; or follow
us on twitter http://twitter.
Hotel Puerta America
by Plasma Studio
com, photographed
by Diephotodesigner.
Wall Rupture by
Thierry Dreyfus www.
Squint Showroom
St Hilaire Church
by Mathieu
Lehanneur www.
Rainbow Church by
Tokujin Yoshioka
46 OCTOBER 2011 | Commercial Interior Design
Commercial Interior Design | OCTOBER 2011 47
Biomorphic design
lfred Johnson entered the
world of interior design when
he graduated from Edexcel
International and was re-
cruited by Christian Mintowt-Czyz, the
co-founder of London Design in Dubai
as a 20-year-old apprentice in 2000.
He remembers he paid his dues
by working on mundane detailing for
the jrst six months of the job before
he was invited to work on a concept
for Grand Stores with Justin Smith,
Christian's partner and creative head
and co-founder.
This gradually led to bigger clients
and Johnson went on to spend jve plus
years with the company working with
regional giants such as Emaar, Nakheel
and Thuraya.
Aged 26, he quit the jrm and spent
time as a freelancer before he founded
Imagination Design with his business
partner Amir Zaidi, which was the
holding company that led to the incep-
tion of Alfred Johnson as a bespoke
design brand.
Having accumulated a wealth of
experience working with his old jrm,
Johnson saw a gap in the market that
identijed a niche clientele's desire for a
new, bold and unadulterated approach
to design and reckoned that perhaps
his design language could jll the void.
He is passionate about what he does
and setting up the jrm enabled him to
artistically explore a particular dialect
of design language whilst contributing
to the fabric of a growing city.
Alfred Johnson, the design brand
specialises in all aspects of boutique
luxury design and biomorphic interior
architecture. The head ofjce is based
in Al Quoz, Dubai.
As principal of the brand, Johnsons
responsibilities range from meeting
new and existing clientele, creating
initial dialogue, comprehending the
details of the clients brief and being
responsible for the creation of concep-
tual designs for all his clients. He said
the role demands a lot of dedication
ensuring clients receive original design
concepts that translate their require-
ments, be it commercial or residential.
What are you working on at present
and why?
We are currently working on Alfred
Johnson retail's luxury furniture line
that explores our biomorphic design
language focusing on being practical
as well as artistically striking. We have
been exploring ways to enhance the
luxury living/work experience and
this led to us to morphing our design
language into various aspects of the
furniture industry. We're currently
exploring four new models in addition
to our most signijcant pieces. Our
current product line includes:
Medusa, our conference/dining table
that seats 10 plus and can be cus-
tomised to seat up to 18 people. The
concept behind Medusa was a hunger
deep within me to create and share my
perspective on art with the world and
the jrst of many originals.
Hand cast created with mild steel
sub-sections, hand moulded jbreglass
clad exterior, Medusa draws her inspi-
rational shape from the core values of
biomorphic design language. The pure
shapes of each perspective that morph
into one-another draws people into
the depths of the product. The con-
sumer has a variety of customisation
options in leather, real wood veneer,
polyurethane super gloss paint, corian,
veneer, chrome, aluminum and crystal
encrusted, hence allowing its use to
range from commercial, residential
and hospitality. Morphing the lines
between form, function and the
perception of art, we hope to inspire
the space that it is used in and aim at
giving consumers a new perspective
into contemporary luxury.
Carmine - a biomorphic statement
that re-visits luxury CEO/executive
48 OCTOBER 2011 | Commercial Interior Design
You have designed a number of "Float-
ing Retail" shops for HP. Tell me more
about this?
Hewlett-Packard wanted to raise its
retail awareness for its products and
wanted a concept that would resonate
the brand and constant evolution in
delivering some of the world's most
cutting edge and reliable IT products.
Our approach to this was taking a tem-
porary space and converting it into a
high impact branded retail environment
that would connect with consumers,
deliver a constantly evolving consumer
message and be cutting edge branded
biomorphic architecture. These retail
environments enable consumers to
view Hewlett-Packard's evolving, cut-
ting edge product line in multiple dis-
play areas that range from stand alone
units to morphing counters that display
specijc multiple product ranges.
Whilst creating the interior retail
architecture, we wrote and directed a
performance that is based on the brand
and its products. This aerial perfor-
mance draws the consumer in whilst
promoting HP consumer-lifestyle
The HP 'koating
retail shop'.
A high impact
branded retail
Multiple display
Stand alone units and
morphing counters.
management workstations and its
applications. It is cantilevered on a
base section of 250mm with support-
ing MS base plates and concealed wall
units. Handmade in cast created GRC
glass reinforced concrete, its base is
brought alive with customisation op-
tions in leather, veneer, polyurethane
super gloss paint, corian, veneer,
chrome, aluminum and crystal encrust-
ed panels with a fusion glass top.
Karoline - A complimenting blend
between the functionality of a coffee
table and the need for a pice de
rsistance within any residence or of-
jce space, is customised to the clients
requirements and available in combi-
nations of leather, real wood veneer,
polyurethane super gloss paint, corian,
veneer, chrome, aluminum and crystal
encrusted panels.
Sophia - A hand moulded end table
that brings form and function together
in an authentic ensemble creating an
assembly of biomorphic design intent
in any environment and is available in
combinations of leather, real wood ve-
neer, polyurethane super gloss paint,
corian, veneer, chrome, aluminum and
crystal encrusted panels.
Allegra - Be it hospitality, residential
or commercial, created as a tribute
to the arts, this table brings pure
fascination as a design element to
any environment. Its options range
from leather, real wood veneer, poly-
urethane super gloss paint, corian,
veneer, chrome, aluminum and crystal
encrusted panels with a fusion glass
top. The inspiration for Allegra came
from the artist within me that simply
wanted to create.
1 2
3 4 5
50 OCTOBER 2011 | Commercial Interior Design
AMA Group.
The AMA Group
ofjces covered two
koors above The
Musee d'AMA.
The art gallery has
a contemporary
interpretation of
The ceiling had LED
illuminated lights.
oriented products. The three aerial
artists perform seven routines during
the last seven hours of the business
day, every hour. Each song was care-
fully chosen allowing for appropriate
integration of its products and services
into the performance, thus psycho-
logically enhancing the product and
brand's appeal to its clientele and
enabling a vibrant retail environment to
come alive.
The sequel to the Hewlett-Packard
Floating Retail has just been com-
pleted. HPs primary retail strategy
evolved from stand-alone product dis-
play units that we designed last year to
a seamless multi-leveled bar that were
divided into product zones. The new
zones worked on evolving the product
experience from being singular to a
more lifestyle all in one concept i.e.
selling computers with printers, scan-
ners accessories etc as a unijed HP
lifestyle for the average consumer. The
client wanted the consumer to seam-
lessly integrate from one zone into
another without divisions whilst in the
interior, hence our creation of the two
biomorphic multi-level display units
on either side. The central experience
bar housed its star products, whilst
the rear low height wall gave their print
accessories a display section within
the space. Its new interior included a
suspended biomorphic canopy that
housed a backlit HP logo and acts as a
integrated part of the interior space al-
lowing consumers to connect with the
brands biomorphic lines.
I understand you recently completed
your krst museum in Saudi, tell me
about that?
The Muse dAMA was our jrst commis-
sion within the public space for the arts
sector. The AMA group, whose corpo-
rate ofjces were on the top two koors
of the building, wanted to showcase
its contemporary art collection within
its museum to the general public.
Our objective was to create a diverse,
yet museum type, environment that
would allow visitors to view the client's
diverse global collection of art. Having
viewed a portion of their collection, we
planned the space to give visitors the
freedom to explore, creating a sub-sec-
tion for the paintings and sculptures.
The ceiling detail was created based
on their passion for art that consists
of recessed LED illuminated gun-metal
steel routed Arabic poetry set against
matte white gypsum, allowing visitors
to read as they explore the space.
The biggest challenge was to cre-
ate a museum environment within a
limited space that had to house a vast
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52 OCTOBER 2011 | Commercial Interior Design
variety of diverse art whilst
maintaining original design
intent. The region being largely
unexplored, we had to ensure the
design language was not too cutting
edge and had to maintain a subtle yet
contemporary interpretation of design.
What, if any, are the major challenges
for you working in the UAE?
The UAE provides us with a stellar
environment to work and live in. Being
a central business hub for the region,
we cater to a variety of clientele around
the region as well as internationally
from our HQ in Dubai. We are aware
of the amount of red tape involved in
other major cities within the region
and think that Dubai and the UAE pro-
vide us with a substantial amount of
infrastructure to work within as well as
with the increasing amount of clientele
wanting world class design concepts.
You won the Silver Award and received
an Honorable Mention at the Interna-
tional Design Awards in Los Angeles.
Tell me about that, how many awards
do you have?
The Alfred Johnson Brand received its
jrst Silver Award in North America and
an Honorable Mention as well for our
work on Etisalat within the UAE.
Our brand currently has four awards
and two honorable mention/jnalists.
MENA awards include the Young De-
signer of the Year and Retail Design of
the Year twice and the Silver Award for
Commercial Space at the International
Design Awards in North America.
I hear there is a possible expansion on
the cards, where are you moving to?
We are currently exploring options of a
new venture in the US where we want
to expand Alfred Johnson as a retail
experience. Our goal is to take our
experience with interior architecture
and product development to a high
street audience, exploring new avenues
of growth for our brand. With our com-
prehensive approach our high street
customers will experience biomorphic
design on a boutique level.
Where are you trying to take the busi-
ness now?
I believe that as a multi-disciplinary de-
sign brand, we have much to offer the
architectural and interior industry. Our
recent commission to renovate a G+3
ofjce building in Riyadh, KSA will be
the jrst for our brand in the conceptual
architecture industry. We are looking at
collaborating with associates in Qatar,
Kuwait and certainly aiming to expand
in Saudi Arabia.
Whats next?
We're currently working on a com-
mission for a retail-ofjce that has to
resonate a variety of Italian interior
products for its new venture in Dubai.
We're also due to begin work on a
mobile-hospitality concept for a Brazil-
ian Food Conglomerate and last but
not least, we're expanding our brand's
furniture collection and shall be de-
veloping new products throughout the
year signed personally by myself, thus
ensuring that replicas are not made,
giving them that exclusivity factor.
Night & Day
Patricia Urqiuola
Foster + Partners
AI Ittihad Road
P.O. BOX 118508 Dubai
United Arab Emirates
T +971 (4) 2971777
Commercial Interior Design | OCTOBER 2011 55
he overiding theme of Hbitat
Valencia this year was the 10th
anniversary of Nude, which
celebrates up and coming
young talent for those wanting to break
into the design industry.
Organisers split the tradeshow
(September 20-24) into seven sectors;
Furniture; Lighting; Home textiles; Bed-
rooms; Decoration; Kitchens and Out-
door, re-creating the exhibition koor
to resemble a huge railway station and
introduced a new programme called
Flash Hbitat, to publicise product
launches from leading companies in
the style of a fashion show.
Nude is an international design show
where young interior designers, upcom-
ing design studios, freelancers, gal-
leries and manufacturers get a chance
to showcase their talent with support
from the event organisers, promoting
their work and putting them in touch
with industry professionals to progress
in their career.
A total of 40 schools of designs, and
design practices, made up the talent
from various regions of Spain and some
The core team of CuldeSac is Alberto
Martnez, Pepe Garca, Francisco Pons
and Pilar Roger. Set up in August 2002,
the design studio is separated into
three areas Espacio Creativo, Com-
munication and Experience with the
following jelds of expertise: product
and interior design, strategic branding
and communication and PR.
Projects include; Roca, Madrid, a
Vodafone portable shop and a jewellery
store in Valencia.
Another Nude graduate is designer
Jose Manuel Ferrero, who was asked to
return to the show this year to create
the interior space of the pavilion. He
said the organisers wanted an area to
rekect all the ideas and designs that
have fuelled the show for the past
10 years so he brought everything
together in a hexagonal space using nu-
merous panels to symbolise an image
of nature with a melting pot of ideas.
I created many panels to rekect the
countless ideas on show now and those
from before. The space evolves, making
the very most of the surface and creat-
ing a versatile space, he said.
came from international countries
including Korea, Mexico and France.
In the last 10 years, more than 400
designers have emerged from the show
to establish a career in the industry
including CuldeSac, Odos Design, Borja
Garcia and En Blanc, to name a few.
For many of them, Nude was the
point at which their business careers
took off and gave them a platform to
show their made in Spain designs
to carve a niche for themselves in the
world of design.
The entrance foyer of
the tradeshow.
The 'Flash' space.
Made in Spain
56 OCTOBER 2011 | Commercial Interior Design
Nude exhibition entries this year, in-
cluded Join Design, Ham&Cheese Tasty
Design Studio, Dicrein and Triangulo
design + food.
Join Design is a design practice that
was formed in Valencia when Inma
Bailen and Jordi Alberola decided to
work together. The pair trained in In-
dustrial Design at UCH-CEU University,
having both taken a Masters in furni-
ture and lighting. As a young design
practice they seek to devise innovative,
quality products. They base their
designs on everyday objects and try to
create a fresh twist from a functional,
coherant and attractive perspective.
At this years Nude, they presented
Wirelight and Kangoo.
Wirelight is a luminaire that provides
indirect lighting with a 180 degree
focus, while Kangoo is a seat for groups
of people with a new use for the back of
the seat for customers who are working
at conferences or lectures.
Ham&Cheese was set up towards
the end of 2009 by graphic designer
Veronica Colona and product designer
Jordi Giusbert, who work in the same
way as a combo sandwich, combining
simple elements to produce fresh
ideas with a special kavour. Having
won a bursary at last years Nude, the
company is back with three creations;
Folda, a dining table and chairs, Sonno
alarm clock and Brott, an organiser
that will transform wires and leads into
organic elements.
Dicrein is a young design practice
made up of Eduardo Tapiador Polo,
Lucia Mateo Belda and Letticia Rodri-
guez Ruano. The various interests of
each of the partners make Dicrein a
multi-functional practice that offers in-
dustrial design, graphic design, market
research, research into trends, window
dressing, photography, decorating and
interior design.
At the show it was presenting forat
de lombre outdoor furniture.
Triangulo consists of three design-
ers; Alejandro Hernandez, Laura
Tornero and Guillermo Cerda who
specialise in furniture design, product
development and food respectively.
The triangle represents design, develo-
ment and gastronomy creating ideas
for furniture, kitchen utensils, wine
bottles, worktops and other gastro-
nomic installations.
Borja Garcia
Hector Serrano
Nieves Contreras
Miguel Herranz
Odos Design
En Blanc
Stone Design
5 7
Kangoo by Join
Folda by
Happy Chairs by
Wirelight by Join
Close up of the
Wirelight bulbs.
Stacked Kangoo
chairs by Join Design.
Commercial Interior Design | OCTOBER 2011 57
Flash Hbitat was set up in the style
of a fashion show and gave visitors a
quick snapshot of a selection of the
best products coming out of the inter-
national interiors industry.
It saw major companies like Andreu
World, Vitra, B&B Italia, Artemide,
Lzf (Luzifer) Lamps, Moroso and Emu,
among others to showcase new prod-
ucts to a wider audience.
Some of the products were; Agatha,
Armadillo, Link Chain and Totem light-
ing by Lzf, four collections by Andreu
World called Sail, Reverse, Andreu
World Outdoor and Oliva, the System
CUbox , an aluminium construction de-
signed by Rafa Ortega for Do+Ce and
the Paperstone eco-friendly designer
kitchen by Key Cucine.
We found the ideal tool for recruit-
ing major companies that had not
come for a long time or had never ex-
hibited before. Flash offers everything
exhibitors are looking for in a fair, the
opportunity to surprise, seduce and
do business, said Jose Blasco, presi-
dent, Feria Hbitat Valencia.
Talking about the economic crisis,
Blasco said there was no denying that
the country was caught in a jnancial
situation that was not buoyant but
the Made in Spain fair is known and
valued internationally.
The downturn forced many
companies to intensify their focus on
internationl markets.
Spanish design has an excellent
reputation around the world. It is get-
ting better all the time and this is ow-
ing, not exclusively, to top names likes
Patricia Urquiola or Jamie Hayon, but
also to a large number of designers
and studios that are earning names for
themselves worldwide.
For instance, we have Culdesac,
Odos Design, Jose Manuel Ferraro,
Hector Serrano, to name a few, who
are all former participants at Nude.
One of the main themes this year
was to create a show layout inspired
by a high speed railway network, to
create an easier, more convenient,
time efjcient and cost effective expe-
rience for visitors.
It had colour coded tracks on the
koor of the boulevard and at the heart
of the fair was a Grand Central Sta-
tion with digital information boards
showing the times and dates for all
parallel events.
As well as support from ANIEME
(Spanish Association of Furniture
Manufacturers and Exporters),
Fedai-Dec and Ateval, Feria Hbitat
Valencia received advice from ICEX,
the Spanish Institute for Foreign Trade
and IVEX, the Valencia Export Devel-
opment Institute.
13 12
Agatha by Lzf.
Totem light by Lzf.
Woody by
Andreu World.
Armadillo by Lzf.
Sail chairs by
Andreu World.
58 OCTOBER 2011 | Commercial Interior Design
Mueble de Espaa was created by AN-
IEME. It celebrates its 30
this year and has 250 members who at-
tend all the four big interior tradeshows
in Europe; Italy, France, Germany and
Spain and will visit Dubais Index 2011.
Aside from non European countries its
main destination markets for Spanish
furniture exports include Morocco, US,
Russia and Saudi Arabia.
A total of 72 members exhibited at the
tradeshow including Sancal, Capdell,
Koo International, Andreu World, Point,
Darc, Vondom and Expormim.
Point specialises in the design and
manufacture of outdoor furniture. Its
headquarters are located in Alicante and
it was founded in 1920 as a workshop
in which rattan armchairs were plaited.
Since then, the company, in the hands
of the fourth generation of the Pons
family, has expanded its reach globally
including hospitality projects where it
furnished the One & Only Royal Mirage
Hotel in Dubai. Other hotel clients in-
clude the Marriott, Sheraton, Kempink-
ski, Ritz Carlton and the Four Seasons.
The One & Only, Dubai, was an
important project for us because its
a well known hotel and it was a great
way to present our company to the main
designers, said Maria Lora, regional
manager Middle East, Point.
We supplied all the outdoor furniture
to the hotel chain.
The more jobs we get abroad the
more designers we can invite to see our
brand. They can see the quality of the
jnish and we get to promote the name
of our company,
Point launched two collections at
Hbitat Valencia; the Colours Collection
and LA; chairs and sunbeds.
According to Juan Carlos Muoz, who
has been the president of Mueble de
Espaa for three years now having taken
over from Enrique Perez who held the
post for 12 years, Spain is still a strong
market for international companies and
despite the global crisis the country
is high up on the list of commercial
priorities, particularly with a view to the
recovery of the domestic market.
The global market is changing. Com-
panies no longer make furniture to sell
in their own country but make a projt
by partnering with other countries and
exporting their goods overseas. The pur-
pose of Mueble de Espaa is to promote
the brand and get people talking about
our products to increase sales globally.
What makes Spanish products
competitive are their creativity and
quality. Their creativity can be seen in
our furniture, lamps, textiles, kitchens
and rugs. Although our classic designs
are prestigious in eastern Europe, the
Middle East or Asia, many of our cutting
edge Spanish companies are selling well
in mature markets such as Europe.
The association is embracing social
media as part of its global reach and
created a twitter page recently.
Another of the major events at the
show was FEED, the Second Internation-
al Bloggers and Digital Design Media
Seminar where those in digital media in
the design industry were invited to get
to know Valencian design and tweet it.
Digital media has an important role
in the development of the association
and one we encourage, added Muoz.
16 15
19 18 17
Lamparas vases
by Vondom.
Alma by Koo
Vela by Vondom.
Camelot by Koo
by Do+ce.
Bano by Do+ce.
60 OCTOBER 2011 | Commercial Interior Design
Lzf (Luzifer) Lamps was created by
husband and wife team, Marivi Calvo and
Sandro Tothill in 1994. They started mak-
ing handmade lights out of wood veneer
for their friends and the business took
off from there. It showcased four new
products at Habitat Valencia; Agatha,
Armadillo, Link Chain and Totem.
Agatha and Armadillo were created by
Spanish designer, Luis Eslava. The krst
light resembles a hanging lamp in the
shape of a lower, while the other is made
to look like textured armour.
Link Chain follows the shape and form
of the original Link, created in 2007 by
Irish designer, Ray Power and with the
collaboration of Spanish designer Marivi
Calvo, while, the Totem Lamp is designed
by Burkhard Dammer and Calvo. Given
its monumental proportions, Totem was
conceived for huge areas.
Andreu World has launched four products
this year including Sail, Reverse, Andreu
World Outdoor and Oliva.
As with a sail, the design of the Sail
chair is made of polypropylene and kbre-
glass and comes in a range of colours.
Reverse is a 100% recycable polyth-
ylene base with different sizes of table
top. It is available in black, white, red,
cayenne, chocolate brown and grey.
Andreu World Outdoor is a collection
of chairs, easy chairs and barstools
which are characterised by their braided
wide belts in earth brown, sand, graphite
and white. It also comes in a chaise logue
version with a headrest cushion.
Oliva is an occasional table in solid
wood, obtained from reforested areas
covered by the FSC (Forest Stewardship
Council), ensuring the chain of custody
from the origin to the knal product.
+34 96 180 5700
+34 96 252 4780
62 OCTOBER 2011 | Commercial Interior Design
Commercial Interior Design | OCTOBER 2011 63
Red Spice
64 OCTOBER 2011 | Commercial Interior Design
hen the 10
of Dubai-based business
consultancy jrm,
Ideaspice, came around
in September 2011, it celebrated in its
second ofjce, designed by its own
interior division, Spiceworks.
Sajith Ansar, CEO, Ideaspice, said the
thought process behind the design was
to create a space which the staff would
enjoy coming to every day. A major
concept behind the interiors was that
we wanted to make it look like a blend of
the outdoors and indoors, said Ansar.
Ideaspice moved into the new ofjce
in Al Diyafah, Dubai, in July 2011, from
Deira. The previous space was smaller
at 900 square feet, compared to the
current location at 1270 square feet.
Ansar said after 10 years, it was time
to relocate into a bigger ofjce for the
growing jrm. He said it started off as
a design company, and has grown to a
branding jrm that also provides busi-
ness solutions. It was this shift in the
jrms branding that caused the design
to have a more serious vibe, yet not lose
the quirkiness its jrst ofjce had.
The earlier ofjce had bunkbeds. We
even had strobe lights in the bathroom,
and a pool table for recreation. That was
dejnitely quirky and done up in dark
colours. Now it was time to be serious,
yet have some twists in the design as
well, said Ansar.
There were multiple brainstorming
sessions within the Ideaspice team to
get a better understanding of where the
company stood as a brand and how it
wanted to portray itself in the future.
We had to take in all our ofjce/
employee requirements to create this
space. The desks have been positioned
in an organic and modular form to
enhance teamwork and interaction. To
make it more personal and customised,
all the team members were measured
so that the space they use could be
specijed according to their individual
heights, added Ansar.
He said Spiceworks used lighter and
brighter colours as compared to the jrst
ofjce, and tried to source materials or
items not seen regionally.
When people enter the ofjce, a
large black horse with a lightbulb
The break-out area
with a lifesize horse.
A view of the main
ofjce seating area.
Conference room with
the putting green.
The conference room
with glass walls.
Turf was used even in
the overhead lights.
The entrance of the
Ideaspice ofjce.
66 OCTOBER 2011 | Commercial Interior Design
and shade on its head stands to the
right, with a break-out area for staff
to relax. The main ofjce is a series of
inter-connecting tables and chairs. The
conference room is housed in a glass
box, with green turf and a putting green
for mini-golf. It also features a seating
area at one end, surrounded by pebbles.
Small, white dragonky models are stuck
on the walls, on the chairs, on the table
dividers and more. All this was done to
match the design brief of nature being
present in the ofjce.
We felt turf added an outdoor feeling
and kept our signature wackiness with-
out going over-the-top. And the dragon-
kies worked for the same reason, as it
gives a sense of lightness and a koating
sensation to the ofjce, said Ansar.
The overhead ducting was coated
an extra layer to get the desired shade
of red, and turf was inserted into the
bulkhead lights as well.
He said the dragonky gave a feminine
feel to the ofjce, as he felt the other
materials used were masculine. It also
gives an element of surprise, he said.
People feel like they are sitting out-
doors; its a subconscious feeling but it
instantly makes people feel comfortable
when they come here, he added.
The life-size horse was another
outdoorsy element, Ansar added, and
was a symbol of the companys success.
Weve completed 10 years as a jrm,
during which time weve grown to nine
ofjces around the world. We wanted
everyone to step up internally, and the
horse is a symbol to the staff, telling
them weve been running till now, but
now were starting to gallop, he said.
Ansar said the project was important
and personal to him as CEO, which
The kooring of the executive ofjce
and the break-out area mimics the look
of crates with writing stamped on them.
We wanted non-typical parquet koor-
ing, like a crate with something written
on it so we had to get it custom-printed,
added Ansar. The parquet wasnt just
used on the koor. In the conference
room, it was used on the wall instead.
All the furniture was handpicked
and shipped from Ideaspices company
based in China, Dian, which special-
ises in furniture and product facilities.
However, many items, in addition to the
parquet kooring, were custom-made.
We wanted a specijc red theme in
a Pantone shade. We went to factories
and got things done to our specijca-
tions, said Ansar.
The construction of the ofjce faced
multiple challenges and issues. During
the course of the construction, we had
to change certain elements, but ended
up using new ones which are more sus-
tainable and functional, said Ansar.
Another challenge the jrm faced
was the logistics coordination and time
management for the furniture deliveries
from around the world.
is why he took a hands-on role in the
design process. In addition, space
designer Rahul Solanki, and Lalu Koch,
jt out production manager, worked with
him to realise the designs.
Overall the space was required to be
fun, using unusual materials but at the
same time being functional, said Ansar.
A lot of the materials were found in
different parts of the world. For exam-
ple, we specijcally wanted ceramic tiles
for the executive ofjce and had to hunt
around a lot for it. After looking around
in many places, we eventually sourced it
from Dragon Mart, said Ansar.
The Bubble Chair in
the CEO's ofjce.
The design did away
with formal looks.
The photographs on
the wall were taken by
the CEO.
CEO's ofjce desk.
Ceramic tiles used on
the wall
9 10 11
68 OCTOBER 2011 | Commercial Interior Design
The hardest thing was that we were
our own clients, and we had a lot of
designs created before selecting any-
thing. We set our standards really high
as it had to be better than our old ofjce,
which we were very proud of, he added.
While the actual jt-out time took 45
days, it took Spiceworks three months
prior to that to jnalise the design.
He said an important aspect of the
ofjce was the break-out area. We dont
like people working at a stretch, so a
PlayStation was added to the break-out
area. Its also a place for clients to
come in and interact, for an informal
chat. Since Ideaspice has ofjces in
different parts of the world, a kat screen
television was used to make video calls
through Skype.
The conference room was jtted out
for eight people. Ansar said while the
room is supposed to be the most seri-
ous space in the ofjce, he decided to
use turf as kooring as an ice-breaker.
He said seeing the turf always brought a
smile to peoples faces.
In addition to the turf, there is also a
putting green, and a golf ball and club,
They actually started playing a game in
the middle of a serious talk, said Ansar.
The ofjce also used sustainable ma-
terials. Ansar said it uses less artijcial
lighting and more natural light within
the ofjce. In addition, LED lights are
used as they consume lower energy.
Even the materials used within
the space are more environmentally
friendly. We specijcally used natural
materials like concrete, pebbles and turf
within the ofjce, he added.
Scheduling timelines is incorporated
into the ofjce space on one of the
walls, rather than printing them. All of
Ideaspices systems and processes re-
volve around a paperless ofjce overall.
The young and funky vibe of the ofjce
matched the jrms vision. It essentially
depends on what business you are in
and the kind of vibe you wish to potray.
For Ideaspice, it works for the kind of
work we do and enhances the outcome
of the designs, said Ansar.
He added in the region, there is an
awakening in small-medium businesses
which have the kexibility to experiment
with a youthful feel, to do so. Nowadays
clients are asking for cool designs,
which shows it is fast becoming a trend.
The jnal design was a surprise to the
team at Ideaspice; only Ansar and So-
lanki knew what it looked like. No-one
was allowed to see anything: not the
renders nor the pictures, said Ansar.
Before moving, the staff were given
a briejng on what they could expect
from the new ofjce, but were then blind-
folded and brought into the space.
We wanted to surprise them and it
worked. Since they had no expectations,
it was a big shock, but they love where
they work, said Ansar.
Fit-out: Spiceworks
Laminations: Danube
Veneers: Middle East Wood
Wallpaper: Yalda Deco Tone
Furniture: Dian, The One, 2XL
all of which have been used during
serious meetings. In a recent meeting,
we had a client tell our architect if he
could drop the ball in the hole three
times, they could negotiate on pricing.
One of the many
dragonkies in the
A red theme was
chosen for the design.
Custom-made parquet
The funky chandelier.
The horse that
doubles as a lamp.
CASE STUDY: EFFA BOUTIQUE 70 OCTOBER 2011 | Commercial Interior Design
Sister act
hen Effa Al Dabbagh,
founder and designer of
Effa Fashion asked her
sister Sumaya Dabbagh,
of Dabbagh Architects, to come up with
a design for her jrst store in Dubai, she
focused on the brands logo of a bright
fuchsia kower to create a concept.
Commercial Interior Design | OCTOBER 2011 71
72 OCTOBER 2011 | Commercial Interior Design
The chandelier was
from Al Salhiya
Lighting Centre.
The shop's kower logo
appears on the door.
Carpet from JAB
Middle East.
The shop has a
contemporary feel.
Architects did an excellent job in trans-
lating this style architecturally into a
retail space, she said.
The interior design concept is
contemporary and timeless and can
easily be applied to other Effa boutique
spaces in the future.
The way that the interior concept
was designed also makes it kexible
and easy to develop should the brand
diversify into other product ranges.
The result was a space that is the
perfect complement to my products,
Sumaya is a Saudi architect
educated in the UK with experience in
architecture, interior design and project
management spanning over 18 years.
She set up her company, which focuses
on design aspects such as light, space,
and materials in relation to the human
scale as well as the human experience
of space, in Dubai, in 2008.
Effas brief was very simple, and
simplicity makes the best projects. It
was to provide a modern interior that
would rekect the essence of the Effa
brand, she said.
The space had to accommodate
display rails and shelves for womens
ready to wear, abayas and accessories.
Changing facilities, a back ofjce and
storage space was also required.
The kower, symbolising beauty and
femininity, became the focal point
for the space, in the form of a custom
made carpet as a centre piece. Gold,
the brands colour depicting rays of sun
and illustrating luxury was translated
into vertical jns that form the structure
of the display units. The circular ar-
rangement of the display unit in the
space rekects the soft, feminine aspect
of the brand.
The result is a contemporary interior
that is faithful to the philosophy of Dab-
bagh Architects as well as the essence
of the Effa brand.
As soon as the location was estab-
lished, the countdown of a three month
period started, added Sumaya.
Meeting such a challenging dead-
line was made possible by the clear and
well-formed vision of the client.
The design was completed in six
weeks, construction in another six.
From a retail point of view, it is
essential to present the merchandise
in the most attractive way possible to
maximise sales.
Important considerations such as
lighting and product placement were,
therefore, carefully studied.
According to Effa, founder and
designer of the fashion brand, her aim
in opening her jrst boutique was to
provide an enjoyable shopping experi-
ence for her customers.
It was important for the design of
the boutique interior to rekect the Effa
style philosophy, and Dabbagh
rekecting the brand image and provid-
ing my customers with a stylish and
relaxed luxurious retail environment
where they can feel comfortable brows-
ing through the collections, enjoy trying
things on and making their purchases.
Effa added that she felt fortunate
to have a boutique ofjce designed by
her sister. The building and the space
rekect their main ethos of high quality
design: in the materials used and its
attention to details.
The sisters were born in Jeddah,
Kingdom of Saudi Arabia, but grew up
in the UK.
Effa is the youngest sibling out of six.
Sumaya was the fourth child. Together
they have four sisters and one brother,
including a sister, Hanan, who used to
teach interior design.
It was a very exciting time to be
able to work with such a close family
member. We have a mutual respect and
understanding. I know Effas personal-
ity very well and her brand essence
and she understands my approach to
design, said Sumaya.
Our goals are completely aligned.
We both have an interest in each
others success as well as our own.
In addition, as we are both in cre-
ative jelds, we were able to have very
good rapport and brainstorm ideas
together during our design meetings. It
was a fun time.
Although Dabbagh Architects
launched in 2008, Sumaya has been
working independently since 2004 and
completed many projects ranging from
residential to commercial.
My jrst independent project was
a residential one. A young modern
Emirati family approached me for the
design of their own home. The villas
they occupied needed to be remodelled
to jt their changing lifestyle, she said.
Being an architect, I enjoyed work-
ing on a project that required a refur-
bishment of the interior spaces to fuljll
new requirements and needs.
"When I initially started working
independently, my early commissions
were interior jt outs.
Having previously worked on large
scale projects, such as the Childrens
City, in Dubai, I enjoyed working on the
details of a small scale project.
Commercial Interior Design | OCTOBER 2011 73
74 OCTOBER 2011 | Commercial Interior Design
This kind of work helped to form
strong relationships with clients that
would continue to kourish and provide
an invaluable insight into what makes a
project successful.
Design is not the only criteria, we
are also in the business of providing a
service. I believe the quality of our ser-
vice is what attracts repeat clients to
return for further commissions as well
as new clients through word of mouth
and personal recommendations."
Her jrst building commission was
started in 2007 and completed in 2010,
where she developed a boutique ofjce
building in Al Barsha 1, Dubai.
It also houses Dabbagh Architects'
ofjces. Sumaya said she felt fortunate
to have her ofjces in a building
designed by her own company.
Speaking of the boutique, she said
the design of Effa Fashion went very
smoothly, but her main challenges were
during the construction stage of the
project with its contractors.
In this difjcult market, we found
that sometimes contractors overstretch
themselves and their resources by
over committing to too many clients, in
order to compensate for lower prices
due to the slow economic market.
This meant that we faced frustrating
delays. The contracts initial duration
was four weeks. However the actual
duration was stretched to six weeks,
she added.
In retail, trends tend to come and go
fast, a bit like fashion.
At Dabbagh Architects we tend
to focus on producing a design that
Carpet: Custom made in Germany by
JAB Middle East
Wooden flooring: UK, supplied by Aim
Pro Middle East FZE
Light fittings: Al Salhiya Lighting
Centre, Dubai, UAE
Chandelier: Made in Italy, supplied by
Al Salhiya Lighting Centre, Dubai.
Loose Furniture: Clients own supplier
Reception counter and display
cabinets: Custom made by Contrast
LLC Interior Design & Decoration
Signage: Exact Sign, Dubai, UAE
responds to the clients needs and the
projects unique criteria, rather than
following fashion.
Following popular styles blindly
is akin to being a fashion victim. We
aim to produce designs that are not
affected by transient styles and trends.
Our ultimate aim is to produce timeless
design, she added.
Dabbagh Architects is currently in
the design stage for several projects in
UAE. These are commercial as well as
residential types of work.
It also looking at expanding into the
Saudi and Qatari markets as there is
considerable growth in various sectors
in those countries at present.
It recently added two new members
to its team; a structural engineer and
an architect who will work on projects
further ajeld.
We are excited by the prospects
and look forward to completing new
fuljlling and prestigious projects and
developing fruitful relationships with
new clients, said Sumaya.
Display rails for
womens' abayas
and accessories.
Exterior shot of the
CASE STUDY: RI STATIONERS 76 OCTOBER 2011 | Commercial Interior Design
Commercial Interior Design | OCTOBER 2011 77
hite Corporate is an
interior design company
which was set up in Sin-
gapore in 2001. It has
three afjliated companies, White Space
Living, Substance Living and White2
Partnership, providing design consulta-
tion and project management services
for residential and commercial projects.
White Space Living focuses on Singa-
pores public housing apartments, while
Substance Living serves condominium,
terrace house and bungalow projects,
recently expanding into A&A (Addition
& Alteration) work and construction.
White2 Partnership was formed in
2004 to focus on commercial projects
like show kats, ofjce, retail stores, F&B
outlet, education facilities and hotels.
Roy On, business development man-
ager, White Corporate said the owner of
RI Stationers, Kathleen Loi, approached
the company via its website to design
her shop. She liked the concept and de-
sign which it proposed for the store and
there was an easy chemistry between
the client and the design team.
The brief was to design a store with a
neutral palette to highlight its products,
which are mainly locally designed jour-
nals, photo albums and greeting cards
that come in a myriad of colours.
It was also asked to use cement
screed jnishing to create a raw feel
and back-to-basics interior for the store
ambience. The team was led by Thomas
Tham and Ummi Nadhirah Binte Harun.
We take every project very seriously.
Especially for commercial projects, it is
not just about having an impressive de-
sign. But a design that is functional for
the clients daily business operation,
said Harun.
Thus, besides equipped with the lat-
est commercial design trend, we must
also have an in-depth understanding of
the clients business operation module
and knowledge of their products or
services. So that the design will be one
that is exquisite and yet functional.
On said the team conceptualised the
store based on an origami theme and
its intricate paper folds and got some
design advice from Ted Givens, AIA
(American Institute of Architects).
Givens, a partner at 10 Design in
Hong Kong, is an award winning lead 1
78 OCTOBER 2011 | Commercial Interior Design
RI Stationers has a
neutral palette to
highlight its products.
The store uses
jnishes like walnut
wood and glossy
white laminate.
The display counter
has pigeon holes for
pens and pencils.
A selection of
colourful paper
Items on display
include journals,
photo albums and
greeting cards.
designer on projects ranging from
exclusive resorts and hotels to large
corporate headquarters.
The overall concept of the design
rekects the basic product of the store
which is paper.
The design team incorporated a
neutral colour palette to act as a
backdrop for the colourful products
that are on display and sold in the store
and combined raw jnishes like cement
screed with a more rejned jnish like
walnut wood and glossy white laminate
to strike a balance.
We put in extra attention to the
carpentry detailing to suit the clients
needs. The display counter is custom-
ised to include pigeon holes for their
pen and pencil products. We created a
light box display shelf for the client to
highlight their new arrival products,
said Tham. Another important feature
is the glass showcase which our cli-
ent uses to showcase how they can
customise or personalise the products
specijcally for their customers.
We designed the pull out trays to
display their wrapping papers.
In this way, customers can view the
whole wrapping paper design easily.
"We have also designed the greeting
cards display area as part of the whole
feature wall.
To create a focal point, White2 Part-
nership designed an origami patterned
ceiling at the centre of the store where
the cashier is stationed.
Indirect lighting on the false ceiling
and feature wall gives the store a soft
ambience combined with halogen lights
to highlight the products.
Two big dandelion shaped pendant
lights, which hang down from the ceil-
ing directly above the island counter,
give the store an intimate, relaxed and
cosy atmosphere.
Due to the shape of the plan, it also
managed to create two store rooms for
the client so that the owner gets to use
one of them for storage and the other
one as a mini ofjce.
The whole design concept was jne
tuned throughout the course of one
month. After conjrmation, it was given
another month for the renovation
work. As the store is located within a
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80 OCTOBER 2011 | Commercial Interior Design
shopping mall, work could only be com-
menced during none retail hours.
The workload was unlike residential
projects, which usually have a deadline
between one to six months depending
on the scale of project, said Harun.
However, for commercial projects,
whether it is an ofjce or retail store,
only two weeks to a month time frame is
given to deliver the project. Thus, proj-
ect management to ensure it delivers on
time is very crucial.
The koor plan that the team was given
has an 800mm wide round column
The shop counter.
The products come in
a myriad of colours.
Detail was paid to
the shelving.
Dandelion shaped
pendant lights.
Pull out trays for
wrapping paper.
smack at the front of the store, which is
unsightly near the entrance.
To hide it, White2 Partnership de-
signed a window display feature with
origami folds to showcase the new
arrival products and on sale items.
It also designed a back lit signage
that faces the oncoming human trafjc
from the walkway in the shopping mall
to create awareness to the shoppers
and capture their attention when they
walk by.
There is another round column at the
back of the store but instead of hiding
it, the team turned it into a feature by
using the clients graphic prints to wrap
around it. This helps to add some colour
to the interior and gives the store a
more cheerful vibe.
Usually, when undertaking a com-
mercial project, we will try our very best
to fuljll the clients request. This is
because no-one knows their products
better than themselves.
As an interior designer, we have a
role to play in proposing ideas which
can transform the store to highlight
their products and turn it into a unique
10 9
82 OCTOBER 2011 | Commercial Interior Design
shopping experience for their custom-
ers," said On.
"Their requirements also give us
a better understanding of their store
operation. Therefore, it is a piece of
very essential information to us so that
we can apply that during our design pro-
cess. So when the project is completed,
it will be one that is functional to their
business needs."
Hence, we got our inspiration from
our clients vision and through analys-
ing and understanding their needs; we
turned the idea into reality.
On added that in a cosmopolitan
society like Singapore, every shop is
now moving towards creating a brand-
ing of its own by using unique design
concepts and materials.
There is no one particular style that
every client or designer follows right
now. The challenge for retail store de-
sign is how we can blend in the design
to suit the culture and lifestyle of their
respective consumers, he said.
With globalisation and the social
media, the Gen Y consumers are very
well informed with their interests.
This group of customers do not buy a
particular product just for what it is or
simply engage a service plainly for their
needs. What they are actually going
after when buying is the entire concept
behind a product. Therefore, these pose
a very challenging task to designers
when it comes to designing a shop.
Now, a good shop design has to take
into consideration all the above men-
tioned factors so that it can play a part
in creating a good brand and engaging
with its customers.
White Corporate celebrates its 10

anniversary this year and has been
steadily growing its client portfolio with
more than 300 projects to date.
It recently expanded its team and has
moved into a 3,500 square feet ofjce.
The new ofjce has been equipped with
the latest technology in web conferenc-
ing, which will enable the designers to
communicate and do business with cli-
ents and partners from any part of the
world. It is also working with local and
overseas property developers on their
residential, commercial and industrial
projects in Singapore.
After a decade establishing the com-
pany in Singapore, we are challenging
ourselves to expand outward from our
comfort zone, added On. We are look-
ing forward to engaging in projects from
overseas, specijcally Asia Pacijc and
UAE. We want to establish ourselves as
one of the leading design jrms in these
regions. White Corporate is always look-
ing at ways to maximise the potential
of space to improve verbal and visual
contacts, while maintaining an aestheti-
cally pleasing design.
Locally designed
journals and photo
The showcase
with examples of
customised products.
The display shelf.
Visual detailing for
Origami themed
13 12
14 15
84 OCTOBER 2011 | Commercial Interior Design
Commercial Interior Design | OCTOBER 2011 85
of success
ith a location more
than 300 metres above
the frenetic streets of
Hong Kong, hospitality
design jrm, HBA (Hirsch Bedner As-
sociates), has created an escape from
the metropolis, for guests who visit the
Ritz-Carlton ESPA in the International
Commerce Centre (ICC). At 484 metres
(1,588 feet), it is the tallest building
in Hong Kong and the jfth tallest in
the world after the Burj Khalifa, Dubai
(2,717ft), Abraj Al-Bait Towers, Mecca,
Saudi Arabia (1,971ft), Taipei 101,
Taiwan (1,670ft) and Shanghai World
Financial Centre, China, (1,614ft).
The design jrm won the brief through
Susan Harmsworth, founder and CEO
of ESPA International, after cooperating
on a number of spa designs in the past.
HBA presented its portfolio to the hotel
operations team and owner/developer
SHKP (Sun Hung Kai Properties) and
won the contract.
The Ritz-Carlton occupies the up-
permost 15 levels of ICC and ESPA is
located on the 116
and 118
Inge Moore, principal, HBA London
said she was looking for a theme which
would evoke feelings of reassurance,
shelter and nurturing within the lofty
conjnes of the towering structural
envelope as a base for his design.
At the same time, she wanted to
make the most of the setting and allow
guests to simultaneously feel attached
86 OCTOBER 2011 | Commercial Interior Design
to the city with its breathtaking views
yet totally insulated from the hustle and
bustle below.
To create a sanctuary of softness
from the stressful urban surroundings,
he came up with the idea of a silk-
worms cocoon. Curved niches, gently
diffused lighting and kowing spaces all
contribute to a comfortable style, one
that feels cosy and inviting, contempo-
rary but not cold.
The silkworms cocoon - a soft,
white pillow of delicately spun silk - pro-
vided a perfect metaphor and design
ESPA nail salon 1.
Fitness area
reception 1.
ESPA reception 1.
Reception 2.
inspiration for The Ritz-Carlton Spa by
ESPA, said Moore.
We sought to emulate this place of
peaceful, protected transformation by
using its physical form and conceptual
ideology as a guideline for every design
detail in the spa, from the space plan-
ning to the materials specijed to the
lighting scheme.
As an allusion to the coiled con-
tours of the chrysalis woven jbres,
straight edges have been avoided;
for example, the reception desks have
an oval outline, changing room benches
are styled in kidney-bean shapes, and
the corridor and room layouts follow
organically curved lines. The appear-
ance of the jnely textured horsehair,
which clads some of the walls is a
subtle suggestion to the mulberry tree
slivers which are naturally embedded in
the cocoon.
HBA also teamed-up with artist,
Eva Menz, to create a koating installa-
tion crafted from porcelain butterky
cocoons that are suspended in strands
from the ceiling. Linear LED cone lights
have been concealed within the centres
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88 OCTOBER 2011 | Commercial Interior Design
of intermittently positioned cocoons
so that the source of illumination is not
apparent and guests do not experience
a harsh glare.
The cabling is integrated into the
strands so that it becomes part of the
artistry. Above the sculpture, low-
voltage downlights create dramatic
effects by casting shadows and rays
which bounce off the adjacent walls.
Moore said the most challenging part
of the design was the fact that there is
no view to focus on from the window
other than the clouds.
Hong Kong is a vertical city of tall
buildings, and the polluted smog
which drifts in from the factories at the
outskirts of the city is a real problem.
Normally this can be seen when one
looks onto the horizon, but every now
and then the atmospheric conditions
clear-up so that all one sees are sunny
blue skies and white clouds, she said.
She added another issue was the low
ceiling heights formed by the slab-to-
slab construction of the high-rise tower.
The spa areas comprise one section
of the 116
koor, and the club lounge
and restaurant form the other parts.
And then, on the 118
koor, guests visit
the pool and the gym. In between these
levels, the 117
koor houses a good
deal of the buildings services. So there
were many logistics to contend with in
the layouts, she explained.
A cause for consternation amongst
the planning team was how guests
would feel being in a space that was so
high-up. It was essential they feel se-
cure in a space so far off the ground, so
satisfying this concern was an integral
aspect of our decision making process.
The design team wanted to blur
the boundary between a monolithic
structural envelope and the expansive
360 vista so spa guests could feel
connected to the city but not in it. It
chose a colour palette to represent clear
blue skies, golden rays of sunlight and
the sparkling lights from below.
It had to be meticulous in its planning
so that the electrical, plumbing, and
lighting layouts were compatible with
the plant on the 117
koor. Health and
safety was very important, and the
designers collaborated carefully with
Treatment Room 1.
VIP alcove.
ESPA VIP bath.
90 OCTOBER 2011 | Commercial Interior Design
the engineering team to make sure
everything would work and create a
positive experience for guests.
As far as logistical or materials-
related challenges, the structural de-
sign was planned to accommodate the
use of our FF&E, and for example, the
saunas and jacuzzis on the top koor,
said Moore.
With such a large tower, everything
was transported via the service lifts; it
would have been impossible to hoist a
crane up to that height, and the glazing
was already in place. All the products
we specijed were well thought out so
they were a size that could jt into the
lifts and jre-rated.
We intentionally specijed materials
that convey a sense of being ground-
ed, as seen for example in the bronze
metal-infused timber kooring, the
substantial felling alabaster reception
desks and the manicure station hewn
from hardwood solids. It was important
to create a place where the body could
think and be more powerful than the
mind, where guests could have time to
decompress and jgure out elements
result. She would like to do more proj-
ects in Asia, as the spa experience is an
intrinsic part of its cultural traditions.
It was a remarkable opportunity to
create a one-of-a-kind spa escape at the
top of one of the worlds tallest build-
ings, she said.
Luxury is more broadly dejned
today than ever before, and what is
immediately identijed as a luxurious
environment in LA is different than one
in London or that along the Mediter-
ranean Coast. But what people do
want in many instances is something
original and authentic; so what this
means is that there is more scope than
ever before to envision narrative work
afresh, to garner ideas from the sites
location and even borrow inspiration
from one part of the world that is right
for a project in another part. Today, the
creators of luxury spaces need to travel
extensively and keep their senses open
to the world wherever they visit.
HBA London is currently working on
the Westhofen Spa and Resort in Frank-
furt and designing a signature spa at
the Rafkes Istanbul Zorlu Centre.
in their lives that they are often too
busy to focus upon. Therefore we could
not design a space that would accost
people with its complexity; these
functions should always be behind the
scenes, because the sight of that stray
wire or kashing red light can induce
feelings of edginess and weariness.
The project took 18 months from
conception to completion. Moore
said working in diverse cultures is so
interesting because every culture has a
different process for achieving the end
Nail Salon 2.
The bathroom.
Relaxation Room.
Porcelain Cocoons.
Treatment Room 2.
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The emotion felt when embracing true beauty and radiance in the
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Commercial Interior Design | OCTOBER 2011 93
eddahs real estate market is
benejting from the recently an-
nounced 500 billion Riyal jnancial
stimulus package, according to the
latest City Projle released by Jones
Lang LaSalle MENA.
Like the rest of Saudi Arabia, Jeddah
is particularly well positioned to benejt
from this massive kow of public capital
into housing and infrastructure, said
Soraka Al-Khatib, co-head, Jones Lang
LaSalle Saudi Arabia.
According to the report, the ofjce
market continues to become more
tenant-favourable as market competi-
tion increases, leading to lower rents
and more options available to occupiers.
The hotel market is also doing well, said
the report. Driven by rising investment
in tourism infrastructure and develop-
ment of the citys leisure offerings, long
term prospects for Jeddahs hotel sector
remain positive.
Mohammed Nawarah, country man-
ager KSA, DORMA, which has been in
the Saudi market for over 18 years, said
there is a great market in Saudi Arabia
for interior design jt-out. The booming
construction industry is inkuencing the
interior design sectors, with the most
vibrant being ofjce buildings, like the
King Abdullah Financial District.
In the King Abdullah Financial Dis-
trict, there are more than 60 towers of
ofjces and apartments; it is proposed
accommodation for the Saudi army and
it seemed to take a long time to actually
settle all the working arrangements and
scope of the project. I was installed in a
small kat opposite Harrods in Knights-
bridge with a French architect and we
designed the interiors. It was challeng-
ing in that we did not really have a brief
apart from the size of the spaces and
what needed to be provided, so in that
sense there was a lot of FF&E but no real
style preferences, said Blandford.
The main challenge for Nawarah is to
design the ofjce or apartment consider-
ing the religious and cultural aspects of
the country. We have to design ofjces
to avoid interaction between men and
women. While clients want the latest de-
sign and technologies, they want the jt
out done without compromising on their
religious or cultural values, he said.
that designers from around the world
work on these, said Nawarah.
Deborah Blandford, UK-based interior
designer, has been working with Saudi
Arabian clients in London since 1985,
and eventually was hired for projects
in Saudi Arabia for private residences.
The industry is very strong and there
are a number of world class develop-
ments taking place there.
She added in the 1980s, there was
an Arabic style far richer and ornate
than Europe when it came to interiors.
I am very interested in Arabic design
and sought to combine this style with a
contemporary twist. Products now are
available globally and the trends are for
simpler interiors; in addition all design-
ers have to consider universal themes
such as sustainability and accessibility.
Nawarah said he has noticed a trend
in the Kingdom to have modern, smart
ofjces. He said frameless partitions and
automatic entrances jt into this trend.
We provide them with new technology
for automatic doors and have patented
a technology for door operators called
CS80 Magneo which uses something
called magnetic levitation.
Blandford said the only challenge she
has faced is the speed of procedures.
She added it is often a slower process
and the initial negotiations take longer.
For instance I did a job for the Saudi
Arabian government designing
Slow and Steady
Skywalk of King
Abdullah Financial
District (KAFD).
Interior of KAFD.
94 OCTOBER 2011 | Commercial Interior Design
A shining design
DTS work on the
Oruba Gellery.
Rendering of the
painting area.
Creating a cozy art
gallery in Riyadh.
Bringing out the best
through lighting.
Rendering of the
audi Arabia-based light
design jrm, DTS, has worked
on the design of an art gallery
and restaurant in Riyadh, us-
ing advanced lighting technology.
Founded in 2010, by Abdulaziz
Al-Azem, DTS provides professional
lighting designs for different types of
projects, from residential to public,
urban and landscape.
The Oruba Gallery is a 740m
spread over two storeys, where one
of the main demands of the client was
to have the latest lighting technology
available in the market. This was a
very interesting project for us; it was
a combination between an art gallery
and a restaurant which created a unique
interior atmosphere, said Al-Azem.
He added, the client wanted to create
a good mood lighting for the restau-
rant, while having suitable jxtures to
enhance the works of art, where most of
the objects were paintings.
Al-Azem said once DTS landed the
contract, the design team immediately
started thinking of how it could use
the most advanced and latest lighting
technology available. The designers
concept was to create an art gallery
which boasts of quality and corresponds
to the experience of dining as well.
We call our concept the cozy art
gallery, said Al-Azem.
We decided to specify LED lumi-
naires from high-end European brands
such as ERCO (Germany), XAL (Austria)
and DGA from Italy. This produced a
higher efjciency, as most of the lumi-
naires are linked to a lighting control
system, he added.
A small lounge bar and art gallery will
be housed on the jrst koor, where DTS
worked on illuminating the paintings
and other artwork. For this area, we
used a track light system in combination
with Logotec LED spotlight from ERCO.
The advantage of using this is its kex-
ibility. Even if the object which we want
to highlight is moving, we can adjust the
spotlight with the track light to match its
movement, said Al-Azem,
He said the Logotec LED spotlight
from ERCO was chosen because of its
technology, and its ability to have a
wide range of beam distribution from a
narrow one to wide kood. He also said it
is the best light source to bring out the
details in objects like paintings.
The second koor consists of the res-
taurant and paintings hung on the walls.
This koor is the most critical area
because of the function of the mixture,
added Al-zem. On this koor DTS used
LED recessed directional spotlight from
ERCO for highlighting the paintings and
the dining tables.
In order to create the cozy mood
ambience, DTS combined technical
luminaires from ERCO with those from
XAL Austria. It also used a decorative
luminaire from XAL called JANE, which is
a very small system LED recessed on the
ceiling highlighting a metal chain cur-
tain. The combination between LED and
metal chain created a sparkling effect.
It also used the LED stripe for the cove
lighting instead of using a kuorescent
tube. In the end, it also used a lighting
control system from BTICINO.
Al-Azem said the most challenging
part was to work out how to combine
the mood lighting for the restaurant and
technical lighting for the art gallery.
Commercial Interior Design | OCTOBER 2011 95
For instance, to maintain a certain
amount of light in the painting, we had
to choose lamp sources that were not
emitting UV and IR radiation. On the
other hand, we had to create moody
lighting for the restaurant, that had a
cozy ambient feel which helps the cus-
tomers to relax and which will present
the food more attractively, he said.
DTS is now working on a range of proj-
ects, from interiors of religious buildings
to exterior faade lighting.
We are working on projects for a
mosque in Jeddah, a design for three
storeys of furniture showrooms in
Riyadh, retail lighting for Thawb shop
in Riyadh, a villa in Dammam, faade
lighting for an ofjce tower in Jeddah and
more, said Al-Azem.
He added, there are many prestigious
projects in progress in Saudi Arabia,
which is positively impacting the interior
design industry in the country.
Many people now in Saudi Arabia
are slowly realising the importance of
good interior design. So we can say that
interior design in Saudi Arabia is now
tremendous, he added.
4 5
Commercial Interior Design | OCTOBER 2011 97
Bigger and better
aula Al Chami, event director,
Index, took over from her
predecessor, Lu Buchanan,
in November 2010 to oversee
the expansion of the trade shows
projle in Dubai and launch the inter-
national design exhibition into Saudi
Arabia in 2012.
She has been with dmg :: events
for 11 years and was previously event
director for The Big 5 and before that,
The Ofjce Exhibition. Working across a
diverse portfolio has given Al Chami the
opportunity to work on large complex
products, as well as niche events.
When I took over Index, I understood
very quickly that the market required a
place where inspiration could thrive. It
is this proposition that has guided us
in developing an already established
21-year strong event toward its next
stage of development. Exhibitors and
visitors will now have the opportunity to
see an amazing 11 features dedicated
to six product specijc shows, 20 free
of charge seminar sessions and two
conferences unprecedented for any
design show in the region, she said.
Al Chamis favourite part of the show is its variety. She said the sheer
breadth of exhibitors that join the event from so many countries brings
a great diversity and, based on the changes occurring in the mature
markets of the west, the GCC remains an important part of the world for
manufacturers and distributors to do business.
The GCC has been able to recover far quicker than what we are seeing
in Europe and North America where uncertainty still remains, particu-
larly with talk of a double-dip recession coming. The oil rich nations of
the GCC with its young, afkuent populations have fared much better
with GDPs being reported up to 10%, unmatched by Europe or North
America, she added.
In the last quarter of 2011, the most buoyant countries awarded real
estate projects include KSA, UAE and Qatar amounting to US$4.3 billion.
Of this jgure, the highest grossing proj-
ects being awarded were the commercial
and residential segments. With interiors
and jt out accounting for 10-30% of
these project values (depending on the
high end nature of the project,) 2012
could prove to be a fruitful year after a
cautious start to 2011.
Index brings exceptional value to
the market, which can only be positive,
as no other interiors and design event
in the region delivers the same calibre
of exhibitors, innovative content and a
large buying audience, said Al Chami.
The region has an afkuent end-user
community, which not many developed
markets can boast, particularly with
the vast sovereign wealth of the GCC.
Its nations are relatively young and so
continue to push forward with their
infrastructure development plans. This
region undoubtedly has an important
buying audience, which is why Indexs
One VIP Programme is so important in
ensuring these key buyers are brought to
the show from across the region to meet
with our exhibitors.
Index 2010 saw over 600 VIP buyers involved in 112 projects with
budgets amounting to over $83.5 billion attending the programme.
Al Chami plans to bring further product development to the show next
year and one of the highlights is taking the show to Jeddah in May.
Saudi Arabia is the largest growing economy in the Middle East with
an estimated GDP of $578bn, making it one of the largest in the world,
she said. The availability of vast amounts of oil - 22% of the worlds
reserves, huge government spending on infrastructure projects - bud-
geted at US $400 billion to purely manage its growing population, 70%
of which are under the age of 30 accounting for 26 million people rising
to 29 million by 2013. Investment of $66 billion has been earmarked for
new homes by the General Housing Authority and it is estimated spend
in the next 12 months for residential interior jt out and commercial inte-
rior jt out will be $715 million and $821 million respectively."
98 OCTOBER 2011 | Commercial Interior Design
ndex has announced the six jnalists who
will compete for the title of Contemporary
Majlis Competition winner 2011.
It is the third time the competition has
been held at Dubai World Trade Centre and,
unlike previous years, it was open to any quali-
jed interior designer or interior architect.
There were 70 applications in total from
Dubai, Abu Dhabi, Sharjah, Ajman, Saudi Ara-
bia, Bahrain, Qatar, North Africa, South Africa
and the US, and according to organiser, Malini
Dean, dmg :: events, the standard of submis-
sions based on the concept, use of material
and design as a whole was very high.
At the heart of any Middle Eastern home,
the majlis is traditionally the place where fami-
lies meet and socialise with friends," she said.
"The younger generation is now looking
for an environment that celebrates Arab
culture, but also embraces cutting edge,
innovative design. Index is an international
event with a strong Middle Eastern inkuence,
so we are keen to celebrate local culture and
promote innovative design. Over the years the
competition has attracted great interest from
attendees keen to see how senior designers
approach such a challenge to deliver a modern
day majlis from conception to completion.
In 2009, Zain Mustafa of Zain Mustafa
Design won accolades for his striking and
colourful design space and in 2010, Rashida
Rajkotwalla, DWP wowed the judges with her
winning majlis, which captured the kuidity of
movement whilst drawing inspiration from the
literary arts and Bedouin culture.
The judges selected the entries based on
six main themes; Design innovation, Creative
use of fabrics and materials, Use of innovative
furnishings, Practicality and usability of the
design, Does the design work as a whole and
is it a contemporary majlis.
Questions asked were;
Did the designer create a design concept
that is pioneering, innovative, inspirational,
thought-provoking and cutting edge?
Did the designer create a design using
original and innovative textiles and materials
which could be sustainable and are aestheti-
cally pleasing, but also practicable?
Is the furniture comfortable and following
good proportions and high standards?
Does the design marry the traditional majlis
with cutting-edge contemporary design
whilst maintaining Arabic culture?
The jnalists are Sinmar Al-Said, managing
partner, Internal Line Interior Design(ILID),
Ghandour El Habre, senior interior designer,
Khatib & Alami, Mimi Shakshashir, managing
partner, co-owner and designer, O'de Rose,
Carrie Das, design manager, AHK Internation-
al, Basak Yuksel, senior designer, PF Emirates
Interiors LLC and Rania Mahmoud Hamed of
Von Saldern Hamed Design.
The six jnalists will now showcase their
designs at Index 2011 and be judged on their
actual build of a contemporary majlis with the
winner being announced on October 22 and
featured in CIDs daily show paper, the Index
Inspiration Daily on October 23.
Meeting point
Elise A. Nassour
Head of Studio,
Engineer's Office
Elise A. Nassour is an
interior architect, with over
15 years of experience.
In Dubai she has been
working on different types
of projects with a focus on
high end residential villas
and palaces both in the
GCC and the MENA Region.
Jenny Eagle
Editor, Commercial
Interior Design
Jenny Eagle became the
editor of Commercial
Interior Design magazine
in April this year. Prior to
that, she was deputy editor
on Facilities Management
Middle East, a sister ITP
title. She previously worked
for the Sun in London.
Robert Reid
Asst. Professor, American
University of Sharjah
A Canadian national,
Reid graduated from New
York's Pratt Institute in
2000 with a master's in
interior design. He is a
practising interior designer
and faculty member of the
College of Architecture, Art
and Design at AUS.
Rashida Rajkotwalla
Lead Designer,
Design Work Portfolio
Winner of the best designer
award at the 2010 Index
majlis competition, Rashida
Rajkotwalla has been
in the Gulf for 14 years.
Her projects include the
Fairmont Palm Jumeirah,
Berjaya Jeju Resort Korea
and the Aldar HQ.
Dariush Zandi
Design Director, Total Art
Dariush Zandi has spent
over 13 years working
as a senior architect and
town planner for Dubai
Municipality. His work
includes Sheikh Saeed
House, and Dubai Museum
and he is chairman of UAE
Architectural Heritage
Society English Chapter.
Commercial Interior Design | OCTOBER 2011 99
Basak Yuksel.
Mimi Shakhashir.
Sinmar Al-Said.
Carrie Das.
Rania Hamad.
Ghandour El Habre.
2 1
4 3
6 5
Commercial Interior Design | OCTOBER 2011 101
ndex 2010 saw a return to quality and a
diversity that seemed to have abandoned
this fair in previous years. Out were the
cheap Chinese products and in came
items of a much higher standard.
As with everything, this return to quality did
not happen by itself; dmg :: events saw the
need to improve the fair and set up an Index
steering committee. A series of designers
from Dubais design community, (including
me), were invited to brainstorm at a series of
events. We discussed what needed to happen
to bring this exhibition to the level of other
international fairs. It included what local
designers needed to see, what lectures or
personalities we would benejt from and what
events would be most popular.
Many of the ideas and concepts were not
implemented last year, as time was against us,
although, I am sure this years show and the
ones to come will bring unexpected surprises.
As a designer based in Dubai I jnd Index
incredibly useful. We all lead such hectic
lives with deadlines that become shorter and
shorter that we rarely get a chance to meet
other designers or suppliers unless it is project
specijc. Having the chance to spend a day
studying what our suppliers have launched
and discover new ones makes us overall more
competent. Chatting with colleagues, jnding
out how their projects are fairing and helping
each other gives you a sense of community.
I personally feel part of our job is to keep
abreast through local and international pub-
lications as well as visiting fairs. This knowl-
edge allows us to inform our clients of the best
possible options. Many of my clients keep me
on my toes and they are incredibly up-to-date
with the latest trends. I look forward to Index
and seeing quirky designs from the region.
Isabel Pintado, associate partner, Godwin
Austen Johnson.
ooming, yesterday? Failing, today?
Hectic, tomorrow? Dead, again?
Over the past decade any person
working in Dubai witnessed the use
of these words plentiful times, to describe the
dramatic kuctuation of the market specij-
cally when talking about construction/design.
In the fancy old days, we, architects and
designers; were always in the middle of the
scene: overworking every single day, to create
fantastic buildings, exciting spaces and exteri-
ors and interiors with the wow factor.
In those days, Index was an event I looked
forward to and waited for. It was a real hub for
interior design, housing not just diverse ex-
hibitors from across the globe, but attracting a
diverse international audience, with different
professions, experiences, and needs.
Everyone benejted from the show and
some of us spent three days slowly going
through each bit of it, to learn about the latest
market trends, products and technology.
This is why we attended and will still attend:
to try and jnd all these aspects we were used
to, with the same intensity, lively atmosphere,
and the passion of everyone attending.
Unfortunately, last years event withheld the
main players in the market, very few exhibitors
brought in something new, not many stood
out, and only a few tried to grasp visitors at-
tention. I was not very disappointed seeing as
I have attended the tradeshow the year before
and thought there was dejnitely an improve-
ment, but neither was I impressed with the
overall outcome. However, I look forward to
Index 2011 as I hope to see an improvement,
not just with the number of halls the exhibition
is occupying, but with the quality of the show
and what it offers to an aspiring market striv-
ing for character, originality and quality.
Rama Turkmani Mouton, interior designer,
Design Worldwide Partnership.
102 OCTOBER 2011 | Commercial Interior Design
s a supporter of independent
designers and artisans I hope to
meet young emerging designers
from the Gulf region and the Middle
East at Index. The industry is thirsty for a new
Middle Eastern urban approach. With all the
exposure we receive when touring a city like
Dubai, young upcoming talents should be our
focal point in addition to world known brands
and designers. Mentoring sessions and
discussing creative start-ups are very much
needed. Plenty of graduates with a design
degree tend to approach a business idea with
the lack of conjdence and expertise. A small
push is welcome in my opinion.
Design Talks was my favourite last year; I
enjoyed Victoria Redshaws presentation of
design trends and Alison Laws case study of
setting up a retail outlet. I hope to see more of
that, if not workshops and design boot-camps.
The section of fresh graduates was cer-
tainly interesting last year. I am hoping to
see a more proactive approach like offering
these young designers a retail space for Pop-
Up stores; this will help them to think like
professionals and motivate them to start their
own business.
Design bloggers and small sized e-retailers
is a modern addition to the industry. High-
lighting important new jelds of our daily life
is welcomed as it will bring a modern twist to
this years exhibition; its the right time to de-
velop the classic concept of an exhibition and
surprise the visitors with such new additions.
Makers and handmade furniture designers,
compared with sweat shop furniture, are
absent. Valuable crafts and those talents
creating them are vanishing from the busy
city. Contemporary embroidered pillows, hand
knitted ottomans with quirky colours would
be a great addition to this years exhibition.
Sarah Saleh, managing director, Boxed.
s a designer, it is always fascinating
to gain exposure into the thought
processes of other designers.
Creative brains feed on imaginative
thinking and reinterpret this into their own
work. For instance, you can see the inkuences
of fashion and interiors continually overlap
and reshape each other. In our jeld, it is not
just encouraged but essential to understand
this and the inspirations of other designers.
On our radar this year is seeing the work of
young designers, particularly in areas such
as Scandinavia, Japan, North American and
Lebanon. Young designers are always full of
energy and enthusiasm. They are never afraid
to break boundaries and they have the cour-
age to express their individual and forward-
thinking approaches. People coming from
different countries share with us the colours,
shapes and design language that dejne their
particular region. It is the combination of these
elements that become inspirational for design-
ers on both sides. Furthermore, Dubai is the
ultimate expression of the union of contempo-
rary and Islamic design. A workshop exploring
how these designers view Dubai and their
expression of this mix would be interesting.
As a contrast to young designers, it would
be great to see renowned designers such as
Richard Neutra, Daniel Libeskind, and Lebbeus
Woods who inkuenced the industry.
Retrospective seminars that honour the
works of brilliant masterminds in architecture
and interior design such as Mies van der Rohe,
Adolf Loos and Craig Ellwood would also be an
exceptional feature of future Index events.
Current stars such as Philippe Starck and
Fabio Novembre would also highlight and
attract regional designers to attend the event.
Designers are always hungry for innovation
and forward-thinking.
Julijana Mitic, project leader, Pringle Brandon.
his year UBIFRANCE, the French
agency for international business de-
velopment, will be promoting French
products and French expertise and
looks forward to identifying possible interna-
tional partners in the region.
The domestic market is full of opportuni-
ties; A diverse population, high purchasing
power, modern infrastructure, active business
tourism and a powerful trade hub, Index is the
right platform for all of these.
With interior projects worth US$ 722 million
representing a 49% share being completed
in the jrst jve months of 2011, UAE was the
largest market in design projects followed by
Saudi Arabia with 31%. With this in mind, the
Middle East is one of the most important mar-
kets in the world for companies involved in the
interiors sector. Index has a prominent role as
a tradeshow in the jeld of architecture and de-
sign. Exhibitors can benejt from an excellent
opportunity to gather in Dubai to rekect on the
past and more draw plans for the future.
The French exhibitors organise professional
design-oriented programmes during the show,
allowing participants not only to refresh their
information about the market but to meet
VIP key buyers as well as the Design Talks
Seminars featuring the most inkuential and
distinguished industry people who speak in
seminar sessions and panel discussions to
give the shows visitor audience an insight into
current hot topics of the industry.
Some of the French products on offer have
received the EPV label, a recognition mark
awarded by the Ministry of the Economy to
distinguish French jrms with excellent hand
crafted and industrial expertise.
The Index French Pavilion features 26 com-
panies in Hall 3.
Franois Sporrer, French trade commissionner
and director, UBIFRANCE UAE.
Lilies of the Valley - Diana Tozzi, 2003. This design was inspired by the personality of the Russian Empress, Catherine the
Great. Lily of the Valley was her favorite flower, and she also loved to see it as a motif for her favorite things. This rug was
drawn from Catherine's fan which is currently is a historic artifact being kept in the Hermitage Museum, Saint-Petersburg.
The rug is meticulously crafted in the hand-knotted technique in this finest of wool. Private collection.
104 OCTOBER 2011 | Commercial Interior Design
he fourth Ischia International Archi-
tecture Prize (Premio Internazionale
Ischia di arhitectura), PIDA, was held
at La Colombaia villa, the former resi-
dence of Italian jlm director Luchino Visconti,
from July 18-24 this year.
The awards competition, organised by the
National Bioarchitecture Association, (ANAB),
Compasses, Naples Architect Council and PIDA
Association recognises the most beautiful
hotels and spas in the world and received 32
entries for the two categories of Architecture
and Interior Design.
Each year, the organisers share the entries
with another country to learn different ways
of architecture and interior design. Last year,
it was with the US and American Institute of
Architect. This year, it has partnered with UAE
where the winning entries will be showcased
at Index at Dubai World Trade Centre.
We chose to partner with the UAE this year
because it has a number of signijcant projects
that have been realised through hotel and spa
design including the Burj Al Arab, Atlantis and
Burj Khalifa, said Giovannangelo de Angelis,
president, PIDA. The competitions Architec-
ture prize was awarded to Rosario Cusenza
and Maria Salvo for their environmental
recovery of an abandoned quarry on the island
of Favignana and its conversion into a four star
underground hotel; the Interior Design prize
went to Mauro Piantelli (studio DE8) for the Yas
Marina Hotel in Abu Dhabi, UAE.
The interior of the Yas Marina Hotel is a
collaboration between DE8 Architetti and
Asymptote Architecture.
Contrary to what happens most of the
time when the interior does not rekect or give
justice to the architecture, the project was
born from a clear objective to make the inside
aesthetically consistent with the outside, not
withstanding the functional logic behind every
line, said Piantelli, DE8 Architects.
The interior vis--vis the exterior is not
just a communication of literal forms, but at
the same time, coherent strategies and well
orchestrated emotions to the users. True to
the idea of the architects, the interior creates
an architectural symphony with the building,
never overlapping, but rather making it more
expressive, evident and effective."
Special Jury Prizes were given to Mario
Cucinella, winner of the PIDA Sustainability
award, for his interest in issues related to
environmental design and sustainability in
architecture, Italo Rota, winner of the PIDA
Career award for his hotels, which propose an
approach to design that offers an unconven-
tional mixture of colours, materials, lights and
traditions and Luigi Filetici, for Photography.
There was also an award for a design work-
shop, held in July, From Eco-Monster to Eco-
Beauty, which called for the conversion of a
concrete skeleton in the town of Forio dIschia
into the new Carabinieri headquarters.
The architects who participated in the work-
shop, coordinated by Mario Cucinella, are all
recent graduates, selected based on their CV.
Of the submissions received, 12 candidates
were selected based on their jnal grades in-
cluding Galina Bogdanova and Sarah Khawaja
from the American University of Dubai.
PIDA 2011 winners
Yas Marina Hotel, Abu Dhabi, UAE
DE8 Architects
Architect: Mauro Piantelli
Spa Chakra, Doha, Qatar
PEIA Associati Exequo with Majestic Resort,
Galzignano Terme (PD)
Architects: Mariaugusta Mainiero, Giancarlo
Fantilli, Roberto Grio and Marco Montagliani
Armonia Wellness Centre
Santeremo in Colle (BA)
Architect: Annamaria Terlizzi
11 14. 1. 2012
More prospects for the industry:
Ideas Crossing
Sustainability in interior design.
New fashion labels.
The future themes of the industry.
Pioneering trends.
Suppliers from all over the world.
Youll nd all this at Heimtextil, your leading
international trade fair for textile interior design
in Frankfurt. For more information visit
Tel. + 971 4 389 45 00
106 OCTOBER 2011 | Commercial Interior Design
PID will launch a triple showcase of
events for visitors to Index including
the Cuboid exhibition stand and
lounge area, Interior Design Con-
gress and the Festival of Interior Design (FoID)
with themed activities across the UAE.
As part of FoID, the interior design associa-
tion has partnered with Dubai Events & Promo-
tions Establishment (DEPE), an agency under
the Department of Economic Development, to
generate instore promotions from October 22-
25, and presentations in retail outlets related
to interior design.
The announcement is in line with DEPEs
mandate to develop, promote, and support the
retail and events sectors, ensuring year-round
attractions and reasons to visit Dubai, its festi-
vals, malls, souks, and high streets.
With over 1,000 retail outlets in Dubai
alone, the furniture, interior design and its
supplier industry is considered to be one of
the main pillars in Dubais retail sector, and we
want to further enhance its performance, said
Laila Suhail, CEO, DEPE, otherwise known as
Dubai Events.
We are committed to working closely with
APID in ensuring the success of the jrst ever
Festival of Interior Design by encouraging the
retail segment to participate and hold attrac-
tive sales and creative promotions during the
event. This partnership demonstrates our com-
mitment to strengthening Dubais economy.
The partnership was agreed upon at a recent
meeting at The Pavilion - Downtown Dubai,
which was attended by Suhail and Farida
Abdulla Kamber Al Awadhi, president, APID,
and included Hazim El-Khatib, VP, APID, and
Christian Merieau, head of events, APID.
APID remains steadfast in its commitment
to develop the interior design industry in the
UAE and our partnership with Dubai Events is
a welcome boost that aims to activate Dubais
retail sector for 10 days including the four day
festival, said Al Awadhi.
We thank Dubai Events and we are conj-
dent that their involvement will elevate the fes-
tival and help provide a platform for the retail
sector and improve the industry as a whole.
FoID is being presented as an showcase
that will bind and unify interior design profes-
sionals in the Middle East region under the
patronage of Sheikh Majid bin Mohammed Bin
Rashid Al Maktoum, chairman of Dubai Culture
and Arts Authority.
(Standing from left to right) Christian Merieau, head of events committee, APID and Hazim El-Khatib, vice president, APID.
(Seated from left to right) Laila Suhail, chief executive ofjcer, DEPE and Farida Abdulla Kamber Al Awadhi, president, APID.
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108 OCTOBER 2011 | Commercial Interior Design

Index is hosting a one day Congress
during the Festival of Interior Design
(FoID), featuring four key note speakers
and panel discussions.
It will also host a Forum Luncheon for the
FoID Congress delegates.
When: October 22, 2011
Where: Al Multaqa Ballroom, Dubai World
Trade Centre, UAE
Speakers: David Trubridge is a furniture
designer based in Havelock North, New
Zealand. He uses only natural materials to
reduce the effect on the environment and
has a degree in naval architecture.
Hadi Teheran studied architecture from the
Technical University of Braunschweig and
taught at the Technical University in Aachen.
In 1991, he founded the BRT Architekten
Firm in Hamburg and established his own
company, Hadi Teherani AG, in 2003. His
works can be seen from Dubai to Hamburg
and Moscow to Istanbul, reflecting designs
of modern cityscapes in international cities.
Khuan Chew is the design principal and
founder of KCA International, interior archi-
tectural firm. She has been involved in the
construction and building industry for over
20 years, with key projects in the UK, USA,
Middle East and the Far East. The companys
portfolio showcases a diversity of work that
ranges from exclusive penthouse apart-
ments, yachts, country houses and royal
palaces to international airports, five star
hotels and public buildings.
The interior of the Burj Al Arab was designed
by Chew. Other projects include the Sultan of
Bruneis Palace, Dubai International Airport,
Jumeirah Beach Resort Development and
Madinat Resort.
Rogier van der Heide is a designer based
in the Netherlands and has contributed to
public and commercial places all over the
world. He studied at the Institut Superieur
des Beaux-Arts in Brussels, Belgium and
the Amsterdam School of Arts. He has also
worked as a director for Arup, an interna-
tional design and consulting firm. In March
2010, van der Heide joined Philips Electron-
ics as VP of Philips and chief design officer
of Philips Lighting.
David Trubridge graduated as a naval architect
from Newcastle University, UK, but since then
has worked as a furniture designer/maker and
architect. He settled in New Zealand after a
long yacht voyage with his family. His design
process combines innate craft knowledge,
sculptural abstraction and computer design
technology. He is New Zealand's best-known
furniture designer and regularly exhibits over-
seas in Australia, North America, Europe, the
Middle East and Japan.
I left my home country Britain largely
because I found the weight of tradition to be
overbearing and stiking my creativity. I am not
condemning tradition because it is such a rich,
important part of our culture; I am only pointing
out how hard it is to jnd your own original way
as a contemporary artist within its enveloping
blanket. In New Zealand, I found a young coun-
try full of space, both physically obviously, but
also metaphorically because the glass walls
that restrict potential were so much further
away. I feel UAE offers a similar opportunity to
creative people with its fresh energy and rapid
expansion, so naturally this attracts me.
However, the sheer scale of the opportunity
means a heavy responsibility is also placed
onto designers. There is a fatal temptation to
superjcially fuljll a brief with stock generic
designs that have little connection to the
place, that do not tell the local stories, or
worse, stoop to cheap pastiche of cartoon
simplijcations of what is loosely considered lo-
cal design. This is where good design practice
is so important. It especially presents a very
exciting challenge to those who, like me, see
design as a cultural expression more than as a
lever for commercial gain.
In my lecture I explore how to create design
that is fresh, new and relevant, without being
novel, contrived or superjcial. How can design
speak of this place in this time, and be used for
a greater purpose, such as telling our stories,
rather than to just sell products? I jrst look at
successful cultural expression in past societies
and examine how they came to work so well.
I describe my own design process for getting
a deeper sense of integrity and wholeness. I
advocate that designers should jrst gather to-
gether everything that makes a place in history
stories, culture, geology, kora and fauna
and jlter it all through our own artistic vision.
This gives us the vocabulary or the building
blocks, with which to then design. Without
your own self-developed vocabulary you can
only shufke existing forms and ideas, resort-
ing to gimmicks, irony and one-line jokes to
attract attention. A true design process will, by
default, carry an inevitable kavour of time and
place, just as the same sandalwood produces
different scents in different lands. The result
will be original and innovative without being
contrived. I suggest how this process can help
build a cultural identity for Dubai and the UAE.'
David Trubridge
Commercial Interior Design | OCTOBER 2011 109
The Pavilion, Downtown Dubai, will host three
days of design-centric events for FoID (October
22-24). The programme includes design talks,
movie screenings, networking events and other
activities under the themes - Prognostication
day, Preservation day, and Illumination day.
We are very excited to host these events as
part of the inaugural FoID as this will also allow
us to live up to our vision of being a prime venue
where local artists can meet, hold art exhibitions
and host lectures and workshops," said Yasmine
Rasool, art coordinator, The Pavilion.
Our partnership with APID reflects a common
goal of being able to showcase the creativity of
emerging talents in the UAE and act as a strate-
gic platform to discuss new trends and issues in
the artistic community.
Prognostication day, on October 22, will
include a seminar entitled Catch the Colour by
NCS, movie screenings, and a presentation on
the latest design trends by Scarlet Opus, trend
forecasting and business development firm for
interior products and services.
Illumination day (October 23) features a
presentation by Danilo Mandelli from Viabizzuno
on the 8 rules of Light, a workshop and themed
soiree by lighting design expert Beau McClellan.
Prognostication (October 24) day has a
screening of the movie Greenhouse followed by
a video teleconference with its creator, Joost Bak-
ker. The day concludes with a networking event
featuring young British artist, Amartey Golding.
Bakker draws on horti-culture to make artful
commentary on the worlds wasteful ways. Work-
ing with the discard of human activity, he has
been commissioned to design furniture, vertical
gardens and event spaces in his trademark style
juxtaposing nature and industry.
McClellan is a renowned artist and award
winning lighting design expert. Under his design
firm, Beau McClellan Design, he has created a
collection of lighting based products and has
been commissioned to render lighting design ser-
vices for film, set design, music and advertising.
His work can be seen across major projects in
Europe, the Middle East and Asia Pacific.
British artist, Golding, draws large figura-
tive portraits on paper and canvas mixed with
photography, focusing on the thoughts and con-
templations of the individual and their identities.
He puts his art on the streets and in galleries,
which resembles his feeling of being at home and
working in any environment or crowd. In 2009,
he had his first solo exhibition Charcoal Diary
at Showcase Gallery in Dubai, and two more suc-
cessful solo exhibitions, One for Sorrow, Two for
Joy in 2010 and Thorns have Roses in 2011.
The Jam Jar, a creative space in Al Quoz, that
works to promote artists and support the devel-
opment of Dubais arts scene, has partnered with
APID to launch a product design competition,
that will see four designs sold at a charity auc-
tion, at the FoID Gala Dinner on October 22.
Entries for the product design have to fit into
one of three categories; innovative interior finish,
interior furniture or accessories. The 10 short-
listed entrants will produce a life-size product
and judging will take place from October 16-22.
We are very excited to host the exhibition
that will showcase the top 10 finalists of the
inaugural Product Design competition, said
Deepa Bhatia, head of art consulting, The Jam Jar.
The successful Platinum winning design will
be sold at a charity auction and the designer will
receive a one year APID membership and public-
ity through CIDs daily show paper the Index
Inspiration Daily.
Gold, Silver and Bronze winners will be on
display to the public during FoID.
Popular art centre unites with APID to launch design competition
The Pavilion will organise a three day programme with designers including Beau McClellan, Joost Bakker, Danillo Mandelli, Amartey Golding and
interior design forecasters, Scarlet Opus.
Beau McClellan. Deepa Bhatia. Joost Bakker.
110 OCTOBER 2011 | Commercial Interior Design
Index Artists Avenue
s one of the specijc shows within
Index, this years interior design
tradeshow will feature what is
known as the Artists Avenue.
It will have an art gallery on the show koor
created specijcally for interior designers, art
procurement professionals and art enthusiasts
to meet up-and-coming artists and view their
latest works. In addition, there will be a num-
ber of galleries surrounding the venue, offering
visitors an art space that will publicise a wide
range of art and include informal talks.
The exhibiting artists and galleries are:
George Bassil, Amal Al Shamsi and Marina
Harris, Mondo Art Gallery, Dubai; Chrissie
Jenkins; Naqsh Gallery - Jordan and Dubai; Car-
rie Wareham and Marian Lishman, Black Sheep
Gallery; Bernadette Taborda France; Bait
Muzna Gallery, Oman; Simin Tajik (Bamboo
Gallery) Iran; Neil Corder; Samantha & Steve
Chambers, The Big Art Co. Dubai; Feras Sabra,
Pro Plus Creative Lebanon; Mattar Bin Lahej
Dubai; Andreas Denstorf, Platux Germany;
and Mackenzie Art - Dubai.
Whats on? Carrie Warehams and Marian
Lishmans current artwork.
Why? Having attended Index as a visitor
before, it seemed like the majority of interior
design professionals would visit the show
making this an obvious choice of venue.
Thoughts on Index: I hope to gain lots of
new contacts in the industry, to remind them
there are artists in Dubai who can fulfill inte-
rior jobs to keep work within the country.
Whats on? We will be displaying some large
scale murals and artworks, 3D relief wall de-
signs, architectural wall panels and custom
made sculptured designs for feature walls.
Why? It's the perfect platform to launch Big
Art Company and target prospective clients.
Thoughts on Index: It's a great opportunity
for independent artisans to be recognised. I
think it gives Index a progressive personality
and makes the show more interesting.
Whats on? We will be displaying hand
engraved wood panels and 3D sculptures.
Why? Index is an important opportunity for
us to showcase our new works and trends,
and to meet with architects and interior
designers, as well as decision makers and
individuals who appreciate art.
Thoughts on Index: Mini events, mega
results; at least this is what we expect from
the Artists Avenue at Index Dubai 2011.
Whats on? An opportunity to see the very
large scale artworks we can carry out.
Why? I really like the idea of a specific space
for artists. I think it will be beneficial for
everyone to have the diverse creativity of
artwork concentrated in one area.
Thoughts on Index: Ive been a visitor be-
fore and exhibiting will offer an opportunity
to meet designers, architects or visitors not
familiar with the bespoke services we offer.
Whats on? I will be showcasing a mix of
local brass and silver works shot in an
abstract way.
Why? I wanted to push my presence in the
contemporary art world.
Thoughts on Index: I attended as an exhibi-
tor last year and once before as a visitor.
I hope to build relationships and develop
new ones within the interiors world. I also
definitely want to check out my competitors.
This App mobilises your home
Control your KNX installation with a Smartphone by Smart Remote.
Use your iPhone, iPod touch and iPad as a remote control with JUNG. The JUNG App Smart Remote
enables a comfortable control of the entire KNX installation - i.e. lighting, blind/shutter, temperature
and even multi media systems.
United Arab Emirates Abu Dhabi :
P.O. Box 36223, Abu Dhabi, U.A.E.
Phone: + 971- 2 448 1846
Fax: + 971- 2 448 1845
United Arab Emirates Dubai - Garhoud :
P.O.Box 77391, Dubai, U.A.E
Phone: +971- 4 282 6070
Fax: +971- 4 286 5626
United Arab Emirates Al Ain:
P.O. Box 68566, Al Ain UAE
Phone: +971 3 764 6648
Fax: +971 3 764 6628
Doha - Qatar :
P.O.Box 22652
Phone: +974 4441 9459/4437 6784
Fax: +974 442 9659
Kuwait :
P.O.Box 43748 Hawally
32052 Kuwait
Fax: +965 2266 3152
Commercial Interior Design | OCTOBER 2011 113
ndex, the International Design
Exhibition, is the Middle
East and North Africas
largest international design
exhibition. Over 800 exhibitors
from 49 countries, representing
hundreds of international brands,
will display their products across
10 halls occupying up to 20,000
square metres of koor space.
Halls 1-8, Sheikh Rashid Hall
and Sheikh Maktoum Hall will be
assigned to the exhibition.
This year the exhibition will
sport a new look by introducing
a line up of six product-specijc
shows under the Index brand:
Furnishings, InRetail, Kitchen &
Bathroom, Lighting, Outdoor Living
and Textiles.
This new structure will make
it easier for visitors to navigate
through the exhibition halls and
to jnd what they are looking for,
and allow exhibitors to effectively
present their products and ser-
vices to the right audience. There
will also be 20 national pavilions
at the show to provide product
specijcation by country, within the
appropriate product sectors.
The exhibition reshape has
been directed by Paula Al Chami,
the new event director, appointed
in November 2010, after having
been in the same role for The Big 5
Building & Construction Show and
the Ofjce Exhibition previously.
During Index 2010, over 25,000
professionals attended Index
& InRetail over the span of four
days. The show also delivered an
attendance of over 600 project
buyers at the event accounting for
billions of dollars worth of pur-
chasing power showing the events
importance and achievement in
the current climate.
Index is a very interesting
show. We had lots of visitors from
different countries like Oman and
India, we made lots of contacts
and generated orders. People are
closing deals with us, said Ro-
berto Garcia, sales area manager
Middle East, Andreu World.
According to independent
market research company, Vivid
Interface Ltd, 93% of Index & InRe-
tail 2010 visitors rated the show as
being very or quite important for
jnding new products.
With the 21st edition of Index
taking place from October 22-25,
2011 at the Dubai World Trade
Centre, Commercial Interior Design
speaks to the exhibitors at Index
you should know.
114 OCTOBER 2011 | Commercial Interior Design
By Dusanee, senior export manager
Company prokle
We are not simply a manufacturer, but
have the capabilities in-house to take
projects from concept all the way to
installation. Our 160,000 square metre
modern factory employs 1,200 people
and houses an entirely vertically inte-
grated production, including jbre and
yarn extrusion, wool and synthetic yarn
spinning, dyeing, twisting, heat setting,
weaving, tufting, and jnishing. We are
proud to be local leaders in the Reuse,
Recycle, and Reduce movement, and are
the jrst in the region to obtain and com-
ply with both quality and environmental
ISO certijcations. Like an Eames lounge
chair, even the untrained eye can see
the difference between our carpets and
our imitators.
Stand number?
Rashid Hall, Thailand Pavilion, A221
Dusanee (senior export manager)
Tel: +662 318 3670
Fax: +662 3537 | +662 318 3433
You can also visit our website for more
What are you promoting?
Carpet tile, Nylon PVC or Cushion back-
ing (Recycled Material), PP PVC Tile.
Any news?
On May 9 2011, NSF International certi-
jed that Carpets Inter products conform
to the requirements of NSF/ANSI Stan-
dard 140 Sustainable Carpet Assess-
ment. This is another step to upgrade
Carpets Inter's existing NSF standard to
a higher level of certijcation.
Wool Cushion Back Carpet Tile was
upgraded from Silver to Platinum level,
and Wool Broadloom was upgraded
from Silver to Gold level.
This standard is the most comprehen-
sive and rigorous benchmark in the US
kooring industry.
Carpets Inter is the only one carpet
manufacturer located outside the US to
achieve the NSF 140 Platinum.
Currently, there are 12 companies to
be certijed with the Platinum mark and
11 of those companies are based in US.
Carpets Inter
By Ola Pankiw, sales and marketing
Company prokle produces individually de-
signed, feature wallcoverings which are
enviro-approved and made-to-measure.
We use spectacular images, your client's
brand and core messages to create stun-
ning, memorable results for interiors
and exteriors: commercial/ofjce, retail,
leisure, hotels, clinical, residential.
We can use your client's images for
truly unique decor.
It is a fresh and new way for your cli-
ent to convey their brand, products and
Our inhouse graphic design team and
CGI department provide professional
experience whether you require whole
solutions or support for just parts of
your proposal.
Tell us about your project and we'll
advise the best product and design to
ensure your client is delighted. Ask us
about our satisjed clients.
Originally British, has a
long history of design, production and
strong client relationships.
We are now expanding in the Middle
East and internationally, providing fresh
ideas and products and a great client
ohpopsi lets you create wonderful
feature wallpaper for any wall. You can
choose from over 3,000 stunning
images or upload your own image for
your own unique look.
Stand number?
Hall 4 C176
Ola Pankiw
Sales and marketing director
Tel: 0161 923 0234
What are you promoting?
Unique client-branded designs on
wallcoverings for interiors, exteriors and
glass, made-to-measure.
Any news?
As we are now expanding in the Middle
East, we will soon open an ofjce in the
UAE. Look out for us.
Oh Popsi
Commercial Interior Design | OCTOBER 2011 115
By Shahriar Khodjasteh, group market-
ing director
Company prokle
Al Aqili Furnishings is a leading kooring
and interior solution specialists, com-
prising of multiple divisions and outlets.
After 14 years of continuous satisfac-
tion, AAF represents 50 of the worlds
jnest suppliers and providers specialis-
ing from interior design to furnishing
and lighting, offering the local and
regional markets a one-stop shop for all
furnishings needs and requirements.
AAF evolved into one of the Middle
Easts leading furnishings providers
after establishing itself as a kooring
specialist with Carpetland, a name that
represents the worlds top brand names
all under one roof. Al Aqili Furnishings
interiors division, with a reputation for
uncompromising quality and dedicated
service has furnished and jtted some
of the regions prestigious projects and
become a stakeholder of the regions
famous landmarks and businesses.
Curtainland, with a product portfolio
providing upscale upholstery fabrics
and drapery fabrics as well as jnished
curtains and draperies, table linens,
cushions, bed coverings and acces-
sories, a wide range of products and
specialised services that are as unique
as its customers individual needs.
Belight provides a host of lighting so-
lutions covering a huge range of lighting
products suitable for residences, retail
outlets, hotels, ofjces and outdoors.
Ofjceland is a one-stop shop for
state-of-the-art ofjce furniture.
Stoneland offers a variety of hard
koor products, from ceramic tiles to
marble, granite, glass tiles and mosaic.
In addition, Al Aqili Furnishings has
recently introduced its jne furnishing
divisions that include a plethora of pres-
tigious, world renowned brands such
as; Francesco Molon manufacturer of
high-end, handmade Italian furniture.
A wide selection of contemporary and
classic furniture can be found at Deco-
world, which is another very successful
retail format of Al Aqili Furnishings, the
stylish and superior house of quality
furniture and accessories that caters to
the most sophisticated residential and
hospitality demands.
Stand number?
Stand Numbers 2A 101; 4A 168 & 7A
George Joshua, assistant marketing
manager - events
What are you promoting?
Al Aqili Furnsihings as one of the giants
of the furnishings industry in the GCC
with expanding divisions and services.
Any news?
We won the project for the Nikkie Beach
Resort, Doha, Qatar.
Al Aqili Furnishings
116 OCTOBER 2011 | Commercial Interior Design
By Ivan Zupanovic, head of international
project sales and export
Company prokle
Swiss bathroom company Laufen has
been at the forefront of design, quality
and function for over 100 years.
Offering a holistic approach to
bathroom design, Laufen draws its
inspiration from contemporary trends in
architecture and lifestyle.
Working with some of Europes lead-
ing architect-designers, including Dutch-
man Wiel Arets and Italian architect-
designers Ludovica + Roberto Palomba,
Laufen offers complete bathrooms as
well as modular concepts.
Stand number?
Hall 7 Stand E301.
Ivan ZupanovicWahlenstrasse 46
CH-4242 Laufen / Switzerland
Phone: +41617657611
Local Distributor:
German Home
PO Box 80088, UAE
Phone: +971 4 268 9993
What are you promoting?
Taking centre-stage are the manufac-
turers latest sanitaryware collections
designed with the hotel sector in mind.
The Living Square washbasin has seem-
ingly endless countertop space plus
ample open storage beneath while the
Palace washbasin has the look of a cut-
ting edge ceramic block with an integral
elegantly-curved basin which can be cut
to size to jt snugly into any bathroom
layout. Also on show is the striking Il
Bagno Alessi One collection available in
a unique warm velvety grey jnish and
Lema, the eco-friendly waterless urinal.
Any news?
The products chosen for display at Index
offer just a small taste of the quality and
innovation Laufen offers. Such is the
versatility of our offering that several of
our latest ranges have been designed
specijcally for the hotel environment,
yet are suited to the domestic setting
where luxurious large washbasins are
now very much en vogue.
By Lars Narfeldt, founder
Company prokle
Kollektion & Co is a new retail experi-
ence offering a wide variety of unique,
elegant and functional Scandinavian
design brands with superior quality,
exceptional grace and timeless appeal.
We currently represent a wide variety
of brands, which include the following:
Eco-Borstapeter, Mr Perswall, Design
House Stockholm, Sagaform, Muuto,
ORDNING&REDA, black+blum, String,
Edblad, oddbirds, Sj Sandstrm,
minustio, Skultuna and Boblbee.
Stand number?
1 D46
Lars Narfeldt
Kollektion & Co
Kollektion General Trading LLC
Star Giga House Building
Ofjce 9, Level 1
PO Box 127058
Sheikh Zayed Road
Dubai, U.A.E
Tel: +971 4 330 6899
What are you promoting?
Kollektion & Co is promoting three
wallpaper brands; Mr Perswall, ECO
and Borstapeter as well as four
home accessories brands; Sagaform,
Black+Blum, Design House Stockholm
and Muuto within our portfolio; all time-
less classics with a Scandinavian look
and aesthetics.
We will also be using products from
our other brands at the stand, so we en-
courage our visitors to go on a look out.
Any news?
We are particularly pleased to announce
that we are launching Muuto in the
Middle East at Index this year. Muuto,
the young but already internationally
successful Nordic design company,
strives to add new chapters to the Scan-
dinavian design history and thereby
put the region back in the lead on the
international design scene. That is why
they chose the name Muuto inspired
by the Finnish word muutos, meaning
change or new perspective.
Kollektion & Co
Commercial Interior Design | OCTOBER 2011 117
By Vadim Horna, managing director
Company prokle
Lasvit is a Czech Republic based
company, which designs and custom
manufactures bespoke contemporary
light jttings and large glass art installa-
tions mainly for the public areas of the
worlds most prestigious hotels, palaces
and private residences and offers a
one-stop package starting from design
to installation at site. We have an unri-
valled understanding of the nature and
character of glass and offer a commit-
ment to deliver a unique design within
the boundaries of time and budget.
As testimony to our wealth of experi-
ence, some examples of our work can
be seen at the Ritz Carlton DIFC and
Royal Enclosure of Meydan Grandstand
in Dubai, Fairmont Hotels in Beijing and
Singapore, Shangri-La in Hong Kong and
Tokyo, The Four Seasons in Macau and
Beverly Hills and many other prestigious
locations around the world.
For further information and a quick
look at a selection of our completed
projects and more, you should visit our
website at
Stand number?
Vadim Horna
Lasvit (Gulf) FZE
PO Box 262731
Dubai, UAE
Tel.: +9714 881 4546
What are you promoting?
We are promoting our lighting sculp-
tures, Icefall, Twill, lasvit Crystal Wall
and Leaf.
Any news?
Just in few weeks time, several pres-
tigious projects in the UAE for which
Lasvit designed and manufactured
luxury light jttings and glass art instal-
lations will go online and be viewable by
the public.
These UAE-based projects include
The Etihad Towers in Abu Dhabi, The
ADNEC Capital Gate in Abu Dhabi, The
Rocco Forte Hotel in Abu Dhabi or Rihan
Heights in Abu Dhabi.
By Pauline Madani, managing director
and owner
Company prokle
In 2006, Nordic Homeworx was estab-
lished in a highly competitive market
amidst the thriving economic develop-
ment of the UAE. Our main focus has
been carrying forth our corporate values
of quality, services, and commitment
to our customers. Nordic Homeworx
is a Swedish-owned and managed
company, and we are the sole agent of
Khrs Real Wood Flooring brand in the
Middle East, specialising in the supply
and installation of engineered hard
wood koors. Khrs is one of Europes
leading producers of wood koors. With
more than 150 years in the business, it
is also one of the oldest as well as the
most innovative. Khrs koors can be
found anywhere from private homes,
ofjces, shops, hotels, concert halls,
theaters to sport arenas, across the
span of the globe. But Khrs heart lies in
the production plant and head ofjce in
the small town of Nybro in the southern
Swedish province of Smland, where
Khrs was founded in 1857.
Stand number?
Hall 1, Stand 1D47
T. +971 4 341 5010
F. +971 4 341 5020
What are you promoting?
As we are the exclusive UAE distributor
and Middle East agent for Swedens
Khrs wood kooring, we are promoting a
natural product of the highest quality in
the Middle East.
Any news?
Khrs constantly strives to further
underpin its commitment to the environ-
ment and to create operations that
are sustainable in the long term. Now,
its long-term environmental work has
resulted in a number of wood koors
receiving certijcation according to FSC
(Forest Stewardship Council). In total,
13 of Khrs wood koors have been certi-
jed. In addition, all oak koors produced
in Sweden can on demand be produced
with an FSC marking. Contact Nordic
Homeworx for further information.
Commercial Interior Design | OCTOBER 2011 119 Commercial Interior Design | OCTOBER 2011 119
ith furniture used in
commercial spaces,
its important to
have variety, be
kexible and cost-effective. Now
the latest watchword added to the
mix is sustainability. Whether it
is in outdoor or indoor furniture,
commercial spaces need furniture
that is timeless and will last for
years to come.
However, Antony Guss, VP,
Casualife said it is hard for custom-
ers to be certain what they are
buying is good value for money
when there seems to be not many
standards in the industry.
Case in point: a leading restau-
rant opened for less than one year
already is requesting tenders for
re-supply of its wicker furniture.
Why? Because the synthetic wicker
used was of insufjcient quality,
for the local Gulf market that has a
very harsh climate. In this case the
client failed its purchasing due dili-
gence. A one-year life is well below
what can be purchased; clients of
that business also made claims
against the proprietor for damage
to their clothing which was caught
by the broken strands of wicker,
said Guss.
Value for money, the design
aesthetics and maintenance con-
siderations are some of the things
people need to consider before
furnishing their commercial space.
In addition to this, trends in the
furniture industry also need to be
taken into account.
Green furniture is also a factor,
but how sustainable is furniture
used in the Middle East? As far
as furniture goes, there is obvi-
ously an inherent conkict with
sustainability given the materials
used. As a manufacturer, we
implement the designers concepts
and directions and we are seeing
greater awareness and actual
specijcation of more sustainable
products. Whenever possible, we
will try to take this further with
recommendations that enhance
this without compromising the
furnitures design, functionality
or budget (for example by using
different materials or production
techniques), said John McLennan,
managing director, Indigo Living.
He added, furniture design is
taking on a fresher approach with
more contemporary, modern and
exciting designs being incorporat-
ed. There is a move towards lighter
materials, fabrics and colours;
sleeker designs less ostenta-
tious at jrst sight but, in McLen-
nans opinion, better designed and
more on-trend.
Another trend which seems to
be gaining popularity is using retro
and French-inkuenced designs.
Apart from distressing or creating
vintage-looking furniture, French
motifs such as keur-de-lys and
quatrefoils seem to be seen in
many designs.
Colours and designs of furniture
almost always seem to follow the
fashion runways styles. Interior
designer Martyn Lawrence-Bullard
said he is often very inspired by
fashion in his designs.
Whether a current colour
palette combination, a shape that
maybe inspires me for a furniture
detail or some embroidery on
a shirt that I can use to border
a chair or the leading edge of
drapery; I think that fashion and
interiors go hand in hand and
as such are inspirational to both
industries, he said.
As furniture is one of the impor-
tant elements of interiors, Com-
mercial Interior Design speaks to
furniture suppliers you dejnitely
should know.
Commercial Interior Design | OCTOBER 2011 121
By Matteo Pellegrini, general manager
Tell us about your company?
Finasi LLC is a Gargash Group company,
established in UAE in the spring of 2007,
with the purpose of making some of the
most respected brands in the industry
accessible to discerning customers in
the Middle East.
As the UAE arm of Molteni Group, one
of Italys leaders in furnishings, Finasi
offers the full range of Molteni &C home
furnishings, Dada S.p.A. kitchens
including the Armani/Dada range, and
Citterio S.p.A. ofjce furnishings.
What projects have you worked on?
Some of the prestigious projects that
Finasi has undertaken/completed are
as follows: Burj Khalifa, UAE; Capital
Club, Bahrain; Commercial Bank Plaza,
West Bay, Qatar; Cartier Boutiques;
Rosewood Apartments, UAE; Mirdiff Vil-
las, UAE; Al Badia Villas, UAE; High-end
private villas, GCC.
Recent news?
The Armani Group and the Molteni
Group, through joint partnership, have
produced the third kitchen system under
the brand name of Armani/Dada. Called
Checkers, this model was launched in
UAE earlier this year.
Finasi has recently tied up with Panzeri
Italy to represent their range of high
quality lighting products, adding yet an-
other dimension to homes and ofjces.
Key challenges in the industry?
One of the major challenges lies in
educating potential customers to distin-
guish the quality of our products.
Our products are produced 100% in
Italy, following comprehensive research
on all aspects of design and material
strength. The uniqueness of all our
brands is that they continuously strive
for innovation in design, functionality
and durability.
How do we contact you?
PO Box 118508
Dubai, UAE.
Tel: +9714 297 1777
Fax +9714 297 1717;
By Atieh Sabba, marketing & sales
Tell us about your company?
Cachet, which is the most recent busi-
ness launch of RAME Design Solutions,
will be the retail showroom that holds
the internationally acclaimed high-end
furniture and lighting brands, such as
Beby Italy & Diluce, Carpanelli, Porta
Romana and Jonathan Charles. These
brands are very different from one an-
other in style, jnishes, and overall feel,
yet all are very similar in representing
authenticity, luxury and craftsmanship.
What projects have you worked on?
Each brand has its own success story
of major projects around the world.
For example, you can jnd Beby Italys
masterpiece chandeliers at La Fenice
theatre in Venice, La Scala in Milan, not
to mention luxury hotels and palaces
in KSA, UAE and Paris. Porta Romanas
pieces are coveted by major design
jrms around the world and can be seen
at Beau Rivage Palace in Switzerland,
St. Regis - Worldwide, Westin, are only
few recent projects.
Recent news?
We are launching our Cachet showroom
on Sheikh Zayed Road with our opening
event being in conjunction with Index,
as a Silver Sponsors at Festival of Inte-
rior Design we would like to provide to
the designer the chance to see the entire
collection of our brands.
Key challenges in the industry?
There are always some challenges for
the calibre of brands which we carry,
with the recent jnancial and political
uncertainties, making it exigent for such
brands to prosper. Nevertheless, our
passion and belief in the strength of
these brands has further prompted us to
expand. All one needs to do is watch, for
example, the craftsmanship videos of
Jonathan Charles or Carpanelli on their
websites, or see a piece in person to un-
derstand where this belief stems from.
How do we contact you?
Sheikh Zayed Road, Safa 1st - Street
22A, Building 111 SR 01.
Tel:+9714 380 8018
Fax: +9714 3808 198
122 OCTOBER 2011 | Commercial Interior Design
By John McLennan, managing director
Tell us about your company?
Indigo Living operates across the whole
spectrum of interior solutions, from
retail to large FF&E projects. We have
three retail stores which are very popu-
lar with the interior design community.
The second is furniture rental: anything
in the stores can be leased from us for
up to two years; this is really good for
show-kats and mock ups. Project work
is our biggest division and are renowned
for our custom manufacture of high-end
FF&E for the hospitality industry.
What projects have you worked on?
Our jrst project in Dubai was The
Westin. Since then weve worked on The
Address Marina, Yas Links Golf Club,
Traders Hotel Abu Dhabi. Weve also
supplied Emirates Airlines with more
than 5,000 units of staff accommoda-
tion. Internationally, were active in
India with DLF and in the Far East.
Recent news?
We launched our new kagship store on
Sheikh Zayed Road in May. In October
we will be re-launching our interior
designer loyalty programme which will
confer a 20% discount for all members
plus a host of other benejts like pre-
views of new collections, in-store events
and personal advisors. Were very busy
with a host of projects here in the UAE
but also in Qatar and Saudi Arabia.
Key challenges in the industry?
The market is dejnitely improving: we
were receiving RFQs through Ramadan
which is unusual. We are seeing a lot
of old projects being resuscitated and
whilst this is obviously positive, it can
be difjcult working with specs and
designs that in some cases are three to
four years old and have not been revised
to rekect current circumstances; in
many cases the original ID jrm is no lon-
ger involved and this obviously makes
things even harder, especially when no
one has been appointed instead.
How do we contact you?
PO Box 282425, Dubai, UAE
T: +9714 339 7705
Indigo Living
By Mithun Nambiar, head of strategy
planning & business development
Tell us about your company?
Al Reyami Interiors is the kagship com-
pany of the Al Reyami Group, specialis-
ing in interior jt-outs and commercial
furnishings with an exceptional focus
on high-end ofjces. Over the course of
the past two decades, we have tied up
with a multitude of reputed international
furniture brands as their exclusive
distributor for the Middle East.
Some of these well known brands
include Knoll USA, Sinetica Italy, Rock-
worth Thailand, Maars Netherlands and
Okamura Japan among others.
What projects have you worked on?
We have an immeasurable client base
across diversijed sectors which include
banking, hospitality and government
A few of our prestigious projects include
Meydan corporate ofjce, RTA Head
Ofjce, headquarters of various banks
such as ABN-Ambro, Union National
Bank, Al-Hilal Bank and the Dubai Is-
lamic Bank.
Recent news?
We have recently inaugurated our new
40,000 square feet state-of-the-art
showroom in Abu Dhabi featuring
a whole host of ofjce furnishings
designed to cater to various tastes.
Furthermore, in line with expanding
our footprint, we have partnered with
Rockworth in opening a 200,000 square
feet LEED Gold certijed factory in the
south of India to manufacture and sup-
ply commercial furniture to the Indian
subcontinent and the MENA region.
Key challenges in the industry?
We have noticed over the past couple
of years that there is a remarkable shift
towards cheaper alternatives with a
price-over-quality mentality. Changing
this mindset of the buyers poses a
great challenge. However as the market
improves we are conjdent that we can
overcome this trial.
How do we contact you?
Toll free number: 800 REYAMI. You can
also reach us at +9714 336 4666.
Al Reyami
Commercial Interior Design | OCTOBER 2011 123
By Shahriar Khodjasteh, group market-
ing director
Tell us about your company?
Since established in 1997, Al Aqili
Furnishings has and continues to con-
sistently deliver value, innovation and
premium brands as the regions leading
kooring specialist and interiors solu-
tions provider.
The steady growth and conjdence in
meeting increasingly sophisticated busi-
ness and residential market needs is
underlined by world-class partnerships
with over 50 global brands that form the
depth and breadth of an interiors solu-
tions portfolio of kooring, fabrics, light-
ing and residential and ofjce furniture,
catering to the contract, distribution and
retail sectors of the furnishings indus-
try. A wide selection of contemporary
and classic furniture can be found at
Decoworld, the name for style, design
and quality furniture and accessories
catering to the most sophisticated
residential and hospitality demands.
The By Appointment Only Francesco
Molon showcases the worlds jnest
offering in the design and production of
classical furniture; a mixture of luxury,
elegance and premium quality that can
only match the vision of excellence at Al
Aqili Furnishings.
What projects have you worked on?
Nikkie Beach Resort, Doha, Qatar; Cin
Cin Wine Bar, Fairmont - Dubai, UAE;
Dubai Airport Concourse Hotel - Dubai,
UAE; Park Place Hotel/Furnished Apart-
ments - Dubai, UAE.
Recent news?
AAF is participating in three largest
exhibitions, Index 2011, Gulf A la Carte
and INFDEX Qatar.
Key challenges in the industry?
The key challenge is the slow pace of the
market right now.
How do we contact you?
Pyramid Centre
Umm Hurair Road
Dubai, UAE
Tel: +9714 335 6811
Fax: +9714 335 6812
Al Aqili
By R Kumar, managing director
Tell us about your company?
Spacewell Interiors was established
in 2007, specialising in turn-key ofjce
interiors (design, jt-out and furnish-
ings). Today Spacewell has grown to a
medium-sized company employing six
architects, three designers, four engi-
neers, over 12 persons in sales/market-
ing/admin/jnance, and more than 65
skilled workmen to execute works at
site (total staff strength 90). We have
a corporate headofjce and showroom
in Dubai (Tecom), with a branch ofjce
in Abu Dhabi. We represent major
international brands such as Haworth,
Fritz Hansen, Orangebox, Fursys, Sidiz,
Egetaepper, EFG and Markant.
What projects have you worked on?
Major recent projects includes turn-key
interiors (design, jt-out and furnishings)
for: Mercedes Benz, Chrysler Corpora-
tion, Hyundai Motors, Sumitomo Corpo-
ration, Royal Bank of Canada, Naburs
Drilling, Cameron Petreco Process,
Brabus Middle East, Motorola, Emitac
Recent news?
We have established a showroom (level
20, Al Shafar Towers, Tecom), have
become a dealer for Orangebox from
UK, just completed a major design/jt-
out and furnishing project for Naburs
Drilling International, and Cameron
Petreco Process Systems.
Key challenges in the industry?
Maintain sustainable sustainability
practices, economical ofjce solutions
without compromising quality,
being able to clearly distinguish
between aesthetics, functionality,
sustainability and affordability
(or ability to combine all the four
together), sourcing talents (human
resources) are the key challenges
faced by the industry.
How do we contact you?
Tel: +971 4 447 7301
Level 20, Al Shafar Tower, Tecom
Fax: +971 4 4477302
PO Box: 125783, Dubai, UAE
Mob: +971 50 5592092
Commercial Interior Design | OCTOBER 2011 125
New on the market
Picciotto is an original stool with
an ivy cap on the top, while the
frame is inspired by the south Italy
waistcoat. It was created by the
Italian designer Fabio Vinella and
it joins design and Italian fashion.
an award in the USA Design Com-
petition Accenti dItalia.
+39 333 891 8957
The word picciotto refers to a
young Sicilian boy with a coppola
hat, the typical south Italy hat,
famous worldwide thanks to
several Italian movies like Cinema
Paradiso. Picciotto has also won
126 OCTOBER 2011 | Commercial Interior Design
Allure Brilliant is the new line of
faucets from GROHE. With exact
edges and cuts, the surface re-
kects the light. Elongated cubes
with chamfered edges rise from
every faceted surface to meet at
precise intersections. Its spout,
a cut-out square called the Aqua
Window, allows a different view
of the water kow, which makes
the slim design look even lighter
and more elegant. Another
design feature is the rectangular
mousseur, whose shape matches
the design of the faucet and
provides a wide water kow.
+9714 331 8070
The new Performing Shower
by Dornbracht allows users to
change the water kow based on
its natural forms. From a power-
ful cascade of water, delicate or
strong spray, to the sensation
of heavy rainfall, it introduces a
range of showering jxtures for
water. It also includes an entirely
new range of rain showers.
The rain showers and the hand-
held showers are available in
champagne, chrome, gold,
platinum, platinum matte, black
matte and white matte. These are
designed by Sieger Design.
With Touch2O functionality,
users can tap anywhere on the
spout or handle to start or stop
the kow of water. Water turns off
automatically within one minute
after the faucet is tapped on.
With Touch2O.xt Technology,
users can also have an entirely
hands-free experience. The fau-
cet automatically responds when
users approach the sensing jeld,
which is all around the faucet. No
infrared sensor is used. Moving
hands out of range intuitively
shuts off the water kow within
seconds when not needed.
+9717 243 1232
+9714 335 0731
128 OCTOBER 2011 | Commercial Interior Design
In October 2011, InterfaceFLOR re-
leased its Once upon a Tile series
of latest carpet tile collections in
the Middle East, which is targeted
at architects, kooring contractors,
specijers and interior designers
throughout Europe, Middle East,
Africa and India.
The latest series is made up of the
following collections: Concrete
Mix, Scribble, Vintage Ornate
& Rejne, Circles, Consolidation,
Vintage Reissue & Nebbia,
Cellular and Luxury Living.
+971 4 335 2499
Commercial Interior Design | OCTOBER 2011 129
PRODUCTS 130 OCTOBER 2011 | Commercial Interior Design
London-based designer Timothy
Schreiber has launched the
carbon jbre version of his Plooop
Chair. He worked with Fi-tech
Ltd, aerospace and motorsports
carbon jbre manufacturers, to
produce it. The Plooop Chair is
5mm thick and weighs 2.5 kg.
Patricia Urquiolas Husk for B&B
Italia is a hard shell with a series
of cushions. With a wide range of
colours and jnishes of the shell,
the swivel base-frame with four
spokes and covers, Husk can
change its look. It uses recycled
and recyclable materials.
+97150 557 4677
Director of iDealgraphy,
Joongho Choi has designed the
Bachag Chair made from wood
and aluminum. According to
Choi, it was meant to create a
mix and match style of furni-
ture and fashion. He said he
wanted to show contrasting im-
ages of different expressions.
It was designed to be structur-
ally sound, user-friendly and
be comfortable.
+88 10 9149 2402
- exclusive luxury bronze art from Germany.
- Limited Editions from famous artist.
- Bespoke art- manufacturing and custom designs
German Bronze Masters - the best in Bronze living culture -
purebred Arabian
Stallion, silver
plated Bronze, by
Don Alberto Carlos.
2,85m high
FINE ARTS Wohnkultur
Ltd. from GERMANY is
the producer of fa-
mous European Artists
bronze creations, we
ensure that we deliver
the clients vision to
superior quality and
- the Best in Bronze Living Culture & art -
visit us at INDEX Dubai:
Hall 2 D80
132 OCTOBER 2011 | Commercial Interior Design
Hanna Werning has launched a
new wallpaper collection for Bor-
stapeter, her third for the jrm. The
colour explosion combines exotic
surroundings with Nordic nature.
Flora and fauna inspire the pat-
terns of Wernings collection, with
names such as Solkoja, Rvdunge
and Klttervippa all referring to
Swedish nature.
The collection also features
elements like clinging vines,
kowers and the occasional parrot.
It consists of 20 wallpapers, of
which six are taken from the jrst
collection that Werning designed
for Borstapeter.
+9714 330 6899
Discover the art
of storytelling
The wallpaper collection Communication is a tribute to storytelling. An art form that shapes us as
human beings. Discover more wallpaper patterns on the web at
Design: Library taken from the collection Communication. See the whole collection at
My grandmother always
told me that the books
that help you the most
are those which make
you think. That is a spe-
cial message I can relate
to everyday when I look at
my living room wall.
Sophia, Writer, 28 years
134 OCTOBER 2011 | Commercial Interior Design
A range carried by Dubai-based
The Oriental Woven Art is the
Haynes Robinson collection. This
collection is designed by Ameri-
can carpet designer, Haynes
Robinson, who traveled to
remote southern Iran to connect
people of diverse religious, po-
litical and cultural backgrounds
through art, colour and design.
The traditional Persian knots,
passed down to the woman of the
Qashqai tribe by their ancestors,
are used to create each carpet.
Natural dyes are used to colour
the wool and silk.
Lanza is a newly launched
furnishing fabrics collection of
small scale weaves ablaze with
colours. Bright, contemporary
colours and soft elegant shades
are skilfully combined with
neutrals and metallics to create
striking visual effects in this col-
lection of stripes and small scale
geometric weaves.
Colours and patterns available
include Pesto, Jaipur Pink, Siver
Blue, Whitewash, Pumice, Car-
bon and Viridian.
The collection is available in GCC
and India.
+9714 351 7168
+9714 394 6989
The 20X50 collection is a unique
size offering from RAK Ceramics
that integrates a novel design so-
lution to meet the demand of the
growing trendy urban lifestyle.
The collections trendy tile size of
20x50 strikes a perfect balance of
vivid colours and surface textures
having unique effects to create
a fresh look with umpteen inge-
nious combinations.
Ideally suited for urban-chic style
bathrooms and kitchens with
a striking range of options at a
competitive price.
+9717 244 5046
136 OCTOBER 2011 | Commercial Interior Design
Kashida is a newly established
Lebanese product and furniture de-
sign company, which brings Arabic
letterform to interior spaces. The
company was co-founded by Mirna
Hamady and Elie Abou Jamra, both
graphic design graduates from the
American University of Beirut.
The word kashida is the Arabic
term for the glyph that is used to
elongate the spacing between two
letters, creating a smooth bridge
between them. Launching as a start
with its Kashida Classic line, the
company will product new designs
several times a year.
+97150 499 6651
it just takes a special eye to see it
www. i ndexexhi bi ti on. com
The most innovative design starts with a designers vision.
Visitors to INDEX understand that great design is much more than
simply assembling, arranging or editing, it is something that is felt!

Showcasing products and services that range from traditional to
quirky, opulent to minimalist, INDEX provides all the creativity and
inspiration you need for your next design project.

To nd out more and to register online, visit:
Scan the QR code
and become part of
the INDEX evolution
Halls 1, 2, 3, 4, 5, 6, 7, 8, Sh. Rashid Hall and Sh. Maktoum Hall | Dubai World Trade Centre, UAE
Opening Hours: 22 October 11:00 - 19:00 (public admission) 23 - 24 October 11:00 - 19:00, 25 October 11:00 - 18:00.
No children under 18 years of age permitted to the exhibition.
138 OCTOBER 2011 | Commercial Interior Design
The Aracne table resembles a
spider based on the design of its
supporting structure. It is made
from die-cast and extruded
aluminium components, which
are glued together and painted
in jve different colours. The
range tries to be sustainable by
using 35% recycled aluminium.
Aracnes kexibility lies in
the possibility of matching
the base and the top in the
customers preferred colour
+39 02 36647900
From Creation Baumann, get a
gift box of laser-cut components
of self adhesive textile, which
allows experimenting on window
glass. Available in different
shapes and colours, no suspen-
sion technique or conversion is
necessary. It can be used several
times, leaves no residue and
loses none of its adhesive power.
+9714 355 4867
Bruynzeel develops space saving
storage solutions for archives,
ofjces and repositories for
clients like government agencies,
libraries, museums, universities,
jnancial institutions and health
care sector. It has now expanded
to media storage, paintings and
medical warehousing using
anti microbial powder coating.
800 FAMCO (32626)
CONTRACTS 140 OCTOBER 2011 | Commercial Interior Design
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
(US$. MN)
City of Lights - C10, C10A and C11 Tamouh Investments Palm & Turner Architects China State Construction &
Engineering Corporation
101 - 250 Project under
Mixed Use
Royal City Seasons Hotel in Abu
City Seasons Group James Cubitt & Partners Tae Young Contracting 101 - 250 Project under
Al Yahar Mall SAS Investments Shankland Cox Not Appointed 2.5 - 15 Bidding underway for
the main contract
Marina Bay in Najmat on Reem
Damac Properties Architectural Consulting Group Al Shafar General Contracting 52 Project under
Mixed Use
Al Falah Development in Abu Dhabi
- 2000 Villas
ALDAR Properties Al Torath Engineering
El Seif Engineering &
Contracting Co.
251 - 500 Project under
Deyar Al Mafraq Tourism Development & Investment
Arif & Bintoak Consulting Not Appointed 251 - 500 Bidding underway for
the main contract
ADNOC New Headquarters Abu Dhabi National Oil Company Hellmuth Obata Kassabaum
Six Construct 490 Project under
Ahalia Hosptial in Mussafah Ahalia Hosptial Group Society Technology House Al Mansouri 3B ( Brothers )
30 Project under
Arjaan Hotel Apartments in Adnec Bin Hamoodah Properties GA Architects & Engineers United Engineering
Construction (UNEC)
31 - 100 Project under
Jubail Market in Sharjah Government of Sharjah Godwin Austen Johnson Sun Engineering & Contracting 47 Project under
Nemat Mall in Al Ain SAS Investments Shankland Cox Not Appointed 16 - 30 Bidding underway for
the main contract
Residential Villas in Khalifa City B Mr. Muhammed Saeed Al Muhairy Fourth Dimension Consulting
Not Appointed 31 - 100 Bidding underway for
the main contract
Franco Emirien Hospital in Airport
Franco Emirien Hospital Heberger Engineering Target Engineering 46 Project under
SCA Building in Garhoud Securities & Commodities Authority Archon Engineering
Bu Haleeba Contracting 31 - 100 Project under
17 Non Process Buildings Ruwais
Reknery Expansion
Abu Dhabi National Oil Company Derby Design Ed Zueblin AG 31 - 100 Project under
Exemplary School For Police
Academy in Al Ain
Police Projects Committee Architecture & Planning Group Force 10 General Contracting 16 - 30 Project under
Watani Residential Development -
600 Villas and 48 Buildings
Sorouh Real Estate Ewan Arch. Engg./WSP Group Not Appointed 251 - 500 Bidding underway for
the main contract
Mixed Use
B2B Commercial Building at the
Grand Mosque Area
Tourism Development & Investment
Co./Emirates Property Investment Co.
Khatib & Alami Consolidated
Ali & Sons Contracting 55 Project under
134 Townhouses and Villas in the
Garden Views
Nakheel Corporation Dimensions Engineering
Consultants, Dubai
Ghassan Ahmed Al Khalid
Contracting Co.
2.5 - 15 Project under
488 Villas in Yas Island Urban Planning Council Not Appointed Not Appointed 2.5 - 15 Project in concept
Hospital in Ghyathi Seha - Abu Dhabi Health Services James Cubitt & Partners Not Appointed 31 - 100 Bidding underway for
the main contract
The Agora Mall ARJ Group Access Engineering
Modern Executive Systems
250 - 500 Project under
Waldorf Astoria Hotel in Al Hamra
Al Hamra Real Estate Home of Architecture Al Hamra Construction 82 Project under
Hangar in Al Ain Airport Abu Dhabi Airports Co. Arak Engineering Consultants Al Mahala Contracting &
General Transport
6 Project under
Two Mosques in Mohammed Bin
Zayed City
Abu Dhabi General Services PJSC Al Arabi International
Engineering Bureau
Not Appointed 2.5 - 15 Award awaited for the
main contract
Medical Complex in Arzanah Capitala HDP Overseas Al Habtoor Leighton Group 31 - 100 Project under
Hospital in Sila Seha - Abu Dhabi Health Services James Cubitt & Partners Not Appointed 31 - 100 Bidding underway for
the main contract
3 Commercial Buildings in Muroor
Abu Dhabi Commercial Properties Syrconsult Al Nasr Middle East General
31 - 100 Project under design Commercial
Project Focus
Take the opportunity to show something new at
The Ofce Exhibition . Youll nd thousands of
architects, designers and project managers visiting
the show to nd the latest in design, innovation
and best practice.
Book your stand now
Contact Tim Wilson, Project Manager
t: +971 4 438 0355
r e n t r a p e g d e l w o n K h t i w d e t a c o l - o C y b d e s i n a g r O
15 - 17 May 2012
Dubai World Trade Centre
The Ofce Exhibition
Show something new
CONTRACTS 142 OCTOBER 2011 | Commercial Interior Design
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
(US$. MN)
61 Townhouses at Jaww Ministry of Works & Housing In House Zayani Trading & Contracting
5 Project under
20 Storey Residential Building near
Faisal Sharaf Group Faisal Sharaf Engineering Not Appointed 16 - 30 Project under design Residential
Zawia 03 Nardin Properties Mohamed Salahuddin
Consulting Engg. Bureau
Charilaos Apostilides 16 - 30 Project under
Jeyoun - Phase 1 Alargan International Real Estate City Engineering Abdulla H. Al Darazi & Sons
45 Project under
Residential Compound at Al Murqh Mr. Saud Kanoo Middle East Architects Bassman Contracting 13 Project under
Fakhro Tower Mr. Yousef Fakhro Modern Architects Kooheji Contractors 16 - 30 Project under
Mixed Use
Data Services Center Building in
Ministry of Education Syrconsult Consulting
Aradous Contracting 3 Project under
YBA Kanoo Tower in Diplomatic Area YBA Kanoo Middle East Architects Charilaos Apostilides (Chapo) 31 - 100 Project under
Four 6-Storey Apartment Buildings
at Salmabad
Ministry of Housing In House Al Ghanah Contracting 7 Project under
Ghazi Al Qusaibi Secondary School
for Girls in Hamad Town
Ministry of Works & Housing In House Aradous Contracting 8 Project under
Six Villas in Saar - Pack 2 Mr. Turani City Engineering Not Appointed 2.5 - 15 Project under design Residential
Expansion of Bahrain Training
Institute in Isa Town - Phase 2
Ministry of Works & Housing In House Technical Construction
Company WLL
5 Project under
Survey & Land Registration Bureau
Ministry of Works & Housing Saudi Designers Engineering G.P. Zachariades (GPZ) 36 Project under
Labor Accommodation in East Riffa YBA Kanoo Aref Sadeq Design
Skyline Trading Corporation 2.5 - 15 Project under
156 Townhouses at Darkulaib Ministry of Housing In House Abdulla H. Al Darazi & Sons
13 Project under
Ajyaal Residence Al Dahiya Constructions & Real Estate Middle East Architects Bassman Contracting 16 - 30 Project under
Home Care for the Elderly in Riffa Ministry of Social Development Tashreeq Engineering Al Farea Contracting Est. 2.5 - 15 Project under
Mosque in Hidd YBA Kanoo Not Appointed Not Appointed 2.5 - 15 Award awaited for the
consultancy contract
Shura Ofkce Council Building in
Ministry of Works & Housing Dheya Towkqi Engineering
Not Appointed 16 - 30 Project under design Commercial
60 Townhouses at Askar Ministry of Works & Housing Urban Vision Abdul Aziz Al Sayed Trading &
Contracting Est.
5 Project under
Amwaj Waves Lona Real Estate Davenport Campbell Middle
Charilaos Apostilides (Chapo) 396 Project under
Renaissance Bahrain Hotel at Amwaj Ossis Property Developers Davenport Campbell/MSCEB Charilaos Apostilides (Chapo) 16 - 30 Project under
Future Bank Head Quarters Future Bank Middle East Architects Al Ghanah Contracting 16 Project under
Academic Building in Sanad
Elementary School
Ministry of Education In House Saraya Contractors 1 Project under
144 OCTOBER 2011 | Commercial Interior Design
eople often contact me
with unusual and intrigu-
ing projects. Ive been
asked to paint an almost
life size mural of a rainforest for
the Smithsonian Institute in Wash-
ington, postage stamps for a small
island in the Caribbean and to de-
sign tableware for a manufacturer in
Russia. But I never imagined I would
ever design a marble decoration
within one of the largest mosques
in the world, a commission that, in
many ways has changed the course
of my life.
It began with a call from the
architect Dr Salma Damuluji in 2003
asking if I might like to produce
design proposals for an 18,000m,
marble courtyard, (or Sahan). It
sounded amazing, if somewhat
unreal, but a few weeks later I was
standing amongst huge concrete
domes, archways and bulldozers -
the proposed courtyard was nothing
but sand. Yet, seven years later this
iconic construction, The Sheikh
Zayed Grand Mosque, Abu Dhabi,
opened its doors to the public for
the jrst time.
I was given some sketches
of what Sheikh Sultan, (Sheikh
Zayeds son) envisaged for the
mosques courtyard koor and I
understood why I had been chosen
for the commission. Rather than
using traditional Islamic geometrics,
Sheikh Sultan wanted to use a
free kowing koral design, similar
to many of my textile designs.
After submitting drawings for the
courtyard, he asked me work on
designs for four archways and the
koors in the southern and northern
entrances. Also, the main Prayer
Hall entrance koor and walls. In
each entrance I used kowers from
particular hemispheres, ie plants
from the southern hemisphere are
depicted in the southern entrance
and plants in the northern entrance
are from the northern hemisphere
- I felt this would emphasise the
fact that Islam is an international
faith. The construction of the Grand
Mosque was also a very interna-
tional project, employing engineers,
architects and artisans from across
the world, I was able to work with
the UK consulting engineers, Hal-
crow, Italian architects Spatium and
Fantini Mosaci, also from Italy, who
fabricated the whole of the marble
courtyard koor.
Since opening in 2010, the
mosque receives about 250,000 vis-
itors a month, its amazing to think
of so many people walking on and
looking at my designs. I have been
travelling to the UAE regularly ever
since, seeing clients, working with
galleries and giving arts workshops
in schools. I also have my agents in
Dubai, Carol and Andrew Prince of
RWN Trading.
I like the energy and ambition of
the UAE, it is a country that looks to
the future rather than at its past. The
architecture is simply amazing and I
adore Dubais new metro system.
People are so friendly, and I ad-
mire the way so many nationalities
have integrated into UAE society.
I gave a talk at a school in Dubai
recently and I was told there were
children from 84 countries on the
school register.
Over the past three years I have
been developing my own range of
wallcoverings and textiles, I have
shown them in New York and Paris
and I want to create a collection
for the Middle East. It is an exciting
time for art and design in the UAE,
it seems to me, that the country
has almost everything, a great
Flower power
infrastructure, a skilled workforce
and an economy that seems to be
growing once more - factors that can
only foster a burgeoning cultural
sector. Architects and developers
are willing to be creative and bold
and there is an impressive range of
galleries to be found, often in sur-
prising locations - the industrial sec-
tor in Al Quoz in Dubai for example.
Im sure that when The Louvre and
Guggenheim open, the country will
become one of the cultural capitals
of the world.
At the moment Im busily work-
ing on an exhibition at The Majlis
Gallery in Dubai, for the end of
October. I have been creating large
monoprints and watercolours of
plants from around the globe, in
many ways it all links to my work at
The Grand Mosque and as I said
before, The Grand Mosque changed
the course of my life.
Kevin Dean, artist & designer,
For more info: P.O. Box: 14662, Dubai, U.A.E. Tel: +971 4 3309244, 3364666, Fax: +971 4 3309245, E-mail:




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