Commercial Interior Design - Jan 2010

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COMMERCIALInterior design

Interiordesign

The essential guide for Middle East interior design professionals

An ITP Business Publication

Jan Vol.6 Issue 1

September 2009 Vol.5 Issue 9

January 2010 Vol.6 Issue 1

ROSS LOVEGROVE

Catching up with the champion of intelligent, organic design

BEST OF BAHRAIN

Exploring market opportunities on the island of Bahrain

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

ALL EYES ON YOU Art and crystal collide in a brand new retail concept by Swarovski

Licensed by International Media Production Zone

CONTENTS

January 2010 06

DESIGN UPDATE Sporting success.

09

INDUSTRY SPEAK Leading designers outline their projections for the coming year.

12

DESIGN FORENSICS Why the Rivington Grill is an example of great design.

15

WHITEPAPER

12

17

27

Exclusive extracts from Kenneth Laidler’s paper on the continual assessment of interior designers.

17

DESIGNER Q&A CID gets up close and personal with the champion of organic design, Ross Lovegrove.

22

CASE STUDY Swarovski unveils a new retail concept in the heart of Vienna.

27

DESTINATION FOCUS CID takes a closer look at the Bahraini market.

31

SUPPLIERS YOU SHOULD KNOW A handful of flooring suppliers that you can’t afford to ignore.

35

PRODUCTS A showcase of new products.

38

CLASSIFIEDS CID’s own directory of suppliers and manufacturers.

39

CONTRACTS Your monthly guide to contract tenders in the region, provided

by Ventures Middle East, in conjunction with CID.

40

OPINION Modar Al Mekdad of Gulf Extrusions outlines the merits of extruded aluminium.

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Commercial Interior Design January 2010

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COMMENT

Registered at Dubai Media City PO Box 500024, Dubai, UAE Tel: 00 971 4 210 8000 Fax: 00 971 4 210 8080 Web: www.itp.com Offices in Dubai & London ITP Business Publishing CEO Walid Akawi Managing Director Neil Davies Deputy Managing Director Matthew Southwell Editorial Director David Ingham VP Sales Wayne Lowery Publishing Director Jason Bowman EDITORIAL

Senior Group Editor Stuart Matthews Editor Selina Denman Tel: +971 4 435 6209 email: selina.denman@itp.com ADVERTISING

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Head of Marketing Daniel Fewtrell ITP DIGITAL

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

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

BATTLING OBESITY

I

t’s probably safe to say that no one’s sorry to see the back of 2009.

It was a year brimming with uncertainty, instability, caution and contradiction. For the region’s interior design industry, it was a year steeped in setbacks.

Overheads remained steady while design fees plummeted. Clients became more demanding, but less likely to commit – or pay on time.

‘Value engineering’ became an unavoidable and inextricable part of the design lexicon. Unsightly squabbling over contractual small print grew increasingly commonplace. And a summer exodus combined with Ramadan to wipe out the best part of a quarter.

All in all, not the best of years. But when we spoke to some of the region’s leading interior design firms for this month’s Industry Speak (page 9), we sensed an inkling of confidence creeping back on to the market. Nothing dramatic, of course, but definitely the feeling that 2010 might bring some stability in its wake.

The past year has forced companies (the smart ones, anyway), to reassess who they are, what they do, and how they do it. Any interior design firm worth its salt has spent the last year taking a long hard look in the mirror. Maybe that’s the great lesson of 2009: know yourself, celebrate your strengths, do not shy from your weaknesses.

As an upshot of all this introspection, many firms have come int0 2010 smarter, leaner and far more agile. And maybe, just maybe, the industry is better off as a result – no matter what the balance sheets say. After all, as the straight-talking Ross Lovegrove pointed out in an exclusive interview with CID (page 17): “Things needed to become more efficient. They were terribly obese”.

Circulation Customer Service Tel: +971 4 435 6000 Certain images in this issue are available for purchase. Please contact itpimages@itp.com for further details or visit www.itpimages.com

Selina Denman, Editor

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The publishers regret that they cannot accept liability for error or omissions contained in this publication, however caused. The opinions and views contained in this publication are not necessarily those of the publishers. Readers are advised to seek specialist advice before acting on information contained in this publication which is provided for general use and may not be appropriate for the reader’s particular circumstances. The ownership of trademarks is acknowledged. No part of this publication or any part of the contents thereof may be reproduced, stored in a retrieval system or transmitted in any form without the permission of the publishers in writing. An exemption is hereby granted for extracts used for the purpose of fair review.

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Jan Vol.6 Issue

An ITP Business

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Publication

professionals

Catching up design of intelligent, organic

BAHRAINies BEST OF market opportunit Exploring Bahrain on the island of

The essential guide for Middle East interior design professionals

ALL EYES ON YOU An ITP Business

Art and crystal

collide in a brand

t by Swarovski new retail concep Licensed by International

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Commercial Interior Design January 2010

3

DESIGN UPDATE

Sporting success In light of last month’s Emirates Airline Dubai Rugby Sevens, CID speaks to John Rabone of R&R Design about the challenges of designing a world-class stadium from scratch UAE: Converting a patch of desert into a multi-purpose stadium capable of hosting a world-class sporting event – over a period of only 18 months – is no straightforward task.

When R&R Design was brought on board to prepare visuals for Emirates Airlines’ IRB World Cup 7s bid, the intention was to stage the event at the existing ‘Exiles’ site.

This would be extended to include two new pitches, a back-to-back

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stand with 15,000 seats, a multistorey car park and a medical/ press block, all in time for the IRB World Cup in March 2008. In terms of a time frame, they were already cutting it thin.

Soon after, and somewhat out of the blue, it transpired that the existing Exiles site was in fact going to be demolished to make room for the impressive Meydan development. For all involved, this presented a whole new set of issues.

Commercial Interior Design January 2010

“We now had 18 months, no site and one of Dubai’s biggest global annual events to stage,” noted John Rabone, managing director of R&R Design, and lead designer on the project. “By the end of June 2006 a site on the Al Ain road had been located and a new brief had been defined by Emirates. Initially we needed to get two pitches ready by February 2007 for the local rugby teams to use, as the Exiles ground was due

to close in December 2006,” he explained. “By the end of July, we had the draft masterplan and initial concept sketches of the main buildings complete.

“The Al Ain road site was now a vast area of desert with no power or water available, and the development was to consist of six rugby pitches, a clubhouse for local teams, including 12 changing rooms, a bar and banquet hall, a grandstand to seat 15,000 and

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DESIGN UPDATE

contain ten world-class changing rooms, and VIP facilities, including executive boxes,” Rabone said.

The aim was to create a facility that would lend itself to most major sports. It had to be able to comfortably host intimate ‘local’ events, as well as large-scale, international sporting extravaganzas.

“The design, whilst being a functional day-to-day venue for local rugby, netball and football, which caters for around 2,000 people some nights, also had to be designed around the running of the Sevens and be able to cater for 50,000+ spectators.”

Emirates wanted the new site to retain the feel of the old Exiles 7’s venue, whilst simultaneously

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representing a ‘step up’. The clubhouse, for example, blends ‘old rugby club charm’ with contemporary chic. Warm, vibrant colours are combined with high-end finishings and fixtures.

A members club was put on hold until February this year and will consist of a gymnasium, sports hall, four squash courts, a restaurant, a health spa, kid’s gym, crèche, dance studios, a 50m lap pool, outdoor pool and bar, jacuzzi and four tennis courts.

The extremely condensed timeline had a significant impact on how the project unfolded. “A timeline like this means there’s no real review time. It’s discuss the problem, make the change and

build it. I’d be a liar if I said there weren’t mistakes but this is the inevitable fact given the speed of the project,” Rabone said.

“The main change in the design was, after the costs were found to be unrealistic, we decided to only construct the lower tier of the grandstand, with the option to build the upper tiers in the future,” he noted.

One of the most striking features of the overall design, according to Rabone, is a central, grass bank that flanks pitch two.

“When we looked at the master plan, we wanted to create a family feel to the area between pitch one and two, where you can relax, meet friends and just escape the

grandstands for an hour or so.

“When looking at the concept I’d just returned from the cricket World Cup and had seen the successful grass bank in Antigua where they’d even incorporated a small pool for fans to cool off,” Rabone revealed.

“This was a big influence when we created the banking around pitch two where fans could sit and enjoy the games in an informal atmosphere. Its incorporation would also allow the pitch to be used for concerts,” he continued.

“Seeing the response at the Sevens and World Cup to this area was really pleasing – and for once I new exactly where to find my 14 year olds when it was time to leave!”

Commercial Interior Design January 2010

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INDUSTRY SPEAK

Looking forward Leading interior designers talk to CID about the lessons they learned in 2009, and cautiously outline their expectations for the coming year Consistency and stability are the two things most businesses need in order to perform effectively – and 2009 was noticeably lacking in both. An inability to differentiate fact from fiction compounded the problem, and made for truly murky market conditions.

“The key challenge was reading the market and sifting genuine facts from speculation,” noted Ben Corrigan, managing partner, Bluehaus. “Consistency is key to the success of a business and the turbulence of 2009 made it difficult to make fundamental decisions.”

In practical terms, the economic climate translated into a series of everyday difficulties, highlighted Ellen Bishop, owner, Bishop Design Associates. For one, overheads stayed the same while design fees spiralled downwards, resulting in slashed profit margins. Projects were terminated midway through, and clients became skittish about committing and, more crucially, paying.

“Also, clients started going directly to contractors and not appreciating the value of professional design services.

Interior design is viewed as a luxury service and people, in general, are looking at cutting costs by going directly to the architects or contractors,” Bishop said.

To make matters worse, the summer slowdown was more pronounced than ever. A veritable exodus combined with Ramadan and unstable market conditions to create the ‘perfect storm’, rendering the best part of a quarter essentially obsolete. This catastrophic combo was particularly damaging when it came to developing and securing new business, Corrigan noted.

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“The key challenge was reading the market and sifting genuine facts from speculation. Consistency is key to the success of a business; the turbulence made it difficult to make decisions” Fortunately, the final quarter of the year brought some respite. A slight pick up injected an inkling of stability back into the market and has left interior design firms marginally more upbeat as they move into the New Year.

“Quarter four was optimistic, and we saw an increase in enquiries and new business. Existing clients were also making decisions that were previously on hold. We anticipate that 2010 will bring much the same as quarter three and four of 2009. The summer months will be down, but the year ahead in general should be much more consistent than 2009,” said Corrigan.

“We are more confident, but very cautious at the same time. 2009 was incredibly unpredictable, and we seem to be returning to a (albeit still difficult) more consistent level of business heading into 2010,” he projected.

The first half of the year will be crucial, warned John Rabone, managing director, R&R Design. The challenges experienced by design firms will have to work their way through – and out – of the market. “Survival will be the word for everyone! I think the first six months will be critical for the industry

in Dubai. 2009 has been especially quiet compared to previous years for all design and architecture practices, and this will have a knock on effect for the contractors who follow behind the design companies, so tend to suffer in the second wave.

“It feels much the same as the UK in 1989/90 when the government finally realised there was a recession on and the construction industry ground to a halt overnight. Certainly there will be problems for the contractors and shopfitters who concentrate on the Dubai market, and you can see this already with rates becoming difficult to predict.

“All this will lead to some companies failing, so it will be survival of the fittest – which Dubai needed to return to some degree of sanity,” Rabone detailed.

If there is a silver lining to be found in the struggles of 2009, it is this ‘maturing’ of the market. “I see last year as being a good thing for Dubai as the market needed to be shaken and some of the deadwood removed,” said Rabone.

This ongoing cleansing process will leave stronger, more competitive firms in good stead, Corrigan agreed. “We believe that this recession will mature

Commercial Interior Design January 2010

9

INDUSTRY SPEAK

1

1. Ellen Bishop.

2. Ben Corrigan.

3. Chuck Wood.

10

the consultancy market, and ultimately improve the quality of organisations in the region,” he said.

“The organisations with a genuine, long-term commitment to the region ‘should’ survive, and come out stronger and better equipped. The less professional, ‘quick-buck’ organisations will be pushed out. Long-term, this will mean that consultancy businesses will need to look inwards at who they are, what their market is and what makes them different or better.”

This process of introspection is the key to survival, insisted Chuck Wood, managing director, Rockwell Group Middle East. “I feel that firms need to take a hard look at how they deliver services and at the quality of what they offer, as there is a real need for an overall improvement in both areas.

“Firms that have an ability, and a real interest, in deeply understanding their clients’ needs, and that are able to deliver great ideas and design that serves their clients’ needs, will succeed. Those that can’t, won’t,” he warned.

Design firms will have to be agile, nimble, willing to adapt and quick to react. Intelligent diversification is the order of the day, and companies that remain committed to uncovering new opportunities will find 2010 far easier to bear than those that are resistant to change.

“During the current climate, diversification has become more of a priority than growth, as we feel this is a much more stable business model and

Commercial Interior Design January 2010

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something which excites us,” said Corrigan. “We have just completed a joint venture with a reputable residential organisation, as Bluehaus’ strength has always been commercial, leisure and retail. We feel that with the right partner, Bluehaus can add genuine value to the residential market. We are also looking at opening further regional offices in unexpected markets.”

Rockwell Middle East is also broadening its geographical scope, Wood explained. “We are focusing on regional markets that have strong economies and sound development models. We are also looking at ways that we can strategically partner with other design firms where what we do best complements what they do best, and where we can offer clients a more compelling overall solution for their needs. Finally, we are looking to broaden our reach more deeply into healthcare and transport, where we believe our unique approach can add a lot of value,” he revealed.

Bishop Design Associates, meanwhile, will be exploring ways of offering more holistic design solutions. “We will implement a strategy to offer full turnkey solutions,” said Bishop, who anticipates that “clients will be more focused on budget and will want full turnkey solutions, so there will definitely be a stronger relationship between interior designers and contractors, as they will start teaming up to offer a ‘one stop shop’.”

The consensus? Companies that were able to evolve and adapt to the

3

uncertain, unstable market conditions of 2009 should be cautiously confident coming into the New Year. After a year of questioning their business models, processes and practices, they are stronger than ever – even if their profit margins suggest otherwise.

“I would say that we are more confident coming in to 2010 than we were going into 2009 because we have a better understanding of what is happening with the economy and what we can do to adapt,” said Wood.

“We also have a year under our belts of re-evaluating how we work and of making adjustments so that we can deliver projects more efficiently and competitively, while at the same time remaining true to our DNA as a firm. I think that it is important to keep in mind that recessions create opportunities, for both our clients and for us as designers.”

The market has changed, probably forever. For many, this is both scary and exciting in equal measure. After all, it is often in times of turmoil that largescale, lasting change comes about.

“Obviously, clients are less likely to experiment now, but will want longevity of finishes, so this puts a bigger emphasis on being cost effective and using more sustainable products, which really needed to happen,” Rabone maintained. “I still think you’ll see plenty of gold and marble, as it is a time-consuming exercise to change peoples’ tastes, but there’s no better taste definer than budget!”

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DESIGN FORENSICS

When Interior Design Works: The Rivington Grill, Souk Al Bahar If there is one thing that most of us have in common, it is that we’ve all been present somewhere when someone has made an inappropriate speech.

Weddings are fabulous places for this, although I once stood at a funeral where the vicar began by lamenting that the promise of youth and vigorous manhood had been so untimely plucked by our Lord, only to be told his schedule was wrong, and the deceased had, in fact, been eighty-six. And female.

But weddings are still the most fertile ground when it comes to uncomfortable silences, shocked gasps, muted rage and, invariably, tears from Aunty Meg. And all this first-class entertainment is the result of giving a microphone to somebody with unpracticed communication skills, who fine-tunes those skills by shouting at the dog, complaining down the pub, or mumbling at the television.

Most of us have had to give a speech at some point, and we know how much time we spend making sure that

Gavin Mackenzie and Justin Penketh are the managing partner and senior design manager of Outcast, a Dubaibased company that boasts over 100 years of collective design experience in Europe, south-east Asia, the US and Caribbean, and the UAE. If you are interested in nominating a space ‘Where Interior Design Works’, or in contributing to this section, please contact Selina Denman at selina.denman@itp.com.

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Commercial Interior Design January 2010

there’s something for everyone, that we mention all the right people, in the right order, and remember to thank the sponsors, or the vicar, or Uncle Sid for the loan of his lawn-mower.

If we translate this practice into business parlance, what we are really trying to do is to make sure that we are ‘On Message’. Even with a wedding speech, we are taking our language to market, where it will be judged on its appropriateness, suitability, integrity, and how well it reflects the occasion.

It matters, and it matters a great deal.

There’s no comfort in being told ‘Great speech, mate’, when half the audience are asleep, and the other half want you railroaded out of town. It can be a very unforgiving experience. It is the language that you choose to use that defines you. And it’s exactly the same with interior design.

It’s difficult not to wax pretentious at this stage, but the fact is that design is very much a language in its own right.

And being a language, it is subject to misinterpretation. The clarity with which a designer can successfully communicate an idea is often where an interior space either lives or dies. The struggle to be “On Message” is still the same.

The language of interiors can be every bit as elegant, or witty, or dull and dreary, as the spoken word. It can be as inappropriate and offensive as any tired and emotional father-in-law. Or it can charm, seduce, and enchant. Just like the spoken word, it can appall and repel us, but it can also awe and inspire us.

When you design a restaurant, you are inviting your clients, and customers, to live with what you create. There is no room for apologies if it doesn’t work.

Get it wrong, you won’t get a second chance. Get it right, and it can be the most rewarding, satisfying, and (let’s not beat about) profitable thing you can do.

At its best, the interior design of a restaurant acts in seamless harmony with both the operation and the brand, and nowhere in Dubai is this better demonstrated than in the Rivington Grill at Souk Al Bahar.

Owned by the Caprice Holdings group in the UK, the restaurant is shamelessly British in its approach. But this is not exactly Ye Olde English Pub. Nor does it celebrate 400 years of colonial plagiarism, and it couldn’t be further from the fussy Victorian styling that we have come to associate with off-the-shelf, off-shore ‘typically British’ interiors. On the contrary, this is the unfussy, uncluttered and no nonsense interior of smart-city Britain.

Apparently, being educated in the UK at the moment is all rather ‘tut-tut, haven’t the Brits been naughty boys over the years’. Celebrating British-ness is very much frowned upon, and the apologists are very much to the fore. Not these guys, though. They have clearly decided NOT to throw the baby out with the bathwater. This restaurant seems to look you squarely in the eye and challenge that most tittered at of oxymoron’s: British Cuisine.

And so it is. Roast beef and Yorkshire pudding salad. Barnsley lamb chop with bubble and squeak. Game faggots (excuse me?). Sticky toffee pudding. And you know what? It’s fabulous. This is not a foodie review, but I really could go on.

This highly refreshing ‘hold-the-line’ British approach to the menu is equally reflected in the service offering. Walking in shortly after 6pm, three busy kitchen staff looked up at us and said “Evening, mate”, and I couldn’t help feeling that I was experiencing something of the restaurants City of London, Shoreditch roots. And that is very much the impression that you get. There are no fawning waiters or subservient staff. Quality service has dispensed with any need

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DESIGN FORENSICS

for servility. This is good honest people serving good honest grub to good honest people. There’s a sense of equilibrium among staff and diners and it feels, to be honest, good.

And here’s a question; how much can you learn about a restaurant from a three panel, collapsible screen? Well, perhaps more than you might think.

Most designers in the Middle East are familiar with the concept of ‘localising’ their designs to be in keeping with the region. Again, The Rivington has stood by its guns and resisted the temptation to be drawn into this. So even the screens, which would have been ever so easy to convert into an arabesque tribute, are resolutely plain and understated.

I suppose that is what appeals about this interior. It’s sleek, contemporary and uncomplicated. The layout works, with the kitchen protruding confidently into the space. It’s a diner’s restaurant, and you get the feeling it’s about the diner.

In a region where we have all become almost immune to being overwhelmed by spectacular and awe-inspiring interiors, it is really nice not to be bullied by the interior designer. This interior is clean, comfortable, and welcoming, and you get the impression that it’s more about ‘you’, and less about ‘them’.

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And it works. Not just as an interior space, but as part of the overall Rivington Grill experience. The design is absolutely in sync with the service. The service is absolutely in sync with the menu. The menu is absolutely in sync with the interior. It’s on message, on brand, and it simply works.

But there is more to this than meets the eye. You can’t help but notice, as you approach the restaurant through the dimly lit passages of the Souk Al

There, you see, they have a strong YBA (Young British Artist) clientele. It’s chic, trendy, and very, very cool. And their neon sign reads Lufituaeb Gnikcuf, which is meaningless, of course. Even with a mirror on the opposite wall.

So, a subtle echo of the original?

A little in-joke, aimed exclusively at people ‘in the know’. I can almost hear Monty Python’s Eric Idle saying “Nodnod, wink-wink, say no more, say no more”. How wonderfully British!

It is really nice not to be bullied by the interior designer Bahar, that there is something rather weird, red, and glowing at the end of the corridor. On getting closer, you find yourself reading a sign that says “never let me go” in cursive neon strip lighting.

What? It’s the same inside, where two equally inexplicable signs read “I love to boo hoo” and “fast fast slow fast”.

They are so at odds with the rest of the interior that you’re left wondering what on earth is going on.

But you need to know something about the original Rivington in Shoreditch to understand what this is about.

To get back to the issue of the language of interior design, what The Rivington’s interior tells you is exactly what they want you to know. It is concise, classic, appropriate, unfussy, ‘on brand’ and ‘on message’.

If this interior was a speech, it would probably be something like the Gettysburg address. A mere 268 words.

But my, my, what words they were.

The difference would be that behind the lectern, Lincoln would be wearing Union-Jack board shorts.

By Justin Penketh

Commercial Interior Design January 2010

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LIGHTING

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Our outstanding performance could not have been realized without the family team of Technolight. In fact, our family consists of 57 highly trained sales engineers and installation staff. In addition, we have two showrooms in Jeddah and one in Riyadh all of which are superbly located right in the heart of the city.

Technolight is run by a management team. The managing director and five managers representing different administrative areas of expertise who convene periodically. They run analysis with never-ending improvement cycle.

Technolight has several departments. There are lighting design dept, sales dept, marketing dept, financial dept. pricing dept, and other various activities. Technolight sales stock policy is to keep running items always in stock.

We have about $4 million in stock which gets updated on regular basis.

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WHITEPAPER

The continual assessment of professional designers CID is publishing exclusive extracts from former APID president Ken Laidler’s paper on the need to constantly assess interior designers COMPETENCE IN SPECIFICATION The evolution of a qualified designer into a fully conversant, materials-selection adviser has in recent years given birth to the FF&E designer. The selection of furniture, fittings and equipment must be initiated from the design concept stage by, or in conjunction with, the concept designer. However, in most cases the FF&E designer should themselves be capable of intuitive, creative design, as in the same manner that we can no longer have a draughtsman, we cannot accept a materials selection clerk.

The FF&E designer requires a full knowledge of historical and period design, as well as geographical relevance, to ensure that the materials they are selecting and proposing are in harmony with the design concept or theme.

Perhaps one of the most important roles of the FF&E designer is to know the technical specification of the materials that they are selecting, from weights, pile height and tufts/m² in carpets to absorption rates of liquid into natural materials such as stone and granite.

Given the huge and ever increasing list of materials available for interior specification, the FF&E designer must be constantly researching, cataloging and filing information for instant retrieval.

The FF&E designer is the interior design consultant’s face to the world of suppliers and manufactures and, as such, must have excellent communication

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skills with both outside bodies and the team involved in the project.

Furthermore, the FF&E designer must appreciate the financial implications of his or her selections, from the cost of supply, shipping, fixing and delivery.

ADMINISTRATIVE EXPERTISE While it is clearly understood that most designers dislike administrative duties, because of the complex contractual nature of interior design, a company needs to formulate an effective administration system. Failure to do so will undoubtedly lead to contractual problems with clients, contractors and suppliers.

All levels of personnel within the design team need to understand the design process and how their deliverables fit into the overall mix. However, it is important that one person co-ordinates these matters and ensures that the chain of communication is understood, unbroken and, most importantly, monitored and up-to-date. A design manager or administrator’s responsibility is to follow the project through from receipt of initial enquiry to handover of project, by monitoring letters, transmittals and all other communication.

CONSTRUCTIONAL EXPERTISE Naturally, everybody involved in the design process must have a high level of expertise in construction issues at the stage of design implementation.

Traditionally, in architecture, a clerk of works or contract manager in the employ of the architect would supervise on-site works. In recent times, project mangers tend to be the main point of contact for contractors, consultants and clients.

As interior design implementation becomes a more complex issue, requiring co-ordination of MEP services, audio visual and room management systems, to mention only a few, it follows that the specialisation of site supervision becomes increasingly important. To this end, a design construction manager – who is distinct from the project manager – has become an integral part of the design team. Note that this is a specialist service which may not be included within the normal scope of design services.

The interior design contract manager is required to fully comprehend the design concept, and know the logic of the selection of all materials and furnishings. He or she must be involved in total co-ordination, delivery procedures, completion deadlines, contractor’s payments, architectural parameters, technical specifications and fixing methods of all finishes and fittings.

It is clear that the role of the contract manager is pivotal to the successful completion of a project.

Next month, Laidler will highlight the importance of client awareness and cultural comprehension, and reiterate the need for continuous examination.

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For further details please contact: MALLY CLARKE GEZE Middle East FZE P.O. Box 17903 Tel: +9714 8833112, Fax: +9714 8833240 Mob: +97150 6540632 www.geze.com

DESIGNER Q&A

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Dodging irrelevance Ross Lovegrove tells Selina Denman why it’s easy to be ‘different and stupid’, but extremely difficult to be ‘different and intelligent’

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oss Lovegrove is feeling confident. Having championed organic, environmentallyintelligent design for most of his career, he feels like his message may finally be ‘topical’. With people increasingly seeing innovation as a way out of the current economic crisis, Lovegrove’s philosophy of harnessing modern technologies to promote intuitive, sensitive, sustainable design, is resonating strongly.

The Lovegrove trademarks: using resources wisely, humanising design, and reaching, unapologetically, for a more viable future, are striking a chord.

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“It’s the feeling that if I can stick with it, now is a good time,” he explained recently in an exclusive interview with Commercial Interior Design.

In Dubai to speak at the IFI Design Congress, Lovegrove sat down with CID to discuss the potentially positive repercussions of the economic crisis, and explain why the Middle East should be a region of firsts.

What are you working on right now?

I’m doing Calvin Klein’s new perfume bottle and I’m working on a new yacht in Italy. From an interiors point of view,

I’m working a lot with Artemide and with Yamagiwa in Japan, on new lighting. I just finished Issey Miyake’s new watch and I’m working on new projects with Moroso. There are also new bathrooms – the work I do with Vitra in Istanbul is very important; and I’m working on some architectural projects.

That’s incredible breadth. Is there anything that you haven’t designed yet but would like to?

I think perhaps I’d like to design an incredible house, out of brand new materials, like carbon fibre or something,

1. Ross Lovegrove.

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DESIGNER Q&A

4 5

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8 7

2 3

2. Cosmic Leaf for Artemide.

3&4. Cosmic Angel.

5. Aqua Cil. 6&8. Droplet.

7. Lovegrove also works closely with Vitra, in Turkey.

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where I could express the beautiful changes that could come about as a consequence of a material.

Just the idea that I could take my organic design out into a private space, where I would be given absolute carte blanche to express myself creatively, that is very interesting.

I’m not bullish, though. I’m not someone who has this incredible determination or aggressively goes for something. I mean, I’ve never called a client in my life, and I work with amazing companies. And although in a way I am a bit passive like that – I just see what comes to me – maybe that helps guide my life, rather than me guiding my life and being disappointed when it doesn’t happen as I expected.

Commercial Interior Design January 2010

What were the highs of 2009 for you?

It was an unusual year and not just because of what happened in the global economy. I would say, on a positive note, what’s been good for me is that people are still interested in innovation, and they see innovation maybe as a way out.

With all of the work that I do environmentally, with the solar and the wind, finally there’s a wonderful synergy between organic design, the natural environment, and the technology needed to make things happen – harnessing energy, sustainably, for free, for example – which is something that I’ve been talking about for a long long time.

I’m not a designer that has just jumped onto that idea. I have been doing it since I was very young.

It’s not a specific high point, but it’s the feeling that if I can stick with it, now is a good time. It’s a good time for everything that I’ve been talking about.

Maybe this is my window.

I didn’t even take a holiday last year.

I didn’t take a day off all year. I haven’t stopped travelling – I do two or three countries a week. I just want to keep my head down at the moment. Just keep doing what I do, and see how the future unfolds. There’s a lot of irrelevance in the world which doesn’t turn me on, and which I don’t crave to be a part of.

Do you think that irrelevance is particularly prevalent in the design world?

There’s so much. And everybody thinks it’s easy these days. It might be easy to

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DESIGNER Q&A

be different and stupid, but it’s really difficult to be different and intelligent.

That’s not to say that we shouldn’t have joy in it. The thing is that one has to keep a very broad perspective.

It’s interesting that you see a potentially positive outcome from this crisis.

Well, there has to be. Things need to become more efficient. They were terribly obese and we need a level of fitness.

Dubai, for example, is an environment where I see incredible materials being used – materials that are rare. They are so rare and yet they are thrown around so easily. I don’t see the point, really. I have a deep respect for how we use materials.

I think design has become a trend within itself. It’s not a bad thing because it means there are more people who are aesthetically tuned, so maybe they have a better understanding of beautiful things. That’s not a bad thing. It’s just that people that go into design think it’s really easy. They only really see the glamorous side of it.

There must easily be a million designers out there. And if you are in the top five or ten, it’s a pretty significant thing.

It’s significant in that you have to stay vital and you have to stay relevant, and

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you have to push forward with ideas.

You have to lead from the front. And the unfortunate thing, often, is that people don’t do that. They find a formula and they keep churning it out. Well, that’s fine but, personally, it doesn’t do much for me. I find that quite vacant.

So, how are you evolving?

That’s a good question. I’ve kept pace with the potential of how you create, meaning that I’m somebody who was taught geometry with a compass and then I did all my ink drawings; I draw beautifully and I can illustrate and visualise – I can do all of that. And now that’s all gone through and we’re embracing the age of the computer, with amazing programmes and things to visualise with.

That’s the feat that everybody was faced with. And your average kid from Vladivostok with a computer can do that now.

So, what is it that you are offering that nobody else can offer? I think it’s a philosophy. I’ve been around long enough, I think, to try and establish a very strong and relevant philosophy, and to know how to work with companies.

I am somebody who can, in a mature way, be solidly behind certain ideas. I like to work with people and feel as if

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I’m not a one-night stand and they’re not a one-night stand. You’ve got to develop with people – and everyone benefits. That was the old model.

The new model seems to be that you can pick up anybody and pay them nothing and get them to design for you. And that’s fine but you wouldn’t want to buy art that way, would you?

Do you think that the design industry is suffering as a result?

Well, there’s a bit too much of everything these days. But everything happens naturally, so if there is too much design, there is a reason for it. So many more people are buying more design, so maybe there’s a need for that.

There’s certainly been a massive transformation in the way people live and in the quality of things around us.

What are your thoughts on design in Dubai?

I haven’t seen much of it, to be honest.

Everything is new so it’s a little bizarre.

It can feel really soulless. It sometimes doesn’t feel natural to me.

I’m interested in contributing to countries, as a kind of cultural translator. Often when I go to new places, I

9&10. Lovegrove has a longstanding relationship with Artemide.

11. He designed Freedom for Vitra.

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DESIGNER Q&A

12

12. Mercury for Artemide.

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think: ‘What could I bring, what could I do?’ And I’m not particularly interested in designing a skyscraper. I could do it, but just because it’s big, it doesn’t mean it’s important.

Maybe because there is an enlightened wealth here, I know people have come to these places as creatives to do things that they couldn’t possibly do in other places, because the financial support is there.

They can be extreme – and I like the idea of being extreme. Like I was talking about building this incredible bubble, or this amazing organic villa, out of carbon

Commercial Interior Design January 2010

or something. You could do it here if there was somebody wealthy enough to say, ‘Why not?’. That doesn’t happen in other parts of the world. I don’t mean to sound so direct but that’s the way it is.

You need the patronage. To do extraordinary things, you need extraordinary people and extraordinary belief.

So, the thing is, if you take this region, it should be a region of firsts.

Because they have the financial power, they should be accessing really incredible, vital ideas. The solar trees that I designed for Artemide, for example, they should be everywhere.

They are a symbol of modernity and the environment and giving something back to people, as well as functioning in a really important way. These are the things you should see. You should see incredible vehicles that respond to the heat. We have a global condition where the world is heating up, and they should use this as a test bed.

This is a place in the world that is fighting against nature to survive – and it’s taking incredible resources to do that. So this is a time to use the resources wisely and to prototype new ideas for living.

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CASE STUDY SWAROVSKI WIEN

All that glitters Swarovski Wien is an alluring testament to the diverse nature of the Swarovski brand

1. The new Eclectic Panthers collection is being showcased at Swarovski Wien.

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CASE STUDY SWAROVSKI WIEN

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erched nonchalantly on Vienna’s Kaertner Strasse 24, Swarovski Wien is a dazzling celebration of the Swarovski brand.

Trademark figurines brush shoulders with elaborate chandeliers by world-class designers. Jewellery of all colours, shapes and sizes mingles with mind-boggling works of art by Belgian artist, Arne Quinze. A collection of multi-coloured crystal panthers skulk in a hidden alcove. And a shimmering installation by Japanese designer, Tokujin Yoshioka, towers overhead.

MORE THAN A STORE When he meets with journalists to mark the official launch of Swarovski Wien, Markus Langes-Swarovski, great grandson of the company’s founder, and a member of the executive board, is reluctant to refer to it as a store.

“It is a store – but not really a store.

Yes you can interact with products financially but we have really tried to show Swarovski’s various facets. People normally associate Swarovski with jewellery and figurines and, in some cases, architecture as well, in a more businessto-business context.

“Here, we have really tried to link Swarovski with the world of art and architecture, which is why we have, for the first time, introduced our architectural element for the exterior, the Honeycomb façade, which you can use as a more formal architectural element, rather than just a decorative element.”

Swarovski is keen to highlight that it is more than just a ‘company of technical invention’ – and the new ‘store’ is a physical manifestation of that mindset.

This is a space where people can learn about the brand, interact with its various product lines, and appreciate its

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diversity. “We have one over-arching goal and that is to create amazement and inspiration in people. We are trying to show that we are more than just great jewellers or great producers of crystal.

For us, it’s very important to emphasise the poetry, and the amazement.

Any kind of touch point with Swarovski should be enchanting and, therefore, inspiring,” said Langes-Swarovski.

The company called on Innsbruckbased architects Hanno Schloegl and Daniel Suess to transform the ground, mezzanine and basement floors of a 19th century industrial building into an awe-inspiring, crystalline playground.

The building, which is set on one of Vienna’s busiest thoroughfares, is also home to a hotel.

BOXED OFF The architects opted for a radical transformation of the 1,000m² space, rather than a run-of-the-mill renovation.

“A traditional renovation wouldn’t have been spectacular enough,” noted Daniel Suess. “So we have built a building within a building.”

The original interior was ripped out and replaced with a giant cube structure. The structure, which is covered with an outer glass skin, sits snugly within the boundaries of the building’s original columns, creating an interesting interplay between the old and the new.

The exterior of the cube is enveloped in the Honeycomb, a sparkling surface consisting of cut crystal and thousands of LED light points which can be controlled to create a variety of effects – from glowing lava to glittering ice. “The inner cube is dissolved by light and crystal. This is a novel type of façade,” Schloegl said.

Meanwhile, a series of smaller, irregularly-placed cubes extend out through

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CASE STUDY SWAROVSKI WIEN

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CID SPOKE TO MARKUS LANGESSWAROVSKI ABOUT THE COMPANY’S NEW RETAIL CONCEPT Is this a concept that you will be rolling out to other markets?

Not necessarily. We chose Vienna because of its historical relevance for our company. The founder of the company, my great grandfather, Daniel Swarovski, came to Vienna as a young boy – he used to live in Bohemia, which was the epicentre of glass cutting, and he came to Vienna in 1883 to be exposed to the first electric exhibition. This is where he got the inspiration to build the machines that were able to create crystals, which were basically the foundation of our company.

We also wanted to place it in Vienna because today Swarovski is very much inspired by the cultural mindset of Vienna at the end of the 19th century, where, for the first time, they tried to combine different creative disciplines – fashion, design, architecture, furniture products etc. This is something that we’ve tried to permanently infuse into Swarovski. Obviously, if the concept works well, we will try and find new and strategic locations for it, but it would always be very specific to the city.

Are we going to see you moving more and more into architecture?

Well, we are taking our first steps here, with the Honeycomb façade concept. We wanted to create an architectural element rather than something purely for décor. A lot of visionary architects have played with the principal of crystal in architecture, and we have never leveraged on the principle of crystal, as opposed to the properties. The Honeycomb is a first step, using LED technology to create something that is beyond décor. We are trying to move there slowly. Lighting and architecture are very important fields that we really want to engage in more in the future.

Are you looking to extend the brand into hotels and restaurants, or anything like that?

Well, we had a concept ready for Swarovski Hotels but we said for the time being that we are going to hold back. We’re working on different kinds of entertainment formats right now. One potential is hospitality and hotels, but we are also looking at other formats. We would like to take crystal to a more experiential level, rather than just a decorative level. We had a hotel planned and ready – it was designed by Ron Arad and it was beautiful – but it hasn’t been built yet. It might be built one day.

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CASE STUDY SWAROVSKI WIEN

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the façade, breaking down the barrier between inside and out. Set at various levels, these clear glass cubes jut haphazardly into the streetscape, teasing passers-by with their curious contents.

“The cube is a stage where artists can present their work and showcase their installations,” Suess explained.

These floating stages are currently home to installations by Belgian artist Arne Quinze. His ‘Japanese Stilthouses’ combine recycled materials with crystal to create a poignant commentary on the pace of human development.

“Much of my work is related to human beings,” Quinze explained. “My stilthouses are like humans. They stand on their long legs and they look very fragile, but they are very strong and they will survive, just as we humans have survived. They are full of contradictions and that is so very human.

“Then you have the eyes. I didn’t want it to look like a human eye; it was important that you couldn’t tell whether it was human or animal. Today, we are living in this Big Brother planet, and everybody is watching everyone, and everyone is competing, and the streets are filled

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with cameras,” he said. “For me, it was important to create the impression of Big Brother watching you from the top of this stilthouse.

“Then you have the crystals that are reflecting and absorbing light. Together, all these things make it very human.

That is how I see my installations.”

Quinze was also responsible for ‘Bidonville Wall’, a one-off piece of artwork that greets visitors as they step through the main entrance of the store. The fiery red installation makes a striking first impression and reiterates some of the themes introduced by the stilthouses.

Apart from this initial, intense splash of colour, the interiors of Swarovski Wien are characterised by a decidedly muted tone. Dark greys dominate, with a white floor chosen for obvious contrast.

Lighting has been carefully selected and positioned to ensure that the crystals are presented in their full glory. “The inside is more muted so that the focus falls on the products themselves. The cube glitters on the outside but is darker on the inside,” explained Schloegl.

Tokujin Yoshioka’s Lake of Shimmer forms an arresting centerpiece, and is

a unifying element that extends across all three floors. The 88m² wall is made up of 16,000 small, independent mirrors to form a silvery, shimmery surface reminiscent of a lake. Each mirror can be individually controlled to create a variety of motifs and patterns of movement.

The overall result is what LangesSwarovski refers to as a ‘multi-level’ experience. This is literal, of course, considering the three-storey space, but also metaphorical, referencing Swarovski’s drive to ‘democratise luxury’.

“Swarovski is not technically a luxury brand but, at the same time, it is a luxury brand. We have created a very specific definition of luxury, which we call a ‘modern luxury’ approach. It becomes more and more important, even in times of recession, this understanding of luxury, because luxury is not only defined by exclusivity or scarcity or price,” Langes-Swarovski detailed.

“For us, luxury is more about love of detail; of being inclusive rather than exclusive; of trying to offer the best possible quality with each and every product that we create; while not excluding the elite,” he concluded.

2. The new Honeycomb facade.

3. Bidonville Wall

by Arne Quinze.

4. The interior is more muted.

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DESTINATION FOCUS BAHRAIN

Best of Bahrain Bahrain is forging ahead with a number of large-scale projects

W

hile Bahrain’s construction industry has experienced an inevitable slowdown, a handful of large-scale, high-profile projects are moving ahead – preventing confidence levels from dipping too dramatically.

One such project is a $4.7 billion expansion of Bahrain International Airport, which will include two new terminals, new aprons, separate piers, a people mover system, car parking, road works and related infrastructure. There will also be an adjacent ‘airport city’ with hotels, conference centres, and retail and recreational facilities.

The design contract for the two new terminals is due to go to tender in the first quarter of 2010. The first phase of the expansion will increase the airport’s annual passenger capacity from seven million people to 12 million.

Durrat al Bahrain, which includes 20km² of reclaimed islands at the southern tip of Bahrain, is also moving forward, with Atkins having recently been selected to undertake the architecture and infrastructure design of the third phase of the project.

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islands. Construction work is expected to commence this year.

The $2.5 billion Bahrain Bay megaproject is also proceeding, albeit slower than planned. The project is located off the north eastern coast of Manama and will consist of more than 40 buildings and towers designed by leading architecture firms. Two of the anchor developments, Four Seasons Hotel and Raffles City Bahrain, have both suffered significant delays, but the third anchor development, the $150 million headquarters for Arcapita Bank, is expected to be finished by the end of 2010.

Meanwhile, Dubai developer Ishraq recently announced that it had broken ground at the site of the 22-storey Holiday Inn Express hotel in Manama. The 279-room hotel is due to open its doors in the third quarter of 2011 and marks the Holiday Inn Express brand’s first GCC venture outside of Dubai.

“We are very excited about our entry into Bahrain and the opportunities its hospitality sector holds,” said Sami Al Ansari, CEO, Ishraq Gulf Real Estate.

Dubai-headquartered Purity, a supplier of leading Italian brands, reiterated the growing attraction of the Bahraini market. “Bahrain has some interesting developments at present and it seems

to be growing at a great pace,” noted Laurence Dehlen, sales manager, Purity.

“There is also a lot of design work taking place there for projects in Saudi Arabia and Qatar, since it is strategically located between these two larger countries. We have noticed that many of the design firms present in Dubai have been opening up offices in Bahrain over the past few months, and there seems to be great yearning for design and knowledge about luxury brands in this small kingdom,” he said.

In response, Purity will spend the next three months refurbishing its gallery in Bahrain, in order to offer a larger space that features all of the brands currently offered in Dubai.

According to Afaf Ebrahim, director of Bahrain-based Inoui Designs, the standard of interior design in the kingdom is particularly high. “There is great competition in the Bahraini market when it comes to design. Most designers are equipped with great talent and the latest technologies and techniques, which result in unique and mature design solutions. To enter the Bahraini market you need to be aware of certain challenges, and of the nature of the market, in order to compete with these extremely talented companies.”

1. Bahrain.

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DESTINATION FOCUS BAHRAIN

Club class The Capital Club Bahrain offers luxury in all its different guises

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s a general rule, if you can get people waxing lyrical about the bathrooms, it’s fair to say that your interior design scheme has made an impression. And, clad in black marble, with unending views of the skyline and koi fish adorning the walls and ceilings, the whimsical bathrooms at the Capital Club Bahrain are the talk of the town.

They round off a project that promotes luxury in all its different guises.

The company behind the interiors, Design Worldwide Partnership (DWP) was brought on board to create a facility that was extremely high-end but still radiated a comfortable, homely feel.

“The brief was to create a club with a residential feel, to meet the demands of those from the top echelons of business, finance and government, who are powering the city’s growth and turning Bahrain into the international business hub of the Middle East,” said Kristina Zanic, founding partner, DWP. The 1,500m² facility is set over two floors, and encompasses a bar, two dining rooms, private meeting facilities, a lounge and a library. DWP wanted to create a series of highly individual spaces that promoted a strong sense of character. “It was critical to give people variety so the club didn’t feel the same

1. The Jade room promotes a Chinese design language.

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DESTINATION FOCUS BAHRAIN

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in all the various rooms,” Zanic said.

“The client, Russell Matcham, executive director of Signature Clubs International, was open to this idea, so we have rooms that are very light and luxurious, and others that are dark and intense. There is personality in each of the areas.”

In the lounge, shades of cream and taupe dominate, with splashes of aquamarine and burnt orange for contrast.

The Members Bar, meanwhile, is highly intimate. Ceilings and walls are clad in a dark walnut finish and enhanced with tan leathers. The bar is clad in a whisky coloured onyx, and low seating is mixed with high stools to break up the space.

The library is home to a more traditional design style. Art sourced from Thailand and the US is coupled with rugs from Istanbul to create a cosy retreat. “The library is very eclectic and I guess it’s more my style,” said Zanic.

“The art also makes a statement as there is a blend of modern and classical touches, with contemporary classical furniture. I think the eclectic direction of the design is very inviting,” she added.

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

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

The design comes to a climax in the Anan and Jade rooms. The Jade room is shaped by an overridingly Chinese design language. “In the Jade room we used shades of green and gave this a very oriental and Chinese feel. Beautiful green onyx was used for the floors and table tops, and there are rich carpets in chocolate brown with Chinese patterns in a deep green shade, which were all custom-designed,” Zanic said.

“Silk green curtains were specified, as well as Chinese lattice screens, to give the room an overall oriental touch.

We decorated the room with amber candle holders and Jade pieces. There was also a special Chinese seating area with antique furniture which was all in a rich dark timber. The intensity of the room is perfect and it gives a true sense of luxury,” she continued.

The Anan room promotes a far more regional feel. In stark contrast to its Asian-inspired counterpart, the Arabic themed space is almost entirely decked

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out in shades of taupe and off-white.

Mashrabiya-patterned stone wall panels divide the space and are brought into focus by light fittings from Istanbul.

“I also spent time going to Damascus and designed several pieces of mother of pearl furniture, which really helped to create a feeling of authenticity. The ceiling is an interesting series of triangular shapes in a 3D effect,” Zanic said.

“Shades of off-white and chocolate brown simply gave the room a serene contrast. The views are also very special and I always say that the inspiration of the room was to feel like you were a part of Bahrain, as you simply blend in with the city and its architecture.”

The only challenge was sourcing the necessary materials to create such sumptuousness, Zanic maintained.

“Getting the materials was a challenge as these were all imported.

“Working with the contractor to achieve the quality and details was a task in itself. I guess with perseverance we got through it. Not everything comes out how you expect it and sometimes you have to compromise – but overall we achieved a new standard for Bahrain in terms of design.”

2,3&4. Each space has its own unique character.

5. Bathrooms are ‘the talk of the town’.

6. The library is more eclectic.

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SUPPLIERS YOU SHOULD KNOW

Flooring suppliers you should know T

he flooring industry has long been at the forefront of the sustainability movement, and ecologically-sound business principles continue to guide its evolution. The major players have placed sustainability at the very top of their agenda and continue to focus on developing ecofriendly products and practices.

InterfaceFLOR, for example, has pledged to take its environmental footprint down to zero by 2020. ‘Mission Zero’ is currently impacting every creative, manufacturing and business decision that the company makes.

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Al Aqili Furnishings has announced that it will be making a point of promoting its eco-friendly product lines this year. This includes cradle-to-cradle carpets and carpet tiles from Shaw Contract Group, another leader in the sustainability stakes. Reiterating the trend is Instep, a local supplier of highquality timber flooring, which is pushing its LEED-certified wood floors.

The other key trend impacting the flooring industry is increasing demand for choice and variety. Interior designers are demanding heightened levels of freedom when it comes to their

flooring choices, and manufacturers are responding accordingly.

For example, Ege offers its popular Highline design bank, which incorporates hundreds of designs. This enables designers to experiment with countless colours and combinations. The company has also launched its Modular Shuffle collection, which is interesting in that there is no recurrence in the pattern.

Each tile is unique, making for entirely original flooring solutions.

We talk to some of the key players in the flooring industry to find out more about what they have been up to.

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SUPPLIERS YOU SHOULD KNOW

Ana Seixas, marketing director, MEA, on InterfaceFLOR’s eco-credentials.

Tell us about InterfaceFLOR. InterfaceFLOR is a worldwide leader in the production of innovative, environmentally-responsible modular floor coverings. The company invented the concept of the carpet tile nearly 50 years ago and has been systematically developing it ever since. Today the company offers a wide range of commercial modular flooring, combining style, innovation and practicality to suit all kinds of buildings.

What sets you apart?

We have a passion for design, innovation and sustainability, and we love to set trends. We were the first carpet tile manufacturer to incorporate the concept of biomimicry into our designs and, through our Convert range (the only in the industry with post-consumer recycled nylon content) we can offer a total recycled content as high as 73%.

What are your bestselling products?

With hundreds of thousands of square metres sold, Straightforward, an unusual micro-tufted carpet tile, and

Instep

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recipient of the Red Dot Award in 2008, has to be one of the favourites of the design community in the Middle East.

But, the Convert range – the first to be manufactured with a full colour spectrum of post-consumer recycled yarn – has also been received with great enthusiasm; its variety of patterns and colours is amazing and its sustainability credentials have made it a favourite for green building projects.

Any recent developments?

We are very excited about our new showroom on Sheikh Zayed Road.

We have designed it as per LEED Gold standards and are looking forward to receiving designers and architects and showing them the latest trends in sustainable modular flooring. We have also reserved each first Thursday of the month for what we call “Awarehouse Tours”, an open day for university students, in which we will highlight the sustainable attributes of the space and address sustainability topics through different workshops and presentations.

How do we contact you?

Tel: +971 (0)504568436. Email: ana. seixas@interfaceflor.eu

InterfaceFLOR

S.V. Vanitha, business development manager, gives us the lowdown.

like borders, medallions, and inlays to make your floors more distinctive.

Tell us about Instep.

For distinguished and superior-quality timber floors, take a step to Instep.

Instep Trading Co. brings you exceptional wood flooring sourced from around the globe.

We offer all kinds of wood flooring, for internal and external use. By offering the finest service, with genuine-quality wood flooring, for the past sixteen years, Instep has earned a reputation for being a specialist in this field. This is also thanks to the impeccable knowledge and expertise of the owner of Instep, the man who turned his passion and inspiration into one of the finest wood flooring companies.

Instep’s core competencies and services range right from design to installation, and also renovation of hardwood floorings. We also design and bring to life beautiful finishing touches

What sets you apart?

All our wood floors are manufactured in various countries around the world. We do our best to meet the requirements of our valued clients.

What are your bestselling products?

Our bestsellers are specially treated wood floors which are completely resistant to moisture and water.

Have there been any recent developments at your company?

We aim to serve the environment by offering LEED-certified wood floors and have also introduced Ekotile, which is made of coconut shells.

Where do we find you?

Warehouse #3, Al Hathboor Warehouse, Marrakech St, Umm Ramool, Dubai. www.instep-floors.com.

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SUPPLIERS YOU SHOULD KNOW

CID speaks to Rashid Youssif Al Aqili, operations director.

Tell us about Al Aqili.

The Flooring Division of Al Aqili Furnishings is the premium floor covering products and services provider in the retail, corporate and distribution sectors. We offer the finest design specifications and quality standards, and are backed by 18 of the biggest brands in the industry. Our division services all scales of residential, corporate and hospitality projects, offering the full range of luxurious wall-to-wall carpeting, rugs and hard floor materials in laminate, wooden parquet and vinyl.

What sets you apart?

We have under our brand umbrella 18 of the most exclusive flooring suppliers, including Shaw Industries, Dixie Group, Nourison from the USA and Boen, Fischer Parkett and Beauliue from Europe. The group also possesses a strong team of over 500 trained layers and installers, and an enormous warehousing facility.

What are your bestselling products?

Due to the quality of the brands we stock, all our products retail very well.

For the coming year, however, we are trying to promote our eco-friendly products and hope to become a committed player in the region’s move toward environmentally-viable products. Our major focus in this group will be on the cradle-to-cradle certified carpets and carpet tiles from Shaw Contract Group.

Al Aqili Furnishings

Any recent developments?

In the last few years, the Al Aqili Flooring Division has witnessed major growth, both vertically and horizontally. We have expanded the range of our offering and have moved ahead in our regional expansion plan by launching operations in Kuwait, Qatar and Bahrain. In addition, we will soon enter Oman.

Where do we find you?

We are based in the Pyramid Center, Oud Metha, Dubai. Tel: +971 (0)4 337 7717; Abu Dhabi: +971 2 677 7800; Qatar: +974 421 7938; and Kuwait: +965 2 482 2767.

Michael Bøgsted, director, Ege Middle East, promotes freedom of design.

Tell us about Ege. Ege is a leading European supplier of unique carpet solutions. We provide our clients with a multitude of carpet concepts, focusing on quality and freedom in design.

We do not limit our clients; we provide possibilities. By means of advanced production technology, only the imagination limits what is possible. This means that we are able to create the best-suited flooring solution for each individual client.

Ege www.constructionweekonline.com

What sets you apart?

The shortest delivery time in the business and total freedom of design. We own the world’s most advanced plant for colouring of textile floorings and can deliver within four weeks – also special orders down to 20m².

What are your bestselling products?

The Highline concept from Ege is an exceptional carpet concept bringing

special attention to the importance of quality and freedom of design.

Wall-to-wall carpets, tiles, borders and matching corridors, for both large and small projects, the Highline collection meets all demands. The comprehensive Highline design bank consists of hundreds of designs. It is possible to experiment with colour shades and combinations to create an expression matching the individual project.

Any recent developments?

The unique tile collection, Cityscapes from Modular Shuffle. The special thing about Modular Shuffle is that there is no recurrence in the pattern. Each tile is unique and when mixed together and randomly installed, unprecedented and varying floor designs are created.

How do we contact you?

Ege Carpet Middle East, Saba Tower 1, Office # 1006, P.O. Box 346017, Jumeirah Lakes Towers, Dubai.

Tel: +971 (0)43756490, Fax: +971 (0)44270306. E-mail: middleeast@ egecarpet.com.

Commercial Interior Design January 2010

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PRODUCTS

New on the market FEONIC F SERIES DRIVES MINDCo Middle East has launched an innovative new audio product, FeONIC F Series Drives, in the Middle East. The audio drives are produced by the UK’s FeONIC Technology and can transform a range of surfaces, from tables, walls, ceilings and floors, to doors and even bathtubs, into speakers. The drives are small in size and can be easily integrated. They have the capability to convert commonly-used, resonant building materials such as MDF, glass panels, plasterboard, plywood, metal sheet and structures, plastics, laminates, honeycomb panels, acrylic, fibreglass panels, wooden structures and so on, into speakers that provide superior quality audio while making the source of audio output completely hidden from view. Importantly, FeONIC Technology also minimises noise pollution, offering near perfect distribution of sound with no reverberation, bounce or echo.

MINDCo Middle East +971 (0)50 554 8958 www.feonic.com

MÓZ DESIGNS Móz Designs, a specialist in decorative metal surfaces, has launched a dramatic new colour palette characterised by earthy, burnished hues. The trendy new tones include shades of copper, gold, champagne, goldenrod, chocolate and cabernet. They are part of an exclusive Móz colour collection that includes more than 30 jewel-rich tones. Móz decorative metals are utilised in a range of architectural environments. Popular applications include wall treatments, suspended ceilings, entry canopies, column covers, counter fronts and bar dies. Double-sided Móz metals can also be specified for use as room dividers and interior decorative elements.

Móz Designs +971 (0)4 364 3936 www.MozDesigns.com

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Commercial Interior Design January 2010

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PRODUCTS

VILLEROY & BOCH Villeroy & Boch has completely revised the design of its whirlpools, and is presenting the second generation of its successful Whisper system. Side jets are now 70% more powerful, making the massage feature more effective and the overall system more energy efficient. The system sets new standards with a noise level that is no louder than the rustling of leaves. The new flush-fitted side jets, which lend the Whisper a special aesthetic look, are a further highlight. The company’s Ultimate Fitness system, designed to provide the ideal prevention and regeneration massage after sport, has also been enhanced. With the Ultimate Fitness system, Villeroy & Boch can now offer the first completely invisible whirlpool system with base and side ‘Invisible Jets’.

Villeroy & Boch Middle East +971 (0)4 3642613 www.villeroy-boch.com

MUKUL GOYAL New Delhi-based Mukul Goyal is the designer of a range of objects for the home, including furniture, lighting and accessories. His designs blend traditional materials with contemporary expression, and his chosen medium is metal with chromed brass. Some items are complemented or embellished with black aluminum, stainless steel and even granite. Mukul Goyal’s signature range of products is now available in Dubai and Oman with plans afoot to expand to other cities in the GCC. Dubai Gifts – Synergy Enterprises +971 (0)50 7706247 www.mukulgoyal.com

PAYDAY J+J/Invision has introduced Payday, the newest addition to its existing Lucky Break Collection. Payday, an all-loop texture, was designed based on the popularity of its sister products, Jackpot and Windfall. It has a somewhat woven and grid-like quality which offers structure to the collection’s product assortment. Payday is created with several tonal and subtle multi-coloured space dyes, combined with Encore SD Ultima nylon. It is available in both broadloom and eKo PVC-free modular backing. “In designing this collection, we wanted to create something that offers both dealers and designers a set of coordinating products with a budget friendly price but that also has personality that can be creatively designed around,” said Sarah Miller, senior product designer, J+J/Invision.

BSH Walls and Floors +971 (0)4 887 2664 www.jj-invision.com

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Commercial Interior Design January 2010

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PRODUCTS

MORE AMORÉ Perennials Fabrics has combined the classic elegance of 15th century Florence with a modern freshness in its new More Amoré collection. The colours and textures of the collection are reminiscent of the walls of a Florentine basilica. The jacquard-woven surface of ‘Tried & True’, for example, creates the impression of an ancient stucco wall, while Sea Salt harkens to images of Mediterranean sunlight shimmering on the water. Other colourways include Pumice, Pecan, Citrus, Dove, Patina and Medici Gold.

In addition to romantic colours and textures, the new collection boasts sumptuous over-printed patterns.

Perennials Fabrics +1 888 322 4773 www.perennialsfabrics.com

JIZARO A specialist in fine, handmade designs in lighting and silverware, Jizaro has extended its range of lights to include five new products. The company is renowned for providing stunning set pieces and exclusive, one-off designs. Each piece is individually crafted, using high-quality materials and techniques that are thousands of years old. The new, exclusive collection, which includes the KT10, HH10, DES10, PTN20 and TT200, is handmade by an awardwinning designer and master craftsman. The lights are made from 100% solid brass, which means that they won’t rust or pit, and are luxuriously coated in chrome. The collection is also offered in nickel, silver or gold, with a complete bespoke service available for one-off designs.

Jizaro +44 (0)8456 806786 www.jizaro.com

OPALE Italian design studio, Sand & Birch has launched the Opale wine cellar. Created for Ellemme Cantine, this is a follow up to the recently-launched Winebag. Opale is a high-end refrigerated wine cellar, designed to mimic a precious black stone wedged into a smooth white base. The wine cellar is 2m high and has a capacity of 100 bottles. It is built in metal and hard polyurethane, while the door is made of insulating glass, which guarantees different levels of thermal and light insulation.

Sand & Birch Luxury Design +39 (0)773 1762584 www.sandbirch.com

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Commercial Interior Design January 2010

37

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Commercial Interior Design January 2010

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CONTRACTS

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

KUWAIT PROJECTS DATABASE - Building Projects Focus PROJECT TITLE

CLIENT

CONSULTANT

MAIN CONTRACTOR

VALUE / VALUE RANGE (US$. MN)

PROJECT STATUS

PROJECT TYPE

Center for Research & Studies at Sharq

Ministry of Public Works

Gulf Consult

Al Jaraih Contracting

12

project under construction

Commercial Buildings

College of Technological Studies at Shuwaikh

Public Authority for Applied Education & Training

Al Dowailah Engineering Consultants

Not Appointed

16 - 30

award awaited for the main contract

Educational Facilities

Vocational Training Institute in Jahra

The Public Authority for Applied Education & Training

In House

Not Appointed

31 - 100

award awaited for the main contract

Educational Facilities

Injassat Tower

Injassat Real Estate

Projacs/KEO International

Ahmadiah Trading & Contracting

20

project under construction

Commercial Buildings

Al Aqeelah Tower

Al Aqeelah Finance Leasing & Investment Co;

Al Mousawi Engineering Consultant

Kharafi National

16 - 30

project under construction

Residential Buildings

Administration Building at Kuwait International Airport

Directorate General of Civil Aviation (DGCA)

Dar Al Handasah/ Jassim Qabazard

Not Appointed

101 - 250

award awaited for the main contract

Commercial Buildings

Health Center at Bayan Palace

Ministry of Public Works

In House

Alamiah Building Company

53

project under construction

Hospital

Immigration Headquarters at Farwaniya

Ministry of Public Works

Kuwait Technical Consultant

Not Appointed

2.5 - 15

bidding underway for the main contract

Commercial Buildings

Ideal High School at Aqaila

Ministry of Public Works/ Ministry of Education

Al Zamami Consultant

Bader Al Mulla & Brothers Company

17

project under construction

Educational Facilities

Kuwait Business Town at Al Mirqab Area - Zone 3

Kuwait Business Town Holding Company

Projacs/Pace/Fentress Bradburn

First United General Trading & Contracting

96

project under construction

Mixed Use

Al Hamra Tower

Ajial Real Estate Company

Al Jazeera Consultants

Ahmadiah Trading & Contracting

241

project under construction

Mixed Use

Hotel at Salmiya

Mr. Fahad Al Maiylem

Al Aliyan Consulting

Not Appointed

31 - 100

project under design

Hotel

Neighborhood Centre at East of Al Ahmadi

Ministry of Public Works

Kuwait Technical Consultant

Not Appointed

40

award awaited for the main contract

Mixed Use

Special Forces Training Facility

Ministry of Public Works/ Ministry of Interior

Dar Al Handasah

Alamiah Building Company

204

project under construction

Educational Facilities

Kuwait Institute of Justice

Ministry of Public Works/ Ministry of Justice

Al Zamami Consultant

Not Appointed

31 - 100

bidding underway for the main contract

Educational Facilities

Kuwait Business Town at Al Mirqab Area - Zone 1

Kuwait Business Town Holding Company

Projacs/KEO Int'l/ Gensler Associates

First United General Trading & Contracting

108

project under construction

Mixed Use

Immigration Headquarters at Farwaniya

Ministry of Public Works

Kuwait Technical Consultant

Not Appointed

2.5 - 15

bidding underway for the main contract

Commercial Buildings

Avenue Shopping Mall Expansion - Phase 3

Mabanee Company

PACE/Gensler

Not Appointed

908

project under design

Shopping Centre

Medical Village in Mahaboola

The Commercial Real Estate Company

SSH/Bernard Khoury Architect

Not Appointed

220

project under design

Mixed Use

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

www com/construction 86 arabianbusiness Commercial Interior Design October 2007 www.constructionweekonline.com

Commercial Interior November 2007 101 wwwDesign arabianbusiness com/construction Commercial Interior Design January 2010

39

OPINION

Moulding the future By Modar Al Mekdad

In an age where structures are taking on more complex forms, and iconic buildings with sophisticated blueprints continue to be considered a status symbol among developing economies, construction professionals and interior designers are continuously in search of methods that will allow them to create innovative designs, while offering innumerable options, without compromising on aesthetics, strength and purpose.

Given these factors, extruded aluminium is gaining widespread popularity.

ALUMINIUM IN THE MIDDLE EAST Aluminium is a key industry in the Gulf because of its close affiliation with both construction and real estate. This sector has managed to remain productive despite the recent financial crisis, due to ongoing construction work across the region. Several far-sighted developers are taking advantage of an estimated 40% drop in construction costs since the last quarter of 2008 to push projects during the slowdown; this has had a positive domino effect on the materials segment.

There have been a number of noticeable developments as aluminium has assumed a greater role as an integral component in the initial and finishing phases of construction. For one, the material is increasingly being used in the external parts of buildings, such as gates, gardens and arches, in order to lend a more aesthetic look.

Another trend is the heavy investments being made by governments across the Gulf to expand their aluminium industries, both upstream and

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Commercial Interior Design January 2010

downstream. There is a growing consensus on the need to build an integrated regional industry to gain a bigger share of global primary aluminium production, which the Gulf currently holds 5.3% of.

ALUMINIUM EXTRUSION The process of extruding aluminium involves a billet of aluminium being pushed by a ram through a die land that is the desired product shape. It is the preferred method to manufacture continuous complex profile shapes for interior design purposes and to be used in several important industries, including construction, aeronautics and automotive. Known for its excellent fabricating properties, extruded aluminium is widely used in modern structures to improve the appearance of a product.

BENEFITS The advantages of extruded aluminium take effect even before it is used in designing the interiors of a structure. For one, it can be produced in large quantities in a short period of time, which will ensure that companies will break even at a faster pace. Further benefits that can be derived from using extruded aluminium from an interior design perspective are detailed below: Malleability: Extruded aluminium is easy to mould into shape, and can be bent or moulded to very tight radii without the use of any special tooling or machinery.

The very nature of the material means it is easy to drill and fix. The extra accuracy of the extrusions process makes the joining of two identical parts very efficient.

Corrosion free, great conductivity: As far as anti-corrosion properties, extruded aluminium is resistant to corrosion due to its extra layer of oxide film. Aluminium is also a great conductor of electricity – far better than the heavier copper – and can even be used as a heat conductor or as a heat reflector in heat shields.

Accurate and cost effective: Extrusion produces a very accurate match across the entire length of the extrusion and any extra pieces, with little wastage, adding to the cost efficiency of the process.

Light but strong: Aluminium is known for being lightweight, particularly in relation to other popular metals such as steel and copper, which are over twice as heavy. However, its weight does not take away from its inherent strength.

Aluminium is a preferred material among contractors and designers due to its various advantageous properties, such as its ability to resist high moisture, sound and heat, as well as its natural air conduction, which lessens the need for air conditioning. Aluminium also has a significant edge in terms of production and distribution. Production is very cost-efficient due to the availability of cheap natural gas feedstock and the accompanying low-priced labour.

The Middle East also has excellent port facilities for exporting, and aluminium is easy and convenient to ship. These factors are fostering the continuous growth of extruded aluminium in the interior design market, among other sectors.

Modar Al Mekdad is general manager of Gulf Extrusions.

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