Commercial Interior Design - Feb 2010

COMMERCIALInterior design An ITP Business Publication Licensed by Dubai Media City

Feb Vol.6 Issue 2

February 2010 Vol.6 Issue 2

Claude Bérubé HOW NANOTECHNOLOGY WILL TRANSFORM DESIGN

Eastern promise WHY EASTERN DESIGN IS MORE RELEVANT THAN EVER The essential guide for Middle East interior design professionals

The essence of

OMAN

SIX SENSES S S S S PROVES O S THAT SUSTAINABILIT S S Y AND LUXURY C AN COMFORTABLY CO -E XIST

An ITP Business Publication

LIGHTING

Showrooms in Jeddah and Riyadh

and

JEDDAH (HEAD OFFICE) Rawada Street Omnia Center P.O. Box 12679 Jeddah 21483 Saudi Arabia Tel. +966 2 669 3241 Fax +966 2 668 3069

CONTRACT FURNITURE

aralazem@technolight-ksa.com

RIYADH Tahlia Street Olaya P.O. Box 17420 Riyadh 11484 Saudi Arabia Tel. +966 1 462 1150 Fax +966 1 465 5406 www.technolight-ksa.com

Technolight was established in 1980. Over 30 years, Technolight has become one of Saudi Arabia’s leading suppliers of lighting fixtures, lighting control systems, wiring devices, contract furniture and security systems with branches in Jeddah, Riyadh and Khobar. We take pride in being the first lighting company to enter the Saudi market and to offer a professional lighting concept solution, marking a landmark in the right direction. Not only did we introduce some of the most prestigious lighting brands and lighting solutions to the Saudi market, but we have also set a professional lighting standard in the Saudi Market.

Our outstanding performance could not have been realized without the family team of Technolight. In fact, our family consists of 57 highly trained sales 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.

Some companies we represent exclusively in KSA are as follows: ERCO (Interior & Exterior Lighting) • WE-EF (Exterior Lighting) • BTICINO (Wiring Devices) VITRA (Office & Home Furniture) • CLIPSAL ( Diming Systems) • COOPER CONTROLS (Diming Systems)

CONTENTS

February 2010 VOLUME 6 ISSUE 2

05

DESIGN UPDATE

09

INDUSTRY SPEAK Eastern design.

12

SHOW PREVIEW The Office Exhibition.

18

PROFILE InterfaceFLOR’s new showroom.

21

18

23

28

WHITEPAPER Kenneth Laidler on the continual assessment of interior designers.

23

DESIGNER Q&A CID speaks to Claude Bérubé.

28

CASE STUDY Why Six Senses Hideaway Zighi Bay is an example to be followed.

32

CASE STUDY The revamped Wen Jun Distillery.

37

FEATURE The latest trends from the world of interior automation.

43

SUPPLIERS YOU SHOULD KNOW A handful of office furniture suppliers you can’t ignore.

48

PRODUCTS A showcase of new products.

53

CLASSIFIEDS CID’s own directory of suppliers and manufacturers.

55

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

by Ventures Middle East.

56

OPINION Trend forecasting by Scarlet Opus’ Victoria Redshaw.

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37 Commercial Interior Design | FEBRUARY 2010

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Changing the face of creativity

Create a unique bathroom expression, individual to the finest detail. That’s the beauty of our new customizable flush plates – they are a blank canvas, just waiting for you to make your mark. www.geberit.ae

COMMENT

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A rarity indeed

I

n the top ten most abused phrases in the design lexicon, ‘we’ve tried to incorporate local influences’ comes second only to ‘sustainability was of paramount importance’. Both sentiments are bandied about with reckless abandon, with little regard for their gravity.

In amongst all the posturing, two massively important issues are cheapened. Creating a contemporary Middle Eastern design language that is respectful of the region’s past, as well as its lofty ambitions for the future, is essential if this part of the world is going to retain its own distinct sense of character. And it’s no secret that creating sustainable design that is mindful of the environment, respectful of resources and able to withstand the test of time, is essential for long-term growth.

It is much easier to bury such sentiments in false protestations and half-hearted efforts than to invest the time and energy needed to make real progress. Which is why the project featured in this month’s regional case study is something of a rarity. Six Senses Hideaway Zighi Bay is an important example of how luxury and profitability can comfortably co-exist with environmental and social sensitivity.

The resort is constructed in traditional Omani style, with flat-beamed ceilings and date palm lattices for shutters, doors, partitions and roofs. Wooden furniture was created onsite by local craftsmen. Wherever possible, materials were sourced locally, and the hotel has taken great care to minimise both its carbon and water footprint.

With Six Senses proving that luxury and sustainability are not mutually exclusive, one wonders why there are so few examples of high-end, locally-inspired, environmentally-friendly hospitality projects around. It all comes down to a lack of knowledge, according to Tara Hammond, the resort’s environment & social responsibilities officer. “There is definitely a misjudgment that being environmentally-friendly will not reap profits, but this is mainly due to a lack of knowledge of what is available on the market, in terms of green technologies, and how giving back to communities will benefit you in the long run,” she explained.

“Furthermore, uncomplicated technology that can be integrated into design, such as low flush toilets, grey water irrigation or saline pools, are all bound to give you a high return on investment – the problem is people don’t know about it.”

Isn’t it time to get knowing?

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Cover image: Six Senses Hideaway Zighi Bay

Commercial Interior Design | FEBRUARY 2010

3

IlBagnoAlessi dOt (sanitary ware, bath tubs, shower cabin, furniture and accessories) is produced and distributed by Laufen Bathrooms under License of Alessi Spa Italy

FORM FOLLOWS FLOW. dOt, design Wiel Arets

Bathroom Culture since 1892

www.laufen.com/middleeast

Bahrain: Al Abbas Gallery +973 17741919 alabbas@batelco.com.bh Iran: Farbar +98 21 88 03 6364 sales@farbar.ir Jordan: Izzat Musa Marji & Sons Co. +962 65 52 02 84 info@marji.jo Kuwait: Arte Casa Trading Co. +965 4848 000 info@artecasa.bz Lebanon: Georges Nassr +961 1 482 462 georgesnasr@zahleh.com Oman: Ahmed Mohsin Trading L.L.C. +968 248 17 019 sware@amtoman.com Qatar: M.S.K Building Material +97 44 440 051 info@mskqatar.com Saudi Arabia: Dar Alfun for Ceramics (Articasa) +96 6 2252 4402 info@articasa.biz Syria: Uni Group +96 31 15 32 67 00 unigroup@net.sy United Arab Emirates: German Home for Bathrooms & Kitchens +971 4 268 9993 info@germanhome.net Yemen: Abu Al-Rejal Trading Corp. +967 1 272 519 sanitary@abualrejal.com

DESIGN UPDATE

Interiors UAE launches Sleepotel ABU DHABI DESIGN E XHIBITION TO INCORPOR ATE LIVE HOSPITALIT Y FE ATURE UAE: The 2010 edition of Interiors UAE will feature the ‘Sleepotel’, a hotel environment where internationally-renowned architects and interior designers can present their design concepts and future trend predictions.

“Sleepotel was launched at our UK event dedicated to the creation of hotels, and was an instant success, demonstrating how architects and designers can capitalise, through clever design, on those often underutilised areas within a hotel,” commented Cathy Oates, organiser of Interiors UAE. The Sleepotel feature includes an entrance by Atelier Nini Andrade Silva, a Lisbon-based interior architecture and design firm.

Meanwhile, the hotel suites and bedrooms were conceptualised by designers from across Europe.

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Oy Vallila Interior was founded in Finland in 1935 and offers in-depth expertise in textiles. Its projects include the design and decoration of hotels, restaurants, offices and cruise ships.

Studio Arcibella is a Helsinkibased interior design office specialising in the public areas of hospitality projects. Its design approach emphasises individualised, high-quality, timeless design and the services it provides range from feasibility studies, customised design, furniture and light design, through to budget management, if required.

Oy Vallila Interior and Studio Arcibella’s room concept focuses heavily on the sensual experience.

The materials are exclusive, natural and warm, demonstrating a contemporary and timeless design

approach. Lighting is based on the latest technology, incorporating new energy-efficient solutions.

Also involved was one of the UK’s most prolific hospitality designers, Shaun Clarkson, who introduced his conceptual take on a hotel bedroom. “A hotel room should be an inspired escape of comfort and luxury,” he said.

“Not just a home away from home, but better! By integrating all the features you would expect in your hotel, we have distracted the customer away from the ‘humdrum’ to concentrate on the bigger picture,” Clarkson continued.

“Our room encapsulates the guest in a gentle mood-changing environment,” he revealed.

Taking place between March 29 and 31 at ADNEC, Abu Dhabi, Interiors UAE will also include a

competition for interior and landscape design students.

Devised by the internationallyrecognised Inchbald Institute, the competition will ask students to explore the concept of ‘high fashion’ by producing a residential design that covers the four key elements of ‘sleep, eat, play and bathe’. Students will be encouraged to concentrate on spatial planning, spatial sequence and proportion.

Judges are international fashion designer Ben de Lisi, Alan Hughes of The Inchbald Institute, and representatives from RPW and The Association of Professional Interior Designers (APID).

Entries must be submitted by February 28, and finalists’ designs will be on display throughout the Interiors UAE event.

Commercial Interior Design | FEBRUARY 2010

5

DESIGN UPDATE

Building Burj Khalifa DUBAI’S NE W SUPER-SCR APER BOA STS SOME OF THE HIGHEST INTERIOR SPECS IN THE INDUSTRY. DAVID INGHAM AND CL AIRE FERRIS-L AY TALK TO THOSE RESPONSIBLE FOR ROLLING THEM OUT

6

FEBRUARY 2010 | Commercial Interior Design

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DESIGN UPDATE

UAE: The specification on the Burj Khalifa project is one of the highest that industry veteran, Talal Saeed, managing director of Fino International, has ever encountered. “The specification is one of the highest I’ve ever seen and experienced. There were so many consultants supervising and reporting to each other to make sure everything works perfectly.”

Dubai-based interiors specialist Fino International was appointed to work on three separate areas of the world’s tallest building. The job, which is now almost complete, has taken 33 months and is worth AED400 million to Fino.

One section of the work was the tower’s public areas, including the main entry lobby, the Armani café, various restaurants, prayer areas, a health club and spa. A second part of the contract was the corporate offices and private offices of Emaar, on levels 152 to 154.

The largest part of the job was the fit-out of the Armani Residences and the Armani Hotel Dubai, which required painstaking attention to detail and close coordination with teams from Armani and Emaar Hotels. Materials such as marble, onyx and gypsum were sourced from countries as far wide as Canada, Pakistan and Madagascar. Those materials were shipped to Italy, where they were treated and inspected, and

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then sent to Dubai for cutting and water-jetting prior to installation.

A brand new type of paint, developed by Armani specifically for the Burj Khalifa project, was used throughout the Armani properties.

Four coats of the paint had to be applied, with at least 24 hours of drying required between the application of each layer.

Reflecting the level of care that has gone into the building, Saeed explained that every single wall in the hotel had to be inspected and approved by SOM, the project architect, Turner, the construction project manager, and Armani. The hotel will open on March 18, while handover of apartments in Armani Residences will begin in February.

Fino International started the Burj Khalifa project with around 300 people on site, a figure that rose to around 2,500 people at peak times. Fino was also the last company to make use of the crane on level 154 of the building, which it employed to help lift large sheets of glass.

Saeed described working on Burj Khalifa as both “enlightening” and “surprising”. Striking factors were the incredible heights, the fluctuations in temperature between ground and upper levels, and the strict enforcement of health and safety procedures.

“You cannot just bring a new employee along and go inside,”

said Saeed. “You have to give them a lecture on how to move around inside the building and what to do in case of fire… there were training exercises for the workers almost weekly.”

Nadim Akhrass, managing director of operations for Depa, which was contracted to fit out all of the building’s other residential apartments, also drew attention to the logistical challenges of working on the world’s tallest building.

Depa regularly works on largescale projects such as luxury hotels, airports, cruise ships, malls and offices. But completing the Burj Khalifa, while simultaneously installing the interiors for another of Dubai’s major projects, the Metro, was undoubtedly one of its toughest tests to date.

“To move hundreds of workers up hundreds of floors to the final work location, to feed them, take care of their sanitary facilities and get them back to buses at the end of the day is a very challenging process,” Akhrass explained.

“We never expected it to be an easy project; after all, this is the world’s tallest tower and we always knew it would be challenging,” he continued. “The bright side is that the world will soon be able to see the fruits of three years of very hard work.”

Many of the problems centred around transporting thousands of

tonnes of materials up to some of the tallest residential apartments in the world. Then there was dealing with the sheer size of Depa’s labourforce. While the firm had 150 staff working in the office from the beginning of the project, during the peak of construction, which continued for more than a year and a half, the firm employed more than 2,400 labourers onsite.

To overcome the time constraints, Depa ensured that all transportation of materials, which included a staggering 8,000 tonnes of marble imported from Italy, 100,000m² of parquet flooring and 8,500 timber doors, was completed at night.

Depa won the ‘S06’ contract to fit out all of the building’s residential apartments in April 2006. As part of the mandate, the firm has completed the interiors of 900 apartments between floors 19 and 107 on the middle tiers, which are located above the Armani hotel.

Akhrass said users will be more than satisfied with the end results of the firm’s hard work.

“The apartments are beautiful.

While the contractors had a tough time building them, the end users will enjoy very high-end, quality apartments,” he said confidently.

“When visitors get out of the lift, they won’t feel like they are in a residential building. It’s more of a high-end hotel finish.”

Commercial Interior Design | FEBRUARY 2010

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INDUSTRY SPEAK

Eastern promise WHEN IT COMES TO INT ERIORS, E A ST ERN DESIGN PRINCIPLES ARE MORE RELE VANT T HAN E VER, SELINA DENM AN DISCOVERS

W

1

2

3

ith space becoming an ever-more valuable resource and sustainability becoming increasingly important, ‘eastern’ design principles are more prevalent – and relevant – than ever.

Interior design education has traditionally been very Euro-centric, noted Shashi Caan, president of the International Federation of Interior Architects and Designers (IFI), and founder of the Shashi Caan Collective – but there is still plenty to learn from the East.

“Western interior design education, like that of architecture, has been strongly tied to Euro-Mediterranean history. Eastern philosophy, however, holds a radically different set of design foundations and offers fascinating insights for the western designer.

“Most importantly, having developed from entirely different cultural and geographic conditions, the East challenges us to reconsider our concept of human needs and the conditions required to enhance human life – these being the central concerns of interior designers,” said Caan.

While a number of countries are proving influential, Japan has emerged as a particularly important source of inspiration. “Japan is probably one of the most notable influencers at present. It may be because space and resources are becoming scarce,” said Marie-Noelle Swiderski, managing director, Blanchard.

Japanese design is built upon a series of basic principles – and these are resonating with western audiences more strongly than ever. “Japanese design is very distinctive because of its culture-based philosophy and strong ties to historic tradition. It is also distinguished by a number of principals, or aesthetic terms, which include practical design elements as well as qualitative concerns such

as ‘building sincerity into products’, Makoto, and ‘peace of mind and body’, Heisei, which the West might like to call wellbeing,” said Caan.

“It is only recently, perhaps through a greater sense of the word sustainability, that the West has begun to consider these broad – and vital – impacts of design. Sustainable philosophies answer to growing concerns, not only for environmental ecosystems and resource management, but also social awareness and cultural responsibility,” she continued.

For many, Japanese design is defined by its simplicity. “Personally, I believe the characteristics of Japanese design are based on balance and harmony, using a simple material to create a perfect, peaceful space,” noted Mustafa Khamash, managing director of Kart Design.

Balance is key, agreed Alfred Johnson, managing partner, Imagination.

“Eastern design revolves around the balancing of the universe and everything within. Our interiors have taken strong cues from the Japanese, such as the use of pastel shades with strong lines to create a visual balance.

“Clean lines and a clutter-free environment full of simplicity and form are some of the defining characteristics in Eastern design. Vintage Japanese design aesthetic revolves around making the centre of a room the focal point, whilst creating a free-flowing space around it,” he continued.

Understated design elements, such as shoji screens that act as room dividers or sliding doors for wardrobes, contribute in creating an overwhelming sense of calm. And at a time when over-indulgence is being shunned, such understatement is incredibly alluring.

“Simplicity, sobriety, focus and discreet elegance in moderation can only appeal to contemporary trends where excess, overstatement and flaunting

1 Alfred Johnson.

2 Shashi Caan.

3 Mustafa Khamash.

Commercial Interior Design | FEBRUARY 2010

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INDUSTRY SPEAK

are no longer fashionable or appealing,” Swiderski pointed out. “We are far from Victorian drawing rooms, although that does not take anything away from their charm!

“There is true refinement in a product or a design that has obviously been thought through, to allow just the right use of material, detail and space, to achieve optimal functional, sensorial or even sensual impact and result.

“Beyond the scope of interior design or even architecture, the global love affair with sushi, in particular, and Japanese food in general, denotes a

Japanese design is very distinctive because of its culturebased philosophy and strong ties to historic tradition yearning for simpler choices. We all need purity, simplicity, honesty and integrity,” Swiderski continued.

The growing popularity of Japanese food is mirrored by changing attitudes towards wellness, where easterninspired spas, treatments and attitudes are moving into the mainstream.

Eastern music, fashion, artifacts and accessories have also travelled well, as have principles such as feng shui, which have been wholeheartedly embraced in the West.

“One very strong yet still developing influence is that of feng shui and related space- and energy-thinking disciplines. These have made their way into our daily approach to space, colour, materials and shapes, as well as in more mundane aspects such as numerology and astrology in women’s magazines! Applied judiciously, these have considerable impact on design and indeed life,” said Swiderski.

That’s not to say that the infiltration of eastern influences into western interiors is a new phenomenon. “From earliest ventures, the colonial era brought exoticism to the colonisers’ shores, whether

10

FEBRUARY 2010 | Commercial Interior Design

by the collecting of trinkets and other memorabilia that became familiar, such as incense burners, the influence of a certain conception of space utilisation and planning, or indeed profound changes or introduction of new daily rituals, such as tea,” said Swiderski.

In certain pockets of the interiors industry, eastern influences have been making themselves felt for centuries.

Patterned fabrics or low-lying seating in the form of built-in banquets and lowfloor cushions are obvious examples.

“Furthermore, innumerable collections and interpretations of Chinoiseries on fabric and wallpaper have created a strong, attractive niche source for design. De Gournay, and more recently Fromental, have developed their trademark paper or paper-backed silk hand-painted wallpapers from Classical or revisited Chinoiseries, or other colonial scene themes,” Swiderski said.

Lacquered furniture, medallion handles and pagoda legs are further indicators of how eastern trends have wound themselves into western furniture design. “Similarly, the advent on the western design scene of very dark wood, which became all the rage towards the late-80s and mid-90s, is directly attributable to forays into FarEastern styles, where woods used are of darker essences than the more traditional European oak, cherry and beech.

“More classical European furniture pieces made heavy use of marquetry or painted decorative motifs with curves and detailing, which were often also influenced by the Middle-East. Apart from the beautiful richness of lacquered pieces from China, Asian furniture also often relied on simpler lines enhanced by the beauty of wood grain left visible,” Swiderski maintained.

When it comes to notable ambassadors of eastern design, there is an assortment of names to choose from.

Khamash highlighted Tadao Ando, Toyo Ito and Yasumichi Morita, while Swiderski lauded Ryu Kosaka, Noriyoshi Muramatsu for his colourful and very geometric detailed designs, Hiroko Ashihara for her elegant sobriety, Hong Kong’s Joseph Sy for his funky, sometimes supernatural, interiors and

awesome use of lighting, and Calvin Wang in Beijing for his contemporary ethnic sophistication.

In the UAE, eastern design influences have made themsleves felt in a range of spaces, from iconic restaurants such as Nobu, Zuma and Okku, to the JAL hotel in Fujairah and Talise Spa at Dubai’s Al Qasr hotel.

There is a deep connection between Eastern and Middle Eastern design, Mustafa suggested. “I think there is a strong relation between Asian design and Middle East design, especially in the UAE where we can assist in mixing styles and culture under the same roof.

You can see good examples of this in the hospitality segment, especially in restaurants like Nobu, Zuma and Okku.”

In a period characterised by restraint, at a time when societies are reconsidering their social and cultural attitudes, some of the most basic principles inherent in eastern design are striking a chord. But this does not mark the end of ‘western’ influence.

“I think it means a joining of forces, a cultural cross-pollination, if you will, as neighbours keep discovering each other’s strengths, keep taking a page from each other’s book and keep coming back for more as inspiration is fuelled anew,” said Swiderski.

“Extending our connection with the Japanese design culture and learning to integrate these philosophies will spur new critical thinking which, in turn, can only benefit western interior design,” added Caan.

“The balance, fluidity, simplicity, precision and skillful execution both cultures value will go hand in hand with enhanced conditions for intelligent and ethical design, such as ‘Wa’, the blending of opposite entities in order to take them to a higher level; ‘Shizen’, imitating mother nature; ‘Kanji’, programming of the hand and mind; and ‘Mu-ga’, in effect, designing without ego, to name but a few. Such higher philosophies have the potential, when extended through design, not only to better support human behavior but to energise industry and the economy, and to provide answers for some of the pressing social challenges of the modern age,” she concluded.

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SHOW PREVIEW: THE OFFICE EXHIBITION

Offices that work T HE OF F ICE E X HIBIT I ON IS REIT ER AT ING T HE IMP OR TA NCE OF INT EL L I GENT LY- DE SIGNED, ERGONOMIC WORK SPACE S 1

A

recent survey by The Office Exhibition has revealed that almost 90% of workers regard the design and layout of their office as impacting their level of motivation. In fact, out of the 1,000 workers questioned, only 6% maintained that the design of their office had no impact at all on their working life. And yet, only 50% said that they had ever had any sort of workspace assessment.

This discrepancy presents massive opportunity for interior designers and office furniture suppliers alike. “We have noticed an increased awareness of ergonomic design considerations across our client projects but, as the survey clearly shows, there is still some way to go,” said Nick Burnett, design director, CitySpace.

The importance of ergonomics was also highlighted in the survey, where room temperature, back pain and damaged eyesight were cited as common sources of discomfort in the office environment.

While the necessity of a good chair is no secret, some 64% of respondents complained of experiencing some back pain as a result of an unsuitable chair.

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“The survey produced some extremely interesting results,” noted Sinead Bridgett, show director of The Office Exhibition, which is taking place from February 9 to 11. “Whilst most office workers feel that their working environment has an impact on their motivation, not many employers within the GCC seem to be carrying out workstation assessments to ensure they have got the ergonomics right,” she commented.

Further research by dmg world media, organiser of The Office Exhibition, suggests that the number of office projects in the GCC is set to double between 2009 and 2010, meaning that there is plenty of scope for companies to improve their ergonomic credentials – and plenty of opportunity for those involved in the design and fit-out of effective office spaces.

Buoyed by these positive figures, The Office Exhibition will include a number of new features this year. Now in its 9th year, the show will take place at the Dubai World Trade Centre, and will feature over 350 companies across an area of approximately 25,000m². Based upon visitor demands in 2009, the exhibition

will this year include four dedicated product sectors: furniture, interiors, technology and consultancy. “We have been working closely with the industry and have listened very carefully to ensure that The Office Exhibition 2010 moves in the right direction to become even better.

“This year, we will have more interesting features, including The Office Awards, which will recognise the industry’s most innovative products that excel in design, sustainability and pricing.”

Also new for the 2010 event is The Future Office, a live demonstration of what working environments will look like in the future. Companies such as Mazari Consultants, Frezza SpA, Quantum Glass, 3D Lux, Skad Media and HP have been enlisted to take part.

“We really wanted to create an exciting feature on the show floor, to preview what the future has in store for our office environments. The latest in cutting-edge design and technology will be on show, demonstrating how we will work differently in the future,” Bridgett said.

Leading companies in the region will gather at the exhibition to promote their

1 The Paso Doble collection from Officeland.

Commercial Interior Design | FEBRUARY 2010

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SHOW PREVIEW: THE OFFICE EXHIBITION

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2 Last year’s Office Exhibition, and bestselling products from key exhibitors.

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latest products and achievements. The Total Office will be launching Powermat

by Teknion, the Futu Chair by HAG, modular tiles by Whitespace and a recyclable product line by Anker Carpets.

Powermat is a revolutionary new way to wirelessly charge a range of devices from a single power source, cutting out the mess of tangled wires. The Powermat wirelessly charges up to three Powermatenabled devices simultaneously.

Powermat has teamed up with Teknion to develop an integrated workstation solution that allows users with receivers either attached or built into their electronics to sit down and work at their workstation, cordlessly. The Powermat technology is essentially embedded into the work surface.

The Total Office will also be showcasing fire-resistant fabrics by Kusch & Co at its stand. Recognising the importance that fire resistance plays in highoccupancy commercial buildings, Kusch & Co has developed Flamline, a selfextinguishing fabric that also reduces smoke development.

FEBRUARY 2010 | Commercial Interior Design

Used on seating, the fabric prevents an incipient fire from spreading, as it does not become an additional ignition source. Furthermore, the seat’s foam is protected against flames by means of a fireproof fabric. The fabric does not lose its protective function during its lifespan and is unaffected when the upholstery is soiled.

Meanwhile, Al Aqili Furnishings’ Officeland will be promoting a selected range of executive desks by brands such as i4mariani, Sitia and Grammer Office.

“The Office Exhibition is a key platform for us to spotlight our exclusive brands and services in a market that is growing in the region. It is a good place for us to meet with potential clients and suppliers and share with our peers the latest in the industry,” said Mohammed Abdul Muktadeer, sales manager, Officeland.

The company comes fresh from supplying the flooring for the chairman’s office, along with three other floors, in the Burj Khalifa. Glazed sepia-coloured carpet tiles from Shaw Contract Group’s Fragment collection were selected for

ofile project. j t With their Eco the high-profi Solution Q Nylon fibre and Ecoworx g, the Green Label certified tile backing, urther testament to Al Aqili’s tiles are a further tions green ambitions.

UAE-based office furniture company, Bafco, will also be present at The Office Exhibition, spreading news of the recent advent of construction of its centralised headquarters and manufacturing facility. The new 22,760m² facility in Dubai Industrial City will reduce lead times from two months to less than two weeks. It will also dramatically improve production output from 50,000 furniture units to 150,000.

“This connection of our disparate operations is of paramount importance to Bafco’s continued success and we are excited to be expanding and moving forward, particularly during these challenging times, when many companies are retracting. Our facility will be a multistorey unit with warehouse, factory, showroom and offices all operating as the central hub,” said managing director, Bafco, Khosrow Fattahi.

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SHOW PREVIEW: THE OFFICE EXHIBITION

ERGONOMICS CHECKLIST

(COMPILED BY T HE OF F ICE E X HIBIT ION A ND CIT YSPACE )

LIGHTING: Is there adequate light, both natural and artificial? Are the lux levels appropriate for the task in hand? Is there variety in the type of lighting available and its distribution? Is the lighting healthy (correct contrast, without flicker etc)? And are there blinds or sunshades, or UV glass windows installed?

AIR QUALITY: Is the air set to an appropriate temperature? Can individuals control their personal/shared workspace temperature? Are the thermostats easy to access and control? Is there access to fresh air? Is the air quality acceptable, in terms of humidity control, recirculation, oxygen levels, and being odour-free?

ACOUSTICS: Are noise levels around the workspace disruptive? Do they affect concentration? This can refer to office equipment, other people’s conversations, music and so on. Does the furniture and

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décor help to muffle unwanted sound, for example carpet versus laminate floor? Is there an allocated space for private and confidential conversations?

FURNITURE: Does the design of the desk, workstation and personal storage facilities meet work-task needs? Is it the right size and height? Is there enough and easy access to files and storage? Is the workstation flexible and easy to reconfigure?

SPACE LAYOUT: Is the proportion of private versus open space appropriate?

Are there enough group, team and meeting spaces? Does the layout of furniture and storage create optimum access routes? Is there easy access to shared facilities such as printers, the kitchen etc? Is the distance between workstations big enough? It should be a minimum of 1m. Is the access corridor space to the workstation wide enough? It should be a minimum of 1.2m,

but preferably 1.5m. Are the doors and windows the right size, according to staff density and traffic? Is the signage and wayfinding adequate and positioned correctly?

Where is the nearest fire exit?

AESTHETICS: Is the office interior design inspiring and motivating? Does the office interior design help support work tasks? Are the colours and textures of the walls, carpets and furniture appropriate?

Does the office décor and furniture conform to HSE/environmental standards?

WORK-STYLE: Does the office design and furniture support the work-style – ie. team work, private concentration, creative, mobile etc? Does the office design help to optimise productivity and workload management? Are there appropriate leisure and F&B facilities? Are the office layout and facilities conducive to taking regular breaks and stretching?

Commercial Interior Design | FEBRUARY 2010

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PROFILE

InterfaceFLOR W H O? InterfaceFLOR makes and sells one of the industry’s largest and most diverse range of carpet tiles, offering designers and customers a wide variety of colour combinations, textures and patterns, ranging from cool minimalism to fashion-conscious carpets. All of the company’s carpet tiles are manufactured in accordance with sustainable principles, taking into consideration Mission Zero – the company’s unique drive to achieve a zero environmental footprint and become the first sustainable company by 2020.

W H AT ’ S N E W ?

Our new office and showroom, designed as per LEED Gold Standards, officially opened in November. The space incorporates many sustainable elements, including our newest range of carpet tiles using Convert, a yarn system which offers a high level of post consumer recycled content on the surface. On the first Thursday of every month we have introduced “Awarehouse Tours”, an open day for university students where we highlight the various sustainable elements of the space and address sustainability topics through different workshops and presentations.

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PROFILE

WHY? We love being creative and being able to assist designers in creating beautiful spaces, so when we decided to move into a bigger office we knew we had to create a space that was able to incorporate our sustainability drive and at the same time become a flagship for innovation and design. We wanted to create a space that is not just a showroom, but an innovative working space; a place that sparks creativity and a passion for a more sustainable world. A place where designers, consultants, specifiers, end-users and students can engage, meet and discuss the latest trends in colours, design, and simply get inspired!

WHERE? InterfaceFLOR’s new 250m² showroom and workspace is located on the 5th Floor of the API Business Suites Building, next to the Ibis Hotel in Al Barsha, Dubai, UAE.

W H E N? InterfaceFLOR’s office and showroom is open from 9am to 5pm from Sunday to Thursday. If you would like to make an appointment to visit the showroom, you can call +971 (0)4 3996934.

T H E FAC E Ana Seixas, InterfaceFLOR’s director of marketing, MEA and India, is the first point of contact for all industry professionals wishing to visit the InterfaceFLOR showroom. “Our new workspace and showroom demonstrates leading-edge design and represents the commitment we have in providing beautiful and sustainable products to our customers. We welcome designers and architects from across the region and look forward to sharing the latest trends in sustainable modular flooring,” she said.

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Commercial Interior Design | FEBRUARY 2010

19

WHITEPAPER

The continual assessment of professional designers CID HA S BEEN PUBLISHING E XCLUSIVE E X T R ACTS FROM KENNE T H L AIDLER’S PAPER ON T HE CONT INUAL A SSESSMENT OF PROFESSIONAL DESIGNERS. IN T HIS FINAL INSTALLMENT, L AIDLER FOCUSES ON T HE BUSINESS DE VELOPMENT ROLE CLIENT AWARENESS AND CULTUR AL COMPREHENSION It could be argued that comprehending cultural differences and being aware of clients’ needs is fundamental for any business – and, indeed, a part of life itself.

It goes without saying that all designers must be aware of the role of business development. Business development in our profession centres on the need to develop the company’s client and project base. In the past, referrals were the only method of increasing business and to a great extent this is still the most effective manner of building a stable business base.

The business development manager is the very first point of contact for new clients and should understand every aspect of the company, from services that the company offers to the approximate time that it would take to deliver (considering the company’s current workload), company ethics, fee levels, the suitability of the company to a certain project or, indeed, vice versa.

The business development manager must represent the very essence of the company, from style to ethics. They are part of the team and should fully understand first, what the design company is offering, and secondly, what the potential client requires.

In many instances the client’s brief may be relayed to the business development manager first, and it is his or her

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interpretation of that first brief that can influence the development of the designed environment.

It can not be overstressed, therefore, that the role of the business development manager is instrumental to whether there is a project or not.

Any business development manager in the interior design consultancy world must be fully conversant with design terminology. In fact, many interior design graduates find their way into business development, where their developed presentation and communications skills are utilised to the full. Furthermore, preliminary discussions with potential clients may often evolve satisfactorily when the business development manager demonstrates his or her detailed knowledge of both the design process and the company itself.

How then do we test or evaluate the business development role? It could be that provided the business development manager is bringing new projects to the company, that is the acid test of their competence, and so long as that continues, there is no need to look further.

That argument stands up very well; if it is proved that the business development manager has little clear understanding of design but is still managing to secure good projects, then why repair something that is not broken?

The alternative argument is that if business can be obtained with this

limited level of knowledge, imagine what could be achieved with greater understanding. In which case, the business development manager’s level of specialisation could perhaps be tested in the areas of scope of services, contractual obligations, brief taking, design deliverables on a stage by stage basis, public speaking, presentation skills, and involvement in marketing and company presentations.

THE TEST It must be stressed that continual development and education is the only way in which any designer can grow. As such, encouragement should be given to all graduates, employed or otherwise, in order to raise the level of professional competence within the industry.

With severe pressure on design companies to meet deadlines, it is not surprising that many companies are not able to offer continual development for staff, and concentrate on literally flying from one project to another without taking time to reflect on their efforts or shortcomings.

There is a real need for practitioners to not only develop but to be recognised for that development. Practical examinations or assessments of this nature encourage practitioners to develop, improve and expand their capabilities, and also enable them to be recognised by their employers and their peers through increases in status or financial reward.

Commercial Interior Design | FEBRUARY 2010

21

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DESIGNER Q&A

The

(nano)

man

AF T ER SPENDING EIGHT YE ARS ENHANCING T HE UAE’S BUILT ENVIRONMENTS, CL AUDE BERUBE HA S MOVED TO M AL AYSIA TO CONCENT R AT E ON HIS OT HER PA SSION: NANOT ECHNOLOGY. CID FINDS OUT MORE

A

regular fixture on the region’s interior design scene, Claude Bérubé’s UAE experience began eight years ago, with a teaching position at the American University of Sharjah’s interior design department. Bérubé then spent time with the interior design department at Ajman University, before heading up the interior design division of the State of Sharjah Directorate of Public Works.

All the while, he was pursuing a separate, if not unrelated passion: nanotechnology. A good number of years ago, Bérubé became convinced

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that nanotechnology could be a key contributor in the creation of a more sustainable society. He subsequently established the Malaysiaheadquartered Nano Solutions Corp, to develop and commercialise nanostructure materials for the architectural, construction, fashion and design fields.

Marking a brand new chapter in a career that has spanned the globe, Bérubé left the UAE at the beginning of the year to take up permanent residence in Malaysia, and focus on his nanotechnology work. CID caught up with him before he left.

Why did you decide to become an interior architect?

My father wanted me to become an archeologist. He was an electronic engineer, but was more interested in archeology, antiques, numismatics and philately. Thus, I grew up surrounded by artifacts, and developed a strong interest in our interior surroundings.

That became a real love for making the interior environment reflect one’s individuality. Creating furniture was a way to express my contemporary culture – just as those who had designed the artifacts I had around me.

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DESIGNER Q&A

been living in Malaysia, but still travelling around the world.

1

1 ‘Smart’ yarns can be injected with silver nano-particles.

2 A brick suspended

I studied product and interior design in Montreal, Quebec and in Birmingham, England, where I received my Masters degree. I returned to Montreal and after two years opened my own office, which by 1980 had become a major player in the design scene in Canada.

2

on aerogel, which is three times heavier than air.

24

How did you end up in the UAE? Nearly nine years ago, I was invited by the dean of the American University of Sharjah to give a talk on ‘New Ways of Working in the Electronic Communication Driven Office’. I then returned to Denmark where I was living at the time.

One month later, the dean sent me an offer to teach. I accepted the offer and moved to the UAE. The interior design department was small and the American University of Sharjah (AUS) did not seem to be interested in improving the status of the course; some ‘architects’ proposed at the time to eliminate or downsize the already small attendance of this course.

After three years at AUS, I wanted to return to practice, but was then invited to become the co-ordinator of the interior design department at Ajman University.

With an impressive 300 interior design students, Ajman had the largest interior design department in the UAE. I accepted to do it for two years with the firm intention of going back into practice afterwards. After this, a student of mine at AUS, Sheikh Khaled Al Qassimi, the director general of the State of

FEBRUARY 2010 | Commercial Interior Design

Sharjah Directorate of Public Works, offered me the opportunity to create an interior design division and gave me direction of this division. I was given total freedom and I implemented design policies regarding the interiors of buildings. This included museums, exhibition centres, hotels, child development centres, university projects, theatres, government buildings and offices.

I spent two years with the Directorate of Public Works and during that period, my nanotechnology solutions provider company in Kuala Lumpur, Malaysia, became very busy and required me to be there on a permanent basis. So, from the beginning of January 2010 I have

How did you first become involved with nanotechnology?

Several years ago, I came to the conclusion that interventions by interior and industrial designers, as well as architects, were highly important in ensuring the balance between our material culture and a more sustainable society.

Unfortunately, that came with a cost that several clients were just not ready to assume.

Just have a look at the Copenhagen Conference on Climate held in December and you can see the concerns of countries wanting to balance infinite human needs based on continual unsustainable economic growth, with the social equity our environment requires.

It became evident to me that economic concerns were not going to fade out and be replaced by a sudden desire to become unconditionally sustainable.

The fact remains that the ‘deciders’ will not subscribe to a solution that places them in an economically weak position.

I believe that the designer’s ethical concerns contribute to the authenticity and elevation of our profession, and therefore decided to investigate other avenues. I have been fascinated for nearly ten years by nanotechnology.

Elevating the profession is not a goal in itself but a process of inner growth in which working toward a sustainable environment can play an important part.

Our profession has changed in recent years and, just as we change ourselves, the world around us also changes.

I believe that nanotechnology will lead to dramatic changes in the use of natural resources, water and energy production, and distribution. Waste and pollution will be minimised and therefore a major impact on a sustainable environment can be expected.

Nanotechnology offers major potential benefits in numerous fields, and holds the promise of contributing significantly to sustainability, based on enhanced properties with decreased use of materials, energy and reduced waste. Nanotechnology forces us to review over a century of industrialisation but also requires us to reconsider

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DESIGNER Q&A

irreversibly our cross-disciplinary approaches and perhaps brings up the need for integrating a more scientific approach in the design-developmentconstruction process.

How can nanotechnology be incorporated into design?

Nanotechnology developments will have a major impact on how we design public places and, perhaps more particularly, hotels, resorts, restaurants, offices, cinemas or hospitals. Nanotechnology scientists have achieved major technological breakthroughs that show the way to the production of strong, light and flexible ‘smart’ yarns for clothing and covering materials used in architectural and interior design projects; fabrics with the ability to conduct electricity and heat, eliminate pests, have hygienic surfaces and provide selfcleaning coatings.

Some of these textiles are impregnated with silver nanoparticles.

Silver possesses natural anti-bacterial qualities that are strengthened at the nanoscale, thus giving textiles the ability to deactivate many harmful bacteria and viruses.

The silver infusion reduces the need to wash the fabric, since it destroys bacteria, and the small size of the particles prevents soiling and stains.

Nanotechnologies can also help make these new textiles more cost-effective, more energy-efficient and more in tune with their environment. What this

means for interior architecture is a new breed of materials with properties only dreamed of until now, such as Nanogel, the strongest and lightest material known to man, anti-graffiti paint, and several new materials integrating a more scientific approach in the designdevelopment-construction process.

So, don’t be surprised when soon your interior architect asks you: “What would you like your selected material to do?” or “Would you like your exterior building surface finish to be self cleaning or to destroy the carbon dioxide in the air around it?”

The façade of the Jubilee Church in Rome, designed by architect Richard Meier, has a self-cleaning surface and even absorbs pollutants from the surrounding atmosphere and breaks them down into benign elements.

Tell us about Nano Solutions Corp?

I started Nano Solutions Corp to act as a vehicle to identify, integrate and commercialise value-added products in the field of architecture, construction, fashion and interior design, in order to commercially exploit the properties of nano-structure materials. So far, the company has successfully commercialised a protective nano mask that kills 99.9% of bacteria.

The Wellness Silver Nano Mask is made of 95% cotton and 5% lycra.

Simply described, nanoscale silver particles are physically and inherently bonded to the fibres of the fabric. The 3

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NanoSilver particles will therefore not wash away. The kill rate of 99.9% is maintained even after the 50th wash.

It also reduces contamination and pollution from indiscriminate disposal of infested disposable masks. Working on an assumption of 300,000 users from a high-risk group using the mask daily over the next one year, there will be a garbage pile of over one billion disposable masks to deal with! This is assuming that they do not use more than one mask a day.

It also means that thousands of trees can be saved a year from being used to produce these paper masks, which eventually clog up drains, rivers and other water catchments reservoirs.

Nano Solutions Corp is also involved in nano-treating hotel linen, making the sheets more hygienic, anti-dirt and anti-smell. The process can destroy more than 1,500 microbes known to cause disease in humans. The process, in addition to saving one million litres of water per year in a 150-bedroom hotel, will shorten the washing time (less energy and water), will require fewer number of washings for a given time (less detergent consumption), and will be done with lower water temperature.

Is awareness of nanotechnology growing in the design community?

Kathy Jo Wetter, PhD from ETC Group, a group dedicated to sustainable advancement, recently said: “When the nanotech wave comes to shore, it will

3 Jubilee Church in Rome, designed by Richard Meier.

4 The church has a selfcleaning surface that absorbs pollutants from the surrounding atmosphere.

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DESIGNER Q&A

bring rapid, monumental, inescapable and potentially devastating change.

Nanotechnology is a ‘platform technology,’ meaning that it has the potential to alter or completely transform the current state of the art in every major industrial sector”.

Therefore, to answer your question, I do not think that the design, architecture and education sectors are sufficiently aware of the changing and potentially devastating effect of nanotechnology in our everyday practice.

So far, principally in Malaysia, I have seen more real estate groups educating architects and designers on the use of nano-materials than the other way around. This position will soon have to change if our profession is to pretend to be at the forefront of development.

Nano-materials are only some of the new discoveries used by researchers to make better use of the materials we have. Designers can play their part in creating this change

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FEBRUARY 2010 | Commercial Interior Design

and seize the rewards of embracing sustainable development – or they can keep delivering incremental change through a ‘business as usual’ position, and be unprepared for the inevitable.

Will it be a threat or an opportunity for designers? We shall soon know!

Do you have any advice for students who are studying design?

It is unfortunate to notice in most design schools that I visit around the world, for forums or talks, that most education systems are based on 20th century technology, with very little space for changes in economics, technology and sustainability.

Designers involved in such educational systems will find themselves singled out when they get into the world of practice, which involves new materials and innovative concepts. It is likely that nanotechnology will change our way of practice as engineers, architects or designers in the near future. That means that

upcoming designers, rather than designing according to the specific properties of various materials, should be able to define the performance criteria they are looking for and then have materials designed to meet these criteria.

Design is not a practice; design is a way of life, a way to perceive the environment we live in and respond to it imaginatively. When you are a designer, you do not retire, you die doing it; if you do not feel this way, don’t get into design or architecture.

My advice to young designers is to make it a way of life from the moment that they engage in their studies: surround yourself with design and do not hesitate to propose alternative material studies to your educational organisation, or to suggest projects involving sustainable and nanotechnology principles.

Be curious, read, get on the net and investigate the development of new materials and new properties, in order to expand your traditional palette.

5 Photo catalytic nano-coated selfcleaning glass.

CASE STUDY: ZIGHI BAY

Omani through and through SIX SENSES HIDE AWAY ZIGHI BAY IS PROVING T HAT LUXURY AND SUSTAINABILIT Y DO NOT HAVE TO BE MUT UALLY E XCLUSIVE 28

FEBRUARY 2010 | Commercial Interior Design

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CASE STUDY: ZIGHI BAY

2

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estled in a hidden fold of Oman’s rugged Musandam region, Six Senses Hideaway Zighi Bay is quietly challenging conventional perceptions of luxury.

The resort, which celebrated its second anniversary last month, is a rare example of how high-end hospitality can seamlessly co-exist with social responsibility and environmental sensitivity. It is also an important example of how a design can embrace local influences and sustainable principles without sacrificing on quality and, perhaps more importantly, economic viability.

A LOW PROFILE

1

A key focus of the Six Senses Group is to create resorts that are in complete harmony with their environment and natural surroundings: “To blend in, not to harm or destroy any habitats, and to use local design, materials and craftsmanship,” noted Tara Hammond, environment and social responsibilities officer, Six Senses Hideaway Zighi Bay. Resort size, exact location, buildings, and topographic and thermal conditions are carefully considered before a resort is built, and the company is constantly exploring new ways to improve its carbon and water footprint.

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

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3

palms, limestone and timber, and used traditional building styles (wattle) to reflect the surrounding indigenous village style of the Omani peninsula,” Hammond detailed.

“The entire property is built using masonry walls which are left unplastered, adding a rustic flavour. The interiors have stucco walls, mosaic floors created from pieces of local limestone, and the villas are all fitted with furniture constructed with wood, all made onsite by local craftsmen, and left unembellished to give a wholesome, organic and sustainable look,” she continued.

The resort consists of a series of low-rise buildings set on an unadulterated bay that is flanked on all sides by

a dramatic, jagged mountain-scape. A restaurant snuggles into the mountainside, some 293m above sea level.

“The signature restaurant has been designed and constructed to blend in with the mountains without damaging the mountain rock and ruining the aesthetics or interfering with the biodiversity of the local environment.

This gives guests a unique opportunity to experience a dramatic dining experience, without causing disturbance to the surroundings,” said Hammond.

THINK LOCAL Unsurprisingly, the company was committed to sourcing materials locally, to ensure that it was both supporting

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CASE STUDY: ZIGHI BAY

5

1 Local materials were favoured throughout.

2 A pool villa bathroom.

3 A shower area in The Retreat.

4 Dining on the Sand.

5 Villas are all equipped with private pools.

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the local community and preserving indigenous architecture. The limestone used for the floors was extracted from the surrounding Hajar mountains, while date palms, known locally as ‘jareed’ were sourced from local plantations in Dibba. Materials that could not be found locally were sourced from neighbouring countries such as India, from responsible, certified suppliers. “I believe that only by sourcing and using these local materials were we able to really produce an authentic product for our guests,” said Hammond.

The design is effortlessly Omani – ceilings are constructed in traditional flat-beamed style, and date palm lattices make up shutters, doors, partitions and roofs. These are entwined with ‘jareed’ to allow inside temperatures to drop a few degrees, offering welcome respite in the hotter summer months.

In terms of landscaping, no trees or plants were removed during the construction of the resort. Instead, efforts were made to conserve the indigenous date palms, of which there are currently over 300 onsite. “We also replant local indigenous trees such as the Sidr and Shakr, which require a minimum amount of water, and are suited for the arid climate of this region,” Hammond noted.

Reiterating the company’s commitment to the environment, all water used on site is passed through an innovative

FEBRUARY 2010 | Commercial Interior Design

reed bed and reused for flushing toilets and irrigating the landscape.

“By use of this bimomimicry technique, we let nature do what it does best – take care of itself sustainably.

This also improves water consumption, as waste water is reused to irrigate the landscape instead of using fresh water.”

Taking things one step further, the resort designed its own water-producing plants – thus eliminating the considerable and unnecessary carbon emissions created by the long-distance transport of bottled drinking water.

BUILDING SMILES The resort’s social and environmental efforts did not end once building was complete. A series of initiatives have been introduced since then, including the ongoing ‘Build a Smile’ campaign.

Currently in its second phase, ‘Build a Smile’ aims to renovate and rebuild 36 traditional houses in the neighbouring Zighy Bay Village over the next two years, in association with the Oman Ministry of Tourism.

The resort is asking for guest volunteers to trade four hours of community work a day, in return for doubling their stay at the resort. During phase one of the project, construction and plastering was completed on 18 houses. Going into phase two, these homes will need to be painted and tiled whilst, at the same

time, work needs to start on the final 18 houses. In addition to work on the villas, the plan is to implement a reed bed sewage treatment facility whereby waste water is treated naturally by the reed beds and subsequently used for irrigation purposes across the resort.

While Six Senses Hideaway Zighi Bay proves that luxury and sustainability are not mutually exclusive, there are still very few similar examples on the market, Hammond admitted. “The approach is rare because no one believes it’s possible to combine the two without being coined as a “hippy eco lodge” and there is also a strong perception that there will be a low return on investment. Six Senses, however, has proved the opposite.

“Enjoying the natural rugged beauty of Zighi Bay without creating artificially manicured lawns and putting pressure on scarce water sources in the region is just an example of how being environmentally friendly in the simplest form can work,” Hamond said.

“Luxury is not necessarily material possessions such as gold-plated marble bathrooms, but what busy city business people often lack – space and time. So, by offering space in a natural environment and time to enjoy it, guests get their luxury. When our competition catch on and see the success of our resorts I think this approach won’t be so rare anymore; it’s just a matter of time.”

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CASE STUDY: WEN JUN DISTILLERY

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CASE STUDY: WEN JUN DISTILLERY

Heritage Site A RE VA MP OF CHINA’S WEN JUN DIST ILLERY PAID T RIBUT E TO T HE SIT E’S CULT UR AL SIGNIFIC ANCE

B

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ernard Arnaud, chairman of Louis Vuitton Moet Hennessy (LVMH), has famously said that “heritage is the lifeblood of the luxury brand”. The company, which has a portfolio of over 60 prestigious brands, put its money where its mouth was with the 2007 acquisition of the Wen Jun Distillery.

Over 450 years old, the distillery carries the name of Chinese heroine, Zhuo Wen Jun, whose legend dates back 2,000 years. After falling in love with a visiting scholar, Zhuo Wen Jun eloped to Qionglai in the Sichuan Province, where the distillery is now located. The couple renounced their social positions and established a hostelry in the town, where they distilled a famous spirit.

The Wen Jun distillery today uses the same underground water source originally used by Wen Jun – a historical link that no doubt appealed to LVMH’s sentimental sensibilities. “The cultures of Wen Jun and LVMH are perfectly aligned,” suggested Edward Billson, director of Hong Kong-headquartered MAP Architects and Planners, the company responsible for overseeing a complete renovation of the 12 hectaresite after LVMH acquired its 55% stake.

The revamp had to pay tribute to LMVH’s respect for heritage, and be mindful of the distillery’s cultural significance. “MAP competed in an international design competition for the master planning of the heritage renovation of the Wen Jun distillery,” Billson said.

MAP won the competition with a scheme that included a redeveloped

administrative precinct, an adjacent visitor centre, a new boiler house for the spirit manufacturing process, a boutique hotel for the entertainment of wholesale guests, a connection between the east and west portions of the site, and associated landscaping.

EASTERN INFLUENCES The project’s sophisticated, orientalinspired design language is established from the outset. An entry gate featuring a porte cochére greets guests as cars are ushered into a landscaped courtyard. A central sculpture depicts Zhuo Wen Jun and her lover Xi Ma, and acts as a striking and immediate reference to the history of the site.

The covered drop off area leads through to a lounge and bar, which are located in a traditional pavilion. A second courtyard provides access to a dining pavilion and a music pavilion, which can also accommodate tea ceremonies.

In a further nod to tradition, surrounding walls are finished in the local red sandstone, while pavilions are finished in traditional grey brick and roofed with grey clay tiles. Timber columns are used to soften the space.

The office precinct represents the largest component of the project. In attempting to remodel the building into a highly modern, stylish office facility, MAP drew on influences as diverse as the Jean Nouvel-designed Cartier Foundation in Paris, and the Art Museum in Fort Worth by Tadao Ando.

Ever mindful of incorporating local influences, MAP “combined the best Commercial Interior Design | FEBRUARY 2010

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CASE STUDY: WEN JUN DISTILLERY

2

1 The visitor centre was based on a traditional distillery building.

2&3 A local design language is employed throughout.

4 The VIP guest house has two bedrooms.

of eastern and western architecture to develop a design that is European, sophisticated, restrained, efficient and stylish”, Billson explained.

The structure includes large cantilevering roofs on all sides, which provide shade for the offices in the summer.

Dramatic V-shaped columns were also a practical choice for a building that is set on soft foundations on the edge of seismic zone. A drop-off under the first floor leads into the reception and atrium, which connects all three levels of the building. A void culminates in a skylight supported by stainless steel trusses.

The ground floor of the office building is fitted with a lounge bar, for entertaining customers in more relaxed surroundings. The first floor is home to a lecture theatre, while executive offices are located on the second floor.

“The office building is probably the most striking element because it is the biggest building. It has delivered on all the promises of sophisticated restraint and, by all accounts, is working well for the occupants,” Billson said.

the centre to minimise travel distance to all parts of the floor. The roof is pitched with a clear storey to let the steam out during mashing and mixing of the yeast to the mash. The upper roof is also pitched and the roof material is traditional grey-clay, half-round Chinese tiles. We used all these elements in the design of the visitor centre.”

MAP introduced a tasting room on the first floor of the centre, as well as a terrace that extends out towards Distillery 4. An observation gallery was also introduced, to allow visitors to see directly into the distillery. “This is so that visitors can go into a real production distillery and safely observe, smell and hear the production process, which is fascinating,” said Billson.

3

The third major element of the project was the boiler house, which, if the local design institute had had its way, would have been little more than a concrete box. Instead, MAP proposed an elaborate structure that once again included a strong local design language.

“The boiler house was rescued from the local design institute and redesigned in Han style, with traditional tile roof timber barge boards and ornamented trusses under the eves. A massive sky light had to be incorporated to satisfy local regulations. The final result is a building that looks like it should be an art gallery,” Billson explained.

The Han Sichuan style was reiterated in the VIP guest house, which is composed of three residential garden villas able to accommodate visiting wholesale clients. Two of the villas offer a single bedroom, while the third, the presidential villa, incorporates two bedrooms, a living room and a dining room, all set around a central courtyard. “The VIP guest house was again designed in Han Sichuan style, with water running through and little waterfalls at the bridges to each of the three villas.”

Key to the success of this – and any project in China – is ensuring that you have the support of the local authorities which, in this case, MAP did, Billson explained. “The key challenge with any project in China is the Local Design Institute and getting them on board, to help rather than hinder,” he warned.

4

VISITOR-FRIENDLY A sense of place is even more evident in the visitor centre, which draws on the traditional design of local distillery buildings. “The visitor centre was based on a vernacular distillery building and we visited several in the surrounding countryside to understand the design of these buildings,” Billson explained.

“They are long rectangular buildings with an odd number of bays. Entry is in

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FEBRUARY 2010 | Commercial Interior Design

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Commercial Interior Design | FEBRUARY 2010

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FEATURE: INTERIOR AUTOMATION

ntegrated nteriors WIT H T ECHNOLOGY M AKING A BEELINE FOR T HE INT ERIOR, CID LOOKS AT SOME OF T HE L AT EST AUTOM AT ION PRODUCTS ON T HE M ARKE T

“

We are no longer gadgetphobic,” suggested Carol Prince, marketing director of Room With Net Trading.

“Airplanes have remote controls and touch panels by each seat, and whether you are four or 94 you are comfortable with the concept. We all have mobile phones, Blackberrys and countless other forms of gadgetry which are becoming standard packages in our lives.”

Consequently, interior designers are left with little choice but to embrace technology in their design schemes, she continued. “Whether they like to or not, the design community is having to adapt its designs to incorporate technology. But having to use a software or high-tech system in a design definitely does not mean that the beauty and symmetry of the designer’s work has to be compromised at all,” she said.

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THE FEAR FACTOR So far, the residential and hospitality sectors have led the way when it comes to the uptake of automation technology.

Most hotel guests have come to expect a remote in their room that will control the TV, the temperature, the lights and the blinds, all at the touch of a button.

“In the private and hotel sector, designers and decision makers are pushing to have automation technology, since it adds value to the project.

1 State-of-the-art products by Loewe.

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FEATURE: INTERIOR AUTOMATION

It does not mean that the beauty and symmetry of the designer’s work has to be compromised at all

2

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FEBRUARY 2010 | Commercial Interior Design

It makes their home or hotel look more modern and stylish, and reduces energy costs,” explained Rabih El-Kassir, business unit manager – home automation, Al Mazroui – ICAS. In other sectors, however, cost consciousness is acting as a barrier, he continued. “In a commercial context there is resistance, since contractors are looking to achieve a minimum cost by cutting out extra investment in latest technologies,” El-Kassir said.

Technology may have become ubiquitous, but there are still people who view automation systems as inaccessible and overly complicated, noted Brocas Burrows, director of Platinum Vision, a high-end developer and implementer of home automation systems. People that have had to deal with sub-standard systems in the past are particularly wary, Burrows pointed out.

“We’ve seen installations that are just embarrassing for our industry.

The most important thing for me is to re-educate the industry. People’s perception of home automation is that it’s too complicated, too expensive, too unreliable. There’s a whole fear related to it and I think that’s linked to people’s past experiences,” he said.

The company’s offices in Dubai Investment Park feature a live demonstration area where people can experience the benefits of seamless automation first hand. A fully-equipped living room, bedroom and bathroom showcase the endless possibilities offered by a professionally crafted, intelligently integrated, high-end automation system.

“The actual solution for removing any ‘fear’ is to get people to come here and use the system and see how it works.

After all, if they can’t use it, we haven’t done our job properly,” said Burrows.

Another way to allay people’s fears is to make sure that you are creating a system that specifically caters to the needs of the end user, Burrows explained.

“We are an integrator, so we will design a system that is totally relevant to the clients’ requirements, whether they be financial or design-related preferences. So, if a client prefers Sony to Panasonic, it’s their decision and we can make it work. There are various brands that we work with because they are very

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FEATURE: INTERIOR AUTOMATION

reliable, like Crestron. We’ve used them a long time. They are robust, and with the clients that we deal with, the most important thing is reliability. If they touch the screen, they want things to happen; they want things to work. Not three times out of ten, not five times out of ten, but ten times out of ten.”

The need for reliability and robustness is particular acute in a commercial setting, where systems need to be extremely hardy, and virtually fool-proof.

“The systems that we use, Crestron, actually come from a commercial background – airports, shopping malls, big industrial control systems. They then moved into the residential market because people wanted integrated systems for their houses,” he said.

SUSTAINED DEMAND One thing seems certain: the popularity of interior automation will only increase as systems become more advanced, users become more savvy, and developers and designers become more accepting.

Sustainability will be the other important driver. “The focus for Room With Net Trading in 2010 is to promote the advantages of more sustainable products, from lighting to energy solutions for air-conditioning, heating and security. As we know, governments worldwide are putting in place energysaving standards to demand that individuals and organisations act more responsibly,” said Prince.

“The focus for RWN now is to show designers and architects the advantages of switching to energy-saving

3

products like the Zity Zigbee range, which can achieve low operating costs through energy management, without jeopardising quality standards.”

The Zity energy management automation system focuses on efficient lighting, and is designed to significantly reduce energy usage. “Zity allows us to use lower electrical consumption without dropping quality of light. The new technology is designed to use 10% to 40% less energy,” said Prince.

“Naturally, when the figures are calculated, this means that the long-term operating costs are reduced. Whatever energy solution interior designers

decide to pick for their clients, the ultimate goal should be working towards being more efficient.”

RWN also offers a complete range of controllable LED and low-voltage lighting, including emergency lighting which moves away from the traditional incandescent valve to more attractive casing. “An extremely popular product which we have seen an increase in sales for over the last quarter is dimmable fluorescent tubing and light bulbs, which takes us away from the glare and ugliness of standard fluorescent tubing which we are so bombarded with, particularly in commercial environments,” Prince maintained.

2 Sophisticated solutions from Platinum Vision.

3 The Zity Zigbee range from Room With Net Trading.

4 Crestron systems are favoured for their robustness.

4

GET TING SMARTER Moving forward, systems will continue to get smarter, and increasingly sophisticated, El-Kassir noted. “Interior automation is becoming smarter and can easily be integrated with many other systems. We are expecting more involvement of the PC in the home automation business, plus telecommunication will have a great interface for the same,” he commented.

IBM has been busy developing the next generation of ‘smart home’ technology, which is enabled by Cloud technology. In this case, the intelligence

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Commercial Interior Design | FEBRUARY 2010

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FEBRUARY 2010 | Commercial Interior Design

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FEATURE: INTERIOR AUTOMATION

required to automate the home is not based on centralised control in the home, through a home server or home gateway, but rather in the network, or the Internet ‘Cloud’. According to IBM, this improves the user experience, and creates new efficiencies.

Fuelled by the widespread availability of broadband Internet access, as well as the proliferation of web-enabled appliances and devices within the average home, IBM has identified this as the logical next step in the evolution of home automation.

In concrete terms, a ‘smarter’ home will include a refrigerator that can adjust its cooling temperature based on the volume of items that it contains; a thermostat that will change its target temperature based on current and coming weather conditions; a television that will recommend TV shows based on past selections; and a washer and dryer that will self-determine water temperature and cycle times based on load volume, dirt level and time of day energy rates.

According to Americo Machado, leader, IBM Europe, Middle East & Africa, Electronics Industry, the current

economic climate could be instrumental in promoting greater awareness of sustainability – even in parts of the world not known for their green credentials – which will invariably highlight the need for intelligently-integrated environments. But instigating widespread change will take time.

“It all depends on the stimulation generated by local governance to increase energy efficiency, particularly in an environment still consuming a lot of traditionally-sourced electricity such as oil and gas, and this quite often for a low-fi xed price model or even zeroprice for local people.

However, the advent of initiatives such as Masdar City bode well for the future, he continued. “There is no doubt, in my opinion, that projects like Masdar City, with a main objective of becoming the first carbon neutral city in this world, will need to take mandatory advantage of such smart solutions,” Machado said.

COMMUNICATING CLEARLY Ultimately, the key to successfully incorporating technology into any project is opening up very clear lines

of communication, and making sure that all relevant parties are brought on board as early as possible. “We need to come in at the concept stage, because our designs affect MEP, the AC, security, the network infrastructure, everything,” Burrows explained.

Basically, in order to capitalise on the benefits of technology, and ensure that technology is enhancing rather than hindering design, it is essential that all parties are communicating clearly from the very outset.

“Lighting design and control is very important to the ambience of a room,” Burrows said. “Curtain control, drape control, black-out blinds – all of these things are part of the interior design.

TVs have to be recessed into walls so you get nice, clear cut finishes. How heavy are the curtains? Can we actually move them with an electronic system?

Is there underground heating, is the pool heated, will there be lights in the pool? What water features will there be? What finishes will there be on the wall? Do the touch panels have to match those finishes? You have to work together, because you definitely won’t get anywhere working apart.”

LOF T LIVING The Loft by Neocasa showcases the very latest in home automation technology.

Sound system technology was supplied

by Loewe, which brought an entire media collection of CDs, MP3s, DVDs, iTunes and satellite radio together into one streamlined, flexible and open architecture system. The Loft also features the new Loewe multi-room system, a high performance home entertainment and multi-room audio distribution system that is user friendly and simple to install. Right out of the box, the Loewe media center turns any home into a state-of-the-art entertainment space.

The Loewe assist media remote can control an entire multi-room entertainment system.

Alternatively, all the products can be integrated into a Crestron control system and users can enjoy the on-the go convenience of using an iPod touch or iPhone to gain access and control the entire entertainment and home automation system.

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Commercial Interior Design | FEBRUARY 2010

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SUPPLIERS YOU SHOULD KNOW

OFFICE SUPPLIERS YOU SHOULD KNOW

O

ffice design continues to undergo massive change.

It’s no secret that the way people work is evolving rapidly – and the spaces that they work in are having to adapt accordingly.

“The concept of cubicles is long becoming a thing of the past, with collaboration and teamwork dictating a lot of the office lingo. Benching systems now enhance collaboration, encourage discussion and reduce bureaucracy within an organisation,” noted Siddharth Peters, managing director, The Total Office.

The design of an office speaks volumes about the company utilising the space, Mohammed Abdul Muktadeer,

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sales manager, Officeland, pointed out.

“Spaces with contemporary, cuttingedge furnishings and finishes convey the image of a dynamic, forwardthinking company and, nowadays, we all want to know that we’re doing business with people who are keyed in to the latest technologies, methods and practices. Flexibility, mobility and sustainability – these are the key elements that are reshaping offices.”

Sustainability is certainly a key driver, as companies become more and more conscious of their corporate social responsibility record. “Sustainable office designs are a popular trend. With the draw of saving the

environment in line with cutting down monthly costs, resulting in good PR, low energy bills and improved productivity within your organisation, it’s no wonder sustainability remains the biggest buzzword in our industry,” said Peters.

Research by dmg world media, organiser of The Office Exhibition, predicts that the number of office projects in the GCC is set to double between 2009 and 2010, meaning that interior designers will have plenty of opportunity to explore the evolving nature of the office environment.

Over the next few pages, we talk to the suppliers that will help them to create the offices of the future.

Commercial Interior Design | FEBRUARY 2010

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SUPPLIERS YOU SHOULD KNOW

The Total Office

Siddharth Peters, managing director, on what’s new at The Total Office.

Tell us about your company.

The Total Office deals with the supply and installation of office furniture. The company is the exclusive distributor of Teknion Furniture Systems, Canada, in the UAE. Teknion is an international leader in the design, manufacture and marketing of office systems and related products. We also have a wide range of products from Kusch & Co, Codutti, Emmegi, Casamania, Anker Carpets, Manerba, Whitespace Carpets, Hag, etc.

What sets you apart?

The Total Office offers turnkey solutions with custom-made furniture, as well. The company is managed by experienced professionals, backed by qualified architects and interior designers. We have an in-house computer-aided design facility and quantity-evaluating and inventorymanagement software that helps us control the intricacies of the design process, thereby allowing a faster and more cost-effective method of designing.

CID speaks to Ahmed Kandil, managing director, Middle East and Australia, Bene.

Tell us about your company.

Well-designed offices and work environments have an impact on a company’s success, and the emotional wellbeing and intellectual potential of employees are directly affected. Aesthetics, functionality and quality increase motivation and productivity. Such environments are what Bene produces.

What sets you apart?

Bene engages in development and manufacture, and provides sales and consultancy services under one umbrella. Bene Sales Net offers regional access to all Bene services. This network consists of Bene’s own points of sale and qualified retail partners. It is a distribution system that offers customers first-class service in terms of planning, consultation and logistics across countries. Bene operates 82 points of sale in 33 countries.

Bene develops innovative office solutions that present workflow, culture and corporate identity spatially. Spatial added-value is achieved by functional and adequate linking of the product

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FEBRUARY 2010 | Commercial Interior Design

portfolio and by consistent design, colour and material concepts. Additionally, ergonomics, practicality, planning and layout, efficient use of space, acoustics, smooth logistics and a comprehensive service package are the cornerstones of Bene’s range of services.

What are your best selling products?

We specialise in office furniture (systems and executive furniture), freestanding desk systems, flooring, acoustics, training, seating, as well as storage and filing.

Any news?

We are launching the following products at The Office Exhibition 2010: Powermat by Teknion, which uses wireless electricity to charge electrical devices; Flamline by Kush & Co, which are fire resistant fabrics, ideal for hospitals, offices, universities etc; Futu by Hag, an award-winning chair made out of 99% recyclable material; Profession training table and seating by Kusch & Co, horizontally stackable chairs and tables, ideal for training; and Modular tiles by Whitespace, a new concept in flooring.

How do we contact you?

Dubai: +971 (0)4 282 9911, Abu Dhabi: +971 (0)2 635 5588, Sharjah: +971 (0)6 544 0563; website: www.thetotaloffice. biz; email: info@thetotaloffice.biz. For marketing and PR, please contact: marketing@thetotaloffice.biz

Bene

Any news?

Bene is a European company setting trends in the office furniture field with its concepts, products and services.

The brand is associated with top quality and functionality, modern design and innovative technology. Current awards underline this approach. The Filo Table, from Bene’s conference and meetings line, has been awarded the acclaimed iF product design award 2010 by the International Forum Design in Hannover, Germany. And Bene has been shortlisted for the Brit Insurance Designs of the Year with its new product range PARCS, designed by UK based team, PearsonLloyd.

How do we contact you?

Bene can be contacted through its regional office at Dubai Airport Free Zone, Building 4E, Office 4A-711; tel: +971 (0)4 2045 722; e-mail: office@bene.com.

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SUPPLIERS YOU SHOULD KNOW Catching up with Gilbert Grino, marketing manager at Bafco.

BAFCO

Tell us about your company.

BAFCO is a UAE-based specialist in corporate interior solutions, with almost two decades of experience executing projects across the Middle East. Since 1991, BAFCO has collaborated with clients and interior designers to create environments that enhance organisational performance by enriching the efficiency and quality of work life. BAFCO is the only office furniture manufacturer awarded by the UAE government as ‘Supplier of the Year’ for successfully contributing the entire office requirements for Dubai Airport Terminal 3.

What sets you apart?

The promise that we give to our clients is the commitment of quality service and headache-free execution of their projects, from a small furniture requirement up to a complex project as large as the entire Dubai Airport Terminal 3.

Having a local manufacturing facility, we have a shorter delivery time. We have the

The low down from Mohamed Abdul Muktadir, sales manager, Officeland.

Tell us about your company.

Officeland operates in Dubai under the Al Aqili Furnishings umbrella. We offer a complete range of office furniture and solutions, from small back office modular workstations and seating solutions to executive desks and conference room tables and chairs. With a large variety of products and services, Officeland is a complete turnkey solutions provider.

Its specialised services start with complete consultation, space planning and conceptual design, to custom-made and designed office systems, followed by installation and project management.

What sets you apart?

Officeland represents some of the best names in the industry across the world, from the famous i4mariani from Italy that specialises in exclusive desks and conference rooms, to Sitia and Grammer Office, the renowned manufacturers of office chairs, and Exbydo, the manufacturer of high-quality workstations.

The offerings of Officeland are also complemented by the products portfolio

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largest locally-stocked office furniture collection, sourced from manufacturers in the USA, Europe and Asia.

of Al Aqili Furnishings, which provides full turnkey solutions to commercial and residential spaces, from flooring to fabrics, lighting, furniture and accessories.

What are your best selling products?

As an active ergonomic advocate, our best-selling products focus on delivering and transforming any standard desk into a smart desk, using self-adjusting Freedom and Liberty chairs, keyboard trays, monitor arms, laptop holders and other ergonomic peripherals. Clients see the value in visiting our showroom because they can have a first-hand experience and are educated on the difference and benefits of a Humanscale workspace.

Any news?

In our efforts to triple our manufacturing capacity, we are building a 245,000ft² facility in Dubai Industrial City. This will be our hub and will focus on green manufacturing and LEED certified interiors.

How do we contact you?

We have showrooms in Dubai and Abu Dhabi. Tel: +971 (0)4 3350045; website: www.bafco.com; email: hello@bafco.com.

Officeland

What are your best selling products?

Our best selling products are workstations from different brands such as 3FFF and Exbydo, in addition to the executive desks from i4mariani.

Any news?

Officeland is expanding its product offering by adding new brands, especially in the supply of workstations. Officeland is also launching the new collection of executive desks from i4mariani, Desymetria, designed by the famous Lucca Scacchetti. Our horizontal expansion will also witness an important milestone with the launch of more operations in the GCC, starting with Doha operations, which will be announced soon.

How do we contact you?

Creekside View Building in Port Saeed, Deira, Dubai. Tel: +971 (0)4 295 3909; fax: +971 (0)4 295 3910; email: info@ officelandme.com; website: www.officelandme.com.

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SUPPLIERS YOU SHOULD KNOW

Buro 45

CID speaks to Jill Gordon Keep, business development manager at Buro 45.

Tell us about your company.

Buro 45 is an established, progressive company headquartered in Dubai offering a broad range of modern European office furniture, complemented by related services across the Gulf region.

offer extremely competitive prices, enabling us to offer exceptional value to our clients, from sourcing and delivery to installation.

What are your best-selling products?

Our range of products has been carefully selected for their design and function, which makes them all commercially viable options in the marketplace.

What sets you apart?

Apart from our client focused approach and our swift service, there are three key areas that differentiate us in the market: Design – Buro 45 offers a large variety of innovative furniture systems, suitable for all types of working environments; Environment – our commitment to delivering inspirational working environments extends beyond great design, focusing on the protection of the environment too. Providers that we use meet with certification requirements that are at the forefront of managing environmental impact; Competitive Price – Buro 45 has long standing relationships with leading European providers. Through direct sourcing, we

News from Jan Arentoft, manager, A&D, Gemaco Furniture, and Kaj Helstrand, design manager, Gemaco Interiors.

Tell us about your company.

Gemaco Furniture is first and foremost a product workshop for architects, designers and consultants. The entity exclusively handles the distribution of a number of leading office furniture brands, including Haworth, the global market leader; Magis, the Italian manufacturer of high-end design objects by designers such as Konstatin Grcic, Ron Arad and Marc Newson; Orangebox, the UK company which has made ‘the collaborative workspace’ its trademark; Fritz Hansen, the Danish expert in timeless simplicity; Kvadrat/Maharam, the Danish and American specialists in modern high-end designer textiles; and Grupo Permasa, the Spanish office furniture expert that continues to surprise with its sleek European design and high quality.

suppliers, redefined Gemaco’s future role as an integral part of our suppliers’ distribution network in the region. In addition, sustainability is always on our mind, and we represent some of the most forward thinking office furniture brands in this respect.

How do we contact you?

We invite you to visit our showrooms in Dubai (+971 4 283 1928) and Saudi Arabia (+966 2 60 79 426). Find out more about us at www.buro45.com.

Gemaco Furniture

The Haworth Zody chair. Haworth’s vision was a mid-priced task chair ergonomically superior to anything on the market.

Any news?

We have just launched the Airea System by Orangebox. Airea architectural rooms are an ingenious answer to the problem of noise pollution as they allow offices to organise resources into distinct spaces. These mobile cabinets and flexible rooms can be utilised as formal and informal meeting rooms, stationery/post/printing rooms or café/ kitchen facilities.

How do we contact you?

Market changes are increasing and the UAE market is maturing. Consequently, we have, in collaboration with our

For more information, call +971 (0)4 339 7613, email: jan@gemacointeriors. com or visit www.gemacointeriors.com.

FEBRUARY 2010 | Commercial Interior Design

Towards the end of 2009, we launched our showroom in Jeddah. Our focus here is environmentally-friendly European products. Another piece of exciting news for Buro 45 was being awarded a prestigious project by an important client from Abu Dhabi, located in the world’s premier sustainable, zero waste city – an excellent example of our green policy at work!

What are your best-selling products?

What sets you apart?

46

Any news?

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COME IN FOR A COFFEE our Buro 4 5 showroom uses 70% arabica + 30% robusta coffee beans from il cafĂŠ di roma, lavazza - so come in for a coffee and a chat, see our latest office furniture, and add value to your business!

contact details Buro 4 5

Buro 4 5

garhoud - near irish village emirates crew building P.O.BOX 36491 dubai uae www.buro45.com e: uae @ buro45.com te l : +971 4 283 1928 fax: +971 4 283 1929

king abdul aziz road amalkis center P.O. BOX 116914 jeddah ksa www.buro45.com e: ksa@ buro45.com te l : +966 2 60 79 426 fax: +966 2 60 79 427

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PRODUCTS

New on the market VILLEROY & BOCH Villeroy & Boch has extended its range of shower trays. Embracing the trend towards trays that are installed flush and match the colour of the floor, the company is presenting new sizes for its successful Squaro Super Flat and Subway shower trays, new matt Squaro Colorline colours for Squaro Super Flat and, in addition, new sizes for the Walk-In shower enclosures from

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the Squaro and Futurion ranges. With Squaro, the focus falls on the super-flat shower trays and extravagant Walk-In shower enclosures. The flat Squaro shower trays come in eight different sizes and are made of Quaryl, a material that facilitates the production of straight, precisely-formed corners and perfectly flush installation. To ensure that the shower tray can be integrated

into the floor surface totally harmoniously, Villeroy & Boch has developed four new matt Squaro Colorline colours that reflect the colours most commonly used for contemporary floor coverings: anthracite, grey, brown and crème.

VILLEROY & BOCH MIDDLE E AST +971 (0)4 3642613 www.villeroy-boch.com

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PRODUCTS

THE 1930 SERIES Duravit’s 1930 Series, which makes reference to the Bauhaus period, has a new addition: the built-in bathtub.

With dimensions of 180cm x 80cm, the bathtub is octagonal on the inside and rectangular on the outside. The tub can comfortably fit two people, and can be combined with state-of-the-art whirl technology. The series also includes a bidet and WC, in free-standing and wallmounted versions, and a washbasin in widths of 60cm, 70cm and 80cm.

DUR AVIT MIDDLE E AST

GR AND ISL AND

+971 (0)4 7017117 www.duravit.com

David Edward is promoting its Grand Island Sleeper Sofa.

The high performance seating and sleeping solution was developed in collaboration with HDR Architecture to address the needs of the healthcare community. Offering multi-functional durability, it was designed to withstand and adapt, for the ultimate in patient and visitor comfort.

DAVID EDWARD +1 410 242 2222 www.davidedward.com

LG SL90 LG Electronics has launched what it believes is a ‘gamechanging’ television. The SL90, a full HD LED LCD TV that is almost as thin as the single sheet of smoked glass it resembles, uses unique Injection Compression Molding technology and film lamination to eliminate the gap between the screen and the bezel, creating a seamless flat panel.

LG ELECTRONICS +971 (0)4 357 3466 www.lge.com

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FEBRUARY 2010 | Commercial Interior Design

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PRODUCTS

BEL AIR Bel Air is the first outdoor collection from Roche Bobois.

Created by Belgrade-born designer Sacha Lakic, the collection is made from woven polyethylene fabric. Lakic has created sofa units, loveseats, chairs, bridges and tables, taking Roche Bobois on an outdoor adventure. The pieces are adorned in Missoni Home fabric, combining browns, greens, yellows and blues to conjure up the essence of the Garden of Eden.

ROCHE BOBOIS +971 (0)4 3366172 www.roche-bobois.com

DEDON PL ANTERS Designed by Richard Frinier, the flexible Dedon Planter is now available in classic white, or ‘chalk’, as well as teak and bronze. With the new planter, available in two different sizes and heights, terraces and gardens can be quickly transformed into fashionable lounge landscapes.

DEDON +49 41 31 22 447 www.dedon.de

TRENZA Andreu World’s new outdoor furniture offering includes Trenza, a complete collection of light and fresh-looking chairs, bar stools and chaise longues.

The collection is made from braided belts in ‘terra’ brown, ‘sand’, ‘graphite’ and white, which facilitate ventilation without sacrificing on comfort.

ANDREU WORLD +34 961 805 700 www.andreuworld.com

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Commercial Interior Design | FEBRUARY 2010

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PRODUCTS

K AYAR Artigo has enriched its Kayar collection with the addition of eight bright new colours. The rubber flooring is designed by Sottsass Associati and is created by adding fragments of natural coconut fibre to a mix of rubber. ‘Kayar’ is the Tamil expression for plaited coconut fibre. Ettore Sottsass and Christopher Redfern were intent on transforming a basic Indian building technique into a cutting-edge technological product.

Kayar is made in 1.9m x 10m sheets and in 610mm x 610mm tiles, 3mm thick, in 24 different colours.

ARTIGO +39 29 0786415 www.artigo.com

INDIVI 2 BoConcept’s popular Indivi 2 is more multi-faceted than ever. The modular sofa has a unique connection system for unlimited options, allowing users to choose between a variety of seating units, leg designs and armrests. A

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FEBRUARY 2010 | Commercial Interior Design

solid wood frame and foam-core seat cushions ensure stability, comfort and durability. Enhanced relaxation is now possible with the new mega resting unit. Another way to renew the Indivi 2 is a new way to place legs. By fitting

the legs under the seat units, a lighter, floating sofa design is created.

BOCONCEPT +971 (0)4 395 5889 www.theoneplanet.com

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REAL WOOD FLOORS LLC

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Commercial Interior Design February 2010

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CONTRACTS

Project Focus COMMERCIAL INT ERIOR DESIGN IS COMMIT T ED TO HELPING ITS RE ADERS GROW T HEIR BUSINESSES, SO WE HAVE T E A MED UP WIT H VENT URES MIDDLE E A ST TO BRING YOU T HE L AT EST T ENDERS FROM AROUND T HE REGION ON A MONT HLY BA SIS.

O M A N P R O J EC T S D ATA B A S E PROJECT TITLE

CLIENT

CONSULTANT

MAIN CONTR ACTOR

VALUE / VALUE RANGE (US$. MN)

PROJECT STATUS PROJECT T YPE

Buraimi University College Building

Buraimi University College

Gulf Engineering Consultancy

Not Appointed

31 - 100

Project under design

Educational Facilities

Renovation of Intercontinental Hotel in Muscat

Omran Office

Pentago Spowers International Not Appointed

16 - 30

Project under design

Hotel

Dhofar University in Salalah - Pack 1

Dhofar University

National Engineering Office

Al-Hashemi & Al-Rawas Company

21

Project under construction

Educational Facilities

New Television Studio Complex

Ministry of Information

Austro Consult

Bahwan Contracting Company

33

Project under construction

Others

Headquarters Building for Bank of Muscat

Bank of Muscat

Atkins

Galfar Engineering & Contracting

71

Project under construction

Commercial Buildings

Development of Jabal Al Akhdar Resort Hotel

Omran Office

AW2

Not Appointed

31 - 100

Project under design

Hotel

Fairmont Hotel

Fairmont Hotel & Resorts/The Wave Muscat

Echo Designer Consultants

Not Appointed

101 - 250

Project under design

Hotel

Crowne Plaza Duqum Resort

Omran Office/Inter Continental Hotel Group

KEO International

Not Appointed

251 - 500

Project under design

Hotel

Hospital in South Salalah

Ministry of Defence

Ibn Khaldun

International Contractors Company

16 - 30

Project under construction

Hospital

Psychiatric Hospital at Al Amerat

Ministry of Health

Khatib and Alami

Bahwan Contracting Company

107

Project under construction

Hospital

Renovation of Sheraton Oman Hotel

Al Hasher Group

Atkins

Zubair Furnishing

25

Project under construction

Hotel

The Malkai at Barka

Al Maeen Real Estate Services Company

Triad Oman/AW2

Not Appointed

250

Project under design

Mixed Use

Office Building at Al Khuwair

Ministry of Housing Electricity & Water Al- Hatmy Engineering Consultant

Burj Oman

2.5 - 15

Project under construction

Commercial Buildings

Bone Marrow Transplant Unit Block

Sultan Qaboos University Hospital

Gulf Engineering Consultancy

Not Appointed

16 - 30

Project under design

Hospital

Dar Al Maha Residential Building Phase 1

Sohar International Development & Investment

Engineering Innovation Design Al Hajiri Trading

16 - 30

Project under construction

Residential Buildings

International Maritime College Oman Ministry of Manpower

Gulf Engineering Consultancy

Al Khalili United Enterprises

35

Project under construction

Educational Facilities

Housing Complex at Sohar

Mr. Abdulla Moosa

Al Hatmy Engineering Consultancy

Iskan Contracting Company

17

Project under construction

Residential Development

Redevelopment of the Crowne Plaza resort Salalah

Ministry of Tourism

Consulting Engineering Services

Not Appointed

31 - 100

Project under design

Hotel

Court Complex at Al-Buraimi

Ministry of Justice

Sundaram Architects

Not Appointed

2.5 - 15

Award awaited for the Others construction contract

Natural History Museum in Muscat

Ministry of Heritage & Culture

Not Appointed

Not Appointed

16 - 30

Award awaited for the Recreational consultancy contract Facilities

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 86 arabianbusiness C i l I tcom/construction i D i O t b 2007 www.constructionweekonline.com

Commercial Interior Design 2007 bi November b i / t 101 ti Commercial Interior Design | FEBRUARY 2010

55

OPINION 2

1

Silent Theatre: A whispered wow-factor!

BY VICTORIA REDSHAW

A

1 Victoria Redshaw.

2 TREND BOARD: Model: Istock,

by Iconogenic ©Kateryna Govorushchenko; Spindle Shade: Rothschild & Bickers, Mondrian South Beach Hotel, Miami: Marcel Wanders; Magic Telling (Paper Art): Yulia Brodskaya; Photographer: Michael Leznik; Client: Story Publishing.

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new decade has dawned for Dubai and we face many new challenges regarding its future direction. From a design perspective we have reached a crossroads, and must all take time to decide what path to take. Behind us lies ostentation and excess, side roads could take us towards mimicry and gimmickry, but the open road ahead, although the most difficult, offers us complete creative freedom, leading us towards authenticity, intellectual beauty, simplicity, refinement and innovation.

This month, in the first of a series of trend features, I want to highlight how ‘simplexity’ can be applied to design and play a central role in how Dubai’s design world moves forward as it adapts and changes. Simplexity can be interpreted into a design ethos of ‘simplicity layered with complexity’. It results in interior designs where nothing is superfluous, everything is considered and meaningfully significant, and there is complete balance and harmony.

The focus here is to make the complex look simple and to allow what appears to be simple to also have an underlying layer of complexity. We refer to this trend as ‘Silent Theatre’. The wow-factors are whispered!

It is a styling that is easy on the eye, offering a visual rest that is at once quiet and stimulating. It is not a return to minimalism. The trend includes plenty of pattern, colour tones, texture and interesting forms… but the look is

FEBRUARY 2010 | Commercial Interior Design

restrained, pared down, sophisticated, mature, unobtrusive and never knowingly ostentatious! It is a trend all about ‘just enough’ in a world of ‘too much’, and heralds the death of ‘bling’.

Modesty becomes chic and this is crucial to the trend’s attitude – an attitude that reflects a growing mood in society that is slowly turning its back on ostentation, and instead turning towards the virtues of restraint and moderation.

However, this trend is not without drama. It has a strong theatrical mood which relates to the use of exaggerations of scale that create impressive ‘stage set’ schemes which dwarf all that enter them, like the magnificent Mondrian Hotel in Miami by Marcel Wanders.

This South Beach hotel is quietly striking, sculptural, luxurious but understated, and displays a modest beauty.

Wanders’ design includes elegant innovations and oversized, weighty architectural features, whilst modestly applied concentrated layers of dense pattern pull guests in, attracting their attention and admiration. Try using familiar patterns in unfamiliar ways and in unusual places.

The Silent Theatre trend also promotes a respect for old craftsmanship and the deep beauty that old techniques can bring to new products and schemes.

Search the archives and respectfully innovate the classics – history will lead us to a successful future.

Historical fabrics also have their place in this trend, including heavy satins and heavily embellished but lightweight

fabrics relating to the theatrical costumes of the great operas and ballets.

In fact, fabrics can be seen to have a major influence on this trend, and not always in obvious ways; delicate pendant lights and chandeliers made from fine porcelain appear draped, twisted or folded; furniture shapes are sculptural and embellished with bold ruffles and ruche detail, intricate rosettes and softened origami influences. Many surfaces also relate to paper; scrunched-up, crumpled, folded, cut-out, embossed and impressed.

Elsewhere this trend is made up of smooth surface finishes, sometimes slightly chalky, often fleshy and always sensual. Wallcoverings are flocked, sequinned, satiny, embroidered and lacy in texture and appearance.

There are also protective qualities – a padded appearance that gently cossets and safely surrounds us. Finally, there is undeniably a subdued, elegant art deco influence that informs the shapes of hard furniture pieces, lighting and interior concepts, as well as splashes of baroque.

The quiet colour palette ranges from pale nudes, intimate pinks, blush tones, lilac tinted greys and purple nocturnes through to liquorice. The palette is completed by pale gold, rose-tinted gold and translucent smoky black that delivers dark moody shadows with a sepia mood.

Timeless style. Essential Beauty.

Trends forecast by: www.scarletopus.com Visit our Blog: www.trendsblog.co.uk Contact Shelley on +971 (0)50 524 0239

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OF FI V C St E E ISI an XH T U d IB S S S IT A 3 ION T A 2 90 0 10

Offices | Restaurants | Public spaces | Retail | Health Care

Furniture supply Project sourcing Refurbishment Price benchmarking Turn-key solutions Project management Brand management Zoluti build and furnish business environments efficiently and affordably, with basis in the client’s wishes. Our team is often complimented by external partners, which include architects, space planners and interior designers.

We interpret the client’s requirements and suggest solutions prior and during the design development stage.

We source, specify and supply from leading manufacturers from around the world.

Zoluti | P.O. Box 72198 | Tel: +971.4.329.1800 | Fax: +971.4.332.4880 | info@zoluti.com | www.zoluti.com