Commercial Interior Design - July 2010

An ITP Business Publication | Licensed by Dubai Media City

July Vol.6 Issue 7

The modern office HOW THE WORKPLACE IS CONTINUING TO EVOLVE

Trying for Tripoli UNMASKING LIBYA’S POTENTIAL

Bringing back

THE DRAGON

ABU DHABI’S NEW HAKK ASAN REVELS IN ITS CHINESE-NESS

Feel the difference

CONTENTS

July 2010 VOLUME 6 ISSUE 7

07

DESIGN UPDATE

17

INDUSTRY SPEAK Does small mean vulnerable?

CID finds out how Dubai’s smaller firms are faring.

20

PROFILE All about OFIS.

23

DESIGNER Q&A Romanian-born, Paris-based Radu Dragan on the importance of design.

30

07

23

30 35

CASE STUDY An exclusive look inside ‘the Chinese Nobu’, Hakkasan, which opened last month in Abu Dhabi’s Emirates Palace.

35

FEATURE CID looks at how technology and sustainability are transforming the workplace.

44

DESTINATION FOCUS The low-down on Libya’s interior design industry.

47

FLOORING SUPPLIERS YOU SHOULD KNOW A handful of flooring suppliers that you should know.

53

PRODUCTS A showcase of new products, including Ameba, Mix, Sirchester, Barceloneta, Reverse, X-Tech and Saria.

62

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

by Ventures Middle East.

64

OPINION The art of effective landscape design, by Nazneen Sabavala.

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Commercial Interior Design | JULY 2010

3

COMMENT

Registered at Dubai Media City PO Box 500024, Dubai, UAE Tel: 00 971 4 210 8000 Fax: 00 971 4 210 8080 Web: www.itp.com Offices in Dubai & London ITP BUSINESS PUBLISHING CEO Walid Akawi Managing Director Neil Davies Managing Director ITP Business Karam Awad Deputy Managing Director Matthew Southwell Editorial Director David Ingham EDITORIAL Senior Group Editor Stuart Matthews Editor Selina Denman Tel: +971 4 210 8502 email: selina.denman@itp.com ADVERTISING Sales Manager Leigh Roche Tel: +971 4 210 8679 email: leigh.roche@itp.com Business Development Manager, Saudi Arabia Rabih Naderi Tel: +966 1 2068697 email: rabih.naderi@itp.com STUDIO Group Art Editor Daniel Prescott Art Editor Simon Cobon PHOTOGRAPHY Director of Photography Sevag Davidian Chief Photographer Khatuna Khutsishvili Senior Photographers G-nie Arambulo, Efraim Evidor, Thanos Lazopoulos Staff Photographers Isidora Bojovic, George Dipin, Lyubov Galushko, Jovana Obradovic, Ruel Pableo, Rajesh Raghav PRODUCTION & DISTRIBUTION Group Production Manager Kyle Smith Deputy Production Manager Matthew Grant Production Coordinator Nelly Pereira Managing Picture Editor Patrick Littlejohn Distribution Manager Karima Ashwell Distribution Executive Nada Al Alami CIRCULATION Head of Circulation & Database Gaurav Gulati MARKETING Head of Marketing Daniel Fewtrell Marketing Manager Annie Chinoy ITP DIGITAL Director Peter Conmy Internet Applications Manager Mohammed Affan Web Designer Meghna Rao ITP GROUP Chairman Andrew Neil Managing Director Robert Serafin Finance Director Toby Jay Spencer-Davies Board of Directors K M Jamieson, Mike Bayman, Walid Akawi, Neil Davies, Rob Corder, Mary Serafin Circulation Customer Service Tel: +971 4 210 8000 Certain images in this issue are available for purchase.

Please contact itpimages@itp.com for further details or visit www.itpimages.com Printed by Emirates Printing Press L.L.C. Dubai

Tales from China

T

his month’s issue of Commercial Interior Design has a distinctly Chinese feel to it. First off, we were lucky enough to be invited to attend the official launch of Philippe Starck’s newest invention, the Sensowash Starck, which was unveiled in tastefully understated fashion in Shanghai at the end of May. It sees Starck partner with sanitaryware specialist Duravit for the fifth time, to create a ‘shower toilet’, a toilet seat with an in-built bidet function. This was the first time in its nearly 200-year history that Duravit launched a product outside of its home market of Germany, and was a reconfirmation of the increasingly global nature of design. A German company drawing on a predominantly Asian and Middle Eastern ritual, working with an internationally-renowned designer to develop and launch a product in China.

It was also a striking reminder of China’s growing significance when it comes to design. Whilst in Shanghai we had the opportunity to visit the Expo Shanghai 2010, where countries from all around the world have gathered to present themselves in all their glory. This six-month spectacle of humanity is expecting to attract some 70 million visitors and is a design fiesta of mind-boggling proportions. From the Thomas Heatherwick-designed UK pavillion, or Seed Cathedral, to the UAE’s sand dune-inspired structure by Foster + Partners, innovative, sustainably-led design is the expo’s primary protagonist.

Shanghai was also the site of the 2010 Bloomberg Business Week Global Green Business Summit, where Woods Bagot and Buro Happold unveiled a new and revolutionary model for large-scale sustainable development (page 7). Zero Emmissions Design, or ZERO-E, challenges the industry to take leadership in creating a zero carbon economy and is an extremely important advancement in the sustainable buildings debate.

Closer to home, but with an equally Chinese flavour, is this month’s case study on the newly-opened Hakkasan restaurant in Abu Dhabi (page 31). The so-called Chinese Nobu has set new standards in Chinese cuisine and contemporary Chinois design since it was launched in London in 2001.

We speak to the designers of the new Abu Dhabi restaurant, Gilles & Boissier, about the challenges of translating a distinctly Chinese brand in a UAE setting.

Bring back the dragon, they say.

Subscribe online at www.itp.com/subscriptions Audited by: BPA Worldwide Average Qualified Circulation: 6,944 (July - December 2009) The publishers regret that they cannot accept liability for error or omissions contained in this publication, however caused. The opinions and views contained in this publication are not necessarily those of the publishers. Readers are advised to seek specialist advice before acting on information contained in this publication which is provided for general use and may not be appropriate for the reader’s particular circumstances.

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SELINA DENMAN, EDITOR selina.denman@itp.com

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Cover image: Hakkasan, Abu Dhabi

Commercial Interior Design | JULY 2010

5

PROUD? Yes.

And utterly ambitious.

CAN WE REALLY ACHIEVE ZERO NEGATIVE ENVIRONMENTAL IMPACT BY 2020?

In 1994 we made the ultimate commitment to sustainability.

Some called us crazy, others naïve.

Yet today our waste-to-landfill ratio is down by 80%, and energy use has dropped by 43%.

So why be less ambitious?

w w w. i n te r f a c e f l o r. e u / l e t s b e c l ear

TM

DESIGN UPDATE

Woods Bagot breaks new ground in Zero Emissions Design NE W SUSTAINABLE DE VELOPMENT MODEL FROM WOODS BAGOT AND BURO HAPPOLD CHINA: Woods Bagot has joined forces with multi-disciplinary engineering consultancy, Buro Happold, to unveil Zero Emissions Design (ZERO-E), a new model for large-scale sustainable development that would significantly advance the construction industry’s contribution to realising a zero carbon economy by 2050.

The announcement was made at the 2010 Bloomberg Business Week Global Green Business Summit in Shanghai. ZERO-E will capitalise on the expertise of multi-disciplinary teams, using cutting-edge parametric technologies to develop a comprehensive approach to sustainability.

The joint initiative was designed to offer an emerging, revolutionary approach to sustainable design. It challenges the industry to fulfill its leadership role, in

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support of the UN Compact on Climate Change. It also supports China’s commitment, made last November, to reduce carbon dioxide emissions per unit of GDP by 40 to 45% by the year 2020, as compared with 2005 levels.

“The construction industry has known for some time that increasing the sustainability of buildings and cities is key to turning the tide on climate change,” commented Ross Donaldson, global executive chairman and CEO of Woods Bagot.

“The ZERO-E pilot project confirms that, using the expertise and tools available to us today, far greater advances in building performance – those that comprise zero emissions design – are currently within the industry’s capabilities. This joint initiative is not only an entirely new model for

sustainable design, it is also a call to action and an invitation to our development and construction partners to join us as we lead the way to a truly sustainable future.”

The ZERO-E pilot project examines the development potential of an industrial site on the Yangtze River in Chongqing, China.

The study scheme proposes a 450,000m² mixed-use project, featuring an 82-storey office and hotel tower, which will continually monitor and react to internal and external climatic conditions for maximum performance.

A holistic resource system integrates photovoltaics, solar thermal panels, absorption chillers, a biogas fuel cell and an anaerobic waste digester into a closed-loop system that greatly improves the building’s operational performance while

minimising resource consumption and waste production.

Beyond the technological advancements, ZERO-E’s systems approach also encompasses the human dimension of sustainable development. “As an industry we must take urgent steps to change the planning, design and construction of the built environment if we are to help deliver a zero carbon global economy,” said Gavin Thompson, Buro Happold’s managing director.

“ZERO-E demonstrates the power of combining our significant expertise, blurring the boundaries between architect and engineer, and represents a watershed moment for our industry.

“ZERO-E is evidence of our joint commitment to this once-in-alifetime opportunity to address climate change,” he added.

Commercial Interior Design | JULY 2010

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DESIGN UPDATE

The principles of design ROCHE BOBOIS PART NERS WIT H JE AN PAUL GAULT IER TO HIGHLIGHT DESIGN VALUES shalt offer mobility and lightness in lavish measure; number three, thou shalt draw inspiration from nature’s creations; number four, thou shalt respect social and environmental standards; number fi ve, thou shalt adopt eco-design in thy practices; number six, thou shalt revisit thy creative work; number seven, thou shalt dare to be audacious with shapes and technical innovations; number eight, thou shalt adapt to specific requests; number nine, thou shalt fill quality time; and number ten, thou shalt pay homage to the achievements of the past.

To start with, Gaultier revisited the famous Mah Jong, which was designed by Hans Hopfer in 1971. Gaultier’s new Sailor version calls to mind long-haul

voyages under a hallmark striped canvas. A second Couture version combines six graphics, Lace, Calligraphy, Dollar Bill, Scarf, Kiss and Tatoo, to create a “haute couture adventure novel”.

In keeping with the second commandment, Gaultier has also created a folding screen cupboard, headboard components that fold and unfold like light fabric, Peplum seats in the style of Ben Hur chariots and storage units that mimic a towering collection of trunks. Motion and mobility are the key characteristics of these quirky pieces.

Finally, the Diable hand trolley has been transformed into a dressing mirror, demonstrating that even the most rudimentary tools can be turned into an object

of art when their creator is seized by surrealist impulses.

Designers such as Fabrice Berrux, René Bouchara, Philippe Bouix, Sacha Lakic and José Lévy have also joined forces with Roche Bobois to give form to the company’s commandments.

Berrux’s Mayflower armchair pays homage to the third commandment, thou shalt draw inspiration from nature’s creations. In keeping with the fifth commandment, Lakic’s Brio collection of cabinets is made of renewable wood. Meanwhile, with its Dali and Yves Tanguy-esque elasticity, Cédric Ragot’s Sismic collection of furniture pays tribute to the seventh commandment, thou shalt dare to be audacious with shapes and technical innovations.

www.presswall.fr

FRANCE: To mark its 50th anniversary – and ten years of Designer’s Days – Roche Bobois has come up with its very own set of ten commandments. The commandments, or principles of good design, have been created to enable designers, manufacturers, publishers and distributors to ensure that “all furnishings and accessories contribute to improving our interior décor and enable a re-enchantment that also respects the craftsman, the user and the environment”.

The company then called on Jean Paul Gaultier to help create a series of products that would pay homage to the commandments, which are: number one, thou shalt encourage an awakening of the senses and of the intellect; number two, thou

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DESIGN UPDATE

A Middle Eastern exhibition INDE X T R ANSFORM AT ION TO CONT INUE WIT H NE W FE AT URES AND A MORE LOC AL FEEL UAE: With a new steering committee and a host of new initiatives in place, Index is eager to ensure that it is in tune with the region’s interior design industry.

“We’ve set up a new steering committee this year, following on from the one we had last year, to try and get some alternative views on what the market wants,” explained Lu Buchanan, show director of Index, which is taking place from November 8 to 11 at the Dubai World Trade Centre.

The challenge is to transform what is often perceived as a furniture fair into an all-out design extravaganza. “We are trying very hard not to be arrogant,” she said.

“At the end of the day, we are event organisers. We all have a passion for design but we are not interior designers. So what we are saying is: ‘You tell us what you need, and together we will create it. We are listening’.”

The organisers have also realised that the show’s greatest strength lies in its locale. “Last year, one of the things that came out of the steering committee was the need to focus on where we are – on the Arabic side of things. The contemporary majlis competition came out of that and was very popular, and that has really highlighted what our unique selling point is,” Buchanan noted.

“We are here, in the Middle East. This is a Middle East show.

Will we ever compete with the Milan Furniture Fair or Maison & Objet? No. We are a different show. But it’s becoming very clear why we are a different show.”

The contemporary majlis competition will be run again this

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year, on a more “spectacular” scale, Buchanan revealed.

Responding to feedback from last year’s event, which called for more innovation, Index 2010 will also focus more heavily on technology and ‘intelligent living’. “The research was very comprehensive and gave us a clear indication of what people wanted,” Buchanan said.

Other new features will include a section dedicated to kitchens and bathrooms. While the event will not be sectionalised this year, this does signify a shift in that direction, as Buchanan is conscious of the need to make the show easier to navigate.

“What we will offer is mapping software that helps you completely plan your trip before you come.

It tells you everything you need to know about the exhibitors, and you can make appointments before you get there. It draws a map out and locates all the stands for you,” she detailed.

With the show celebrating its 20th anniversary this year, the aim is to ensure that Index is more comprehensive, more designorientated and better looking than ever. A more geographically diverse exhibitor spread, including the show’s first Japanese exhibitor, more high-end Asian companies, and greater Eastern European and Turkish representation, will go some way in making this a reality.

“What I want is for people to walk in and say: ‘What is that?’

Whether they like it or they don’t doesn’t matter because taste is individual, but I want to get them thinking,” Buchanan concluded.

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DESIGN UPDATE

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JULY 2010 | Commercial Interior Design

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DESIGN UPDATE

‘Humbling’ designs PHILIPPE STARCK UNVEILED ONE OF HIS L ATEST CRE ATIONS, THE SENSOWA SH, IN CHINA L A ST MONTH. CID REPORTS FROM SHANGHAI CHINA: Introducing a new front in his battle against elitist design, Philippe Starck has partnered with German sanitaryware manufacturer, Duravit, to create the Sensowash shower toilet.

“When you are lucky enough to have a good idea, you have a duty to share it,” Starck said at the official unveiling of the product. “I hate the idea of elitism, of making a limited edition, of making one piece of furniture and selling it for one million dollars to one person.

That’s too easy. It’s a lot more difficult to try to produce something at $1 for one million people.”

The Sensowash Starck was introduced in Shanghai, China, on May 26, becoming the first-ever Duravit product to be launched outside of Germany. As a standard feature in Asian cleaning rituals, it made sense to develop the product in China, Franz Kook, CEO, Duravit, explained.

“We first launched the development itself in Europe. However, this wasn’t too successful and we realised that we had to launch it where there is a market and a feeling for the product… For me, this

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project is a very special example of the exchange between cultures and of how cultures can benefit and reinforce one another.”

Starck’s new design is characterised by discretion. The shower toilet seat boasts an unusually flat and slimline design. Technical components have been miniaturised so that the entire ‘shower’ technology fits between the ceramic body and the seat.

A stainless steel spray wand extends out from the seat when the bidet function is activated.

Water temperature, water volume and spray wand position can all be individually adjusted, via a hand-held remote, and there are three different types of wash to choose from. The spray and nozzle are cleaned automatically after each use and both have antimicrobial properties.

The aim of the designer is “to serve”, Starck maintained. “You have to be humble; you have to forget your ego. And you have to go into the small things of daily life. That’s why I was very happy when I made my first toothbrush. I was very very happy when I made

my first toilet brush. I was very very happy when I created my first organic food company – because I was thinking about humbling things,” he said.

“Today, I am very proud of this.

Because what is more humble than to spend a lot of energy, a lot of creativity and a lot of time just thinking about the next toilet seat,” he asked.

In his characteristically colourful style, Starck referred to his new invention as a drug. “We have not created a good product, we have created a new type of drug.

Because when you have tried this type of shower toilet seat, you cannot continue to live without it.”

Starck also reiterated the need to create products that are both timeless and useful, lambasting a ‘Kleenex society’ that buys, consumes and discards at an alarming rate. “Timelessness is very important because we come out of this stupid society called the Kleenex society. Buy, put it in the garbage.

Buy, garbage. Buy, garbage.

“But the Kleenex society, born in the fifties, died one year ago with the big financial crisis.”

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DESIGN UPDATE

Fit for healthcare THE SECRET OF SUCCESSFUL HE ALTHC ARE DESIGN LIES IN THE DETAIL S, E XPL AINS PHYLLIS GOET Z OF NURTURE BY STEELC A SE UAE: There are countless ways in which good design can enhance healthcare environments – not just for the patient, but for their families and caregivers too.

It might be a simple case of moving a sink to increase the opportunity for staff to wash their hands, or placing a light beneath a monitor arm to ensure that nurses don’t make mistakes because they can’t see properly, explained Phyllis Goetz, global director, A&D and networks, Nurture by Steelcase.

It might be a case of adding a rail that leads all the way from the bed to the bathroom, to reduce the number of patient falls.

Or introducing tables that taper inwards at the base so that they don’t get scuffed by wheelchairs and trolleys. Sometimes even the smallest of design details can have the most far-reaching of consequences.

Healthcare design is a constant balancing act between the aesthetic and the scientific. Spaces must be designed to support medical staff, minimise medical errors and reduce the spread of infection, but they must also provide comfort and solace to patients and their families.

“You have to strike a balance because part of healing is putting people at ease,” Goetz explained. “If they are in an environment that looks like it might harm them or that they are not comfortable with, they are not as open to healing, even with the right medicine.

“So I think you have to strike the balance of supporting the process and enabling people to do their jobs, while providing an environment that is soothing and encourages healing,” she said.

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Nurture by Steelcase has dedicated itself to reassessing and revolutionising healthcare environments. Using evidencebased design, the company develops products for almost all areas of the healthcare environment, except beds, exam tables and medical storage units. The company is also involved in the development of healthcarefriendly materials.

“We started this journey seven or eight years ago,” said Goetz, who was in Dubai last month to speak at the Hospital Build Congress. “And there was no one else approaching the topic in the way that we did.

“We did our research. What was going on? What were the behaviours? What did we think could be improved or enhanced?

From that, we developed products and published research papers and articles to help people see that if they change the space, they can change the experience of the patients, the staff and of, course, the family and visitors.”

Healthcare processes are evolving rapidly, particularly as the influence of technology spreads. Unfortunately, the spaces themselves are often unable to adapt in response.

“What we’re seeing is that people within the facilities are trying to adapt their processes to those changes but the space that they are in has been primarily fitted with fi xed furniture, so it’s very difficult to let the space enable that change. Instead it tends to disable that change.”

On the other hand, public awareness of opportunities for improvement is growing, placing increasing pressure on hospitals to evolve. “It has become much

more public how many patients die from medical errors, or the impact of infection on a patient and their family. And with that awareness comes demand for better spaces,” said Goetz.

When it comes to effective healthcare facilities, it is essential to build flexibility and adaptability into the design, she continued. “Most hospitals have to last a very long time. It is not uncommon to find a hospital that is 40 years old.

“So, one of the key trends is having flexibility and adaptability. We do our best to understand what’s coming in the future but unless you have a crystal ball, nobody really knows. However, if you build in enough adaptability and flexibility, the product can move and change and support.

“I think another big issue is access to power. The more we evolve, the more we plug in. All of our devices are becoming digital, so there needs to be as much power and as much access to that as possible – and at desk height so people don’t have to be crawling around on the floor.”

Signifying the importance of the Middle East market, Dubai has become the first international launch site for Nurture by Steelcase, outside of its home market of the US. Other recent developments at the company include the launch of two new products at NeoCon: a technology cart called Pocket that is lightweight, entirely silent and features moveable magnetic accessories, and a new seating series called Tava.

“It gives us a great sense of pride to know that when people at are their worst, we are making a difference,” Goetz concluded.

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DESIGN UPDATE

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Commercial Interior Design | JULY 2010

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INDUSTRY SPEAK

of a larger firm before action is taken.

We feel that most boutique practices have been successful in taking the correct measures and appropriate actions faster to sustain themselves through the recession,” she said.

Of course, smaller-scale, boutique projects come with their own inherent problems. “The quality of boutiquesized contracting companies is a real challenge,” noted Zain Mustafa, managing director of Zain Mustafa Interiors.

“Their so-called skilled labour has no eye for detail, a quality finish or a sense of on-time delivery. This is a continuous

benefits that locally-based boutique practices can offer, and the fact that we can compete on an international level with our designs,” Bishop admitted.

There will always be misconceptions about what a smaller firm can achieve, Johnson added. “We do get overlooked on projects that we would normally have no issue designing, simply due to the size of our firm, as well the projection that comes with being a boutique design firm. Most clients tend not to take chances with commissioning a boutique firm with a project, due to the perception that we might not be able

In today’s recession-driven economy, clients are looking at boutique-sized companies not only for cost reasons, but also as we provide a less ‘copy-paste’ design solution battle we have fought over the years, regardless of the ethnic background of the contracting team’s labour.”

On the other hand, locally-headquartered firms have the benefit of market familiarity, particularly when compared to large international companies that are working on projects from thousands of miles away, or even their smaller satellite offices, which need time to adapt to their surroundings.

“I think being present here allows a designer access to the right clients, to select the right contractors, source the correct materials for this climate and environment, and get a better sense of the city and what makes it unique.

I think this is the only way to get very site-specific, innovative work.

“Being present in this market will certainly make a design firm more agile and a lot more responsive during the post-contract phase, particularly when it comes to unforeseen site conditions, variations and designer-driven changes,” Malak suggested.

Ultimately, some clients will always perceive larger international brands as a safe bet. “To a certain extent there are still clients not aware of the

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to handle the details that a large space entails,” he said.

However, as clients become more aware and better educated, this is gradually changing, Mustafa suggested. “Clients are not as naive as they used to be. Today’s client is more aware, educated and sophisticated in their knowledge of the products and brands available.”

Smaller firms are also increasingly perceived as providing more original, out-of-the-box design solutions, at a much lower cost, Mustafa noted.

“A small firm is by nature more nimble and flexible. Larger groups tend to follow a certain design formula and that tends to get repetitive,” Malak agreed. “I think the best and most creative work comes from the smaller, more focused design companies.”

Furthermore, with smaller companies, key figures play a fundamental role in every stage of the design process, creating a more unified and consistent approach. “I believe a principal has to set a clear vision for his or her firm from a creative point of view.

That will eventually become their calling card,” said Malak.

According to Bishop, there have been numerous instances where clients have initially opted to work with larger global firms and then changed their minds midway through a project. “Quite often we are approached by clients previously engaged with larger international companies, as their projects have not been prioritised and they have not been receiving the level of service they were expecting or had been promised.

“Also, sometimes clients change to local firms in the middle of a project as a result of frustrations over the travelling required, time differences, the difference in weekends and working days, loss of time and so on,” she noted.

Imagination witnessed a similar scenario when it was approached to submit ideas for Etisalat’s new retail concept. “Clients seem to take chances when they believe in the concept or the designer that is presenting it. In our case, Etisalat, being the billion dollar brand that it is, having taken a chance with an international design firm and failed, put their faith in what we presented, which resulted in them winning not just design accolades but consumer appreciation and loyalty.

“However, we do also get clients that crave the security that the larger firms offer, if they have a large project to commission,” Johnson admitted.

Smaller firms have an important role to play in these times of uncertainty, suggested Mustafa – and the big boys have much to lose from underestimating their importance. “In today’s recession-driven economy, clients are looking at boutique-sized companies not only for cost reasons, but also as we provide a less ‘copy-paste’ design solution,” he said.

“Boutique-sized companies will give more attention the client’s needs and the project’s overall design experience, and will create more ‘wow’ factors as they have fewer overheads. In return, the client gets a cooler-than-ever design, for a fraction of the price,” he said.

“The bigger companies should have the foresight at this point to buy out or enter joint ventures with the smaller ones, to keep themselves at the top of the market, instead of turning into dinosaurs,” he warned.

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PROFILE

OF IS W H O? OFIS (Office Furnishing Interior Solutions), part of Easa Al Gurg Group, offers comprehensive commercial furnishing solutions for work environments. It is equipped with a complete design studio and maximises customer satisfaction through a team of competent and motivated professionals offering innovative solutions.

OFIS showcases the world’s best brands in furniture, flooring and interiors for offices.

Comprehensive through-the-line offerings are also available for classrooms, training rooms, lecture halls, auditoriums and airport lounges. OFIS represents well-known international furniture brands like DVO, COINMA, Maxon, Paoli, Ergo, Benel and B.N Solutions, with Marko, NSF and Aresline offering a wide portfolio of solutions for educational institutions.

Its flooring division represents the international leader in carpet tiles, Interface Flor, broadloom carpets from Bentley Prince Street and Beaulieu of America; and the German brand of solid laminate, engineered and solid wood flooring, Parador.

US P S ?

OFIS offers a state-of-the-art showroom spread across a sprawling 30,000ft² facility.

According to Ajai Kumar Dayal, general manager, retail and marketing at Easa Saleh Al Gurg Group: “The OFIS showroom is designed keeping in mind the needs of our clients. This one-of-a-kind showroom in the UAE showcases fully functional mock offices and an in-built auditorium which displays various designs and styles of auditorium seating, delivering actual experiences to our customers”.

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PROFILE

P RO J E C T S ?

OFIS supplies many major companies across the Middle East, including Burt Hill, BSBG, Weatherford, RMJM, WA International, Woods Bagot, Du, Etisalat, Barclays Bank, HSBC Bank, Lloyds TSB, Mashreq Bank, Standard Chartered Bank, RAK Bank, Union National Bank, Areva, Cisco Systems, RSA, KPMG, IBM, Microsoft Corporation, Nokia Siemens Networks, Schlumberger, Johnson & Johnson, Shell, Unilever, Landmark Group, Dubai Sports City, Dubai Silicon Oasis, Abu Dhabi Education Council, The Environment Agency – Abu Dhabi, Abu Dhabi Media Zone, Al Fahim Group, Al Futtaim Group, Al Ghandi Group, Al Rostamani Group, Zayed Charitable Foundation and Dubai Airport.

L O C AT I O N? OFIS is conveniently located on Umm Hurair Road, Karama at the foot of the Maktoum Bridge. When travelling from Maktoum Bridge towards the Dubai World Trade Centre, the showroom is located on the right, about 100m after the bridge.

W H AT ’ S N E W ?

OFIS, in association with Italian brand COINMA, introduces Mosaico, a new range of operative workstations in the UAE. This contemporary operative desking solution features unique-looking C shaped legs and a wooden top with an effective wire management system ideal for modern offices.

According to Jagan K., business manager, OFIS: “Mosaico is a modern-age, versatile desking solution with a sleek and futuristic design which is simple yet attractive.

The unprecedented functionality and design makes it an ideal workstation for small and large offices”.

CO N TAC T S ?

OFIS has a flagship store in Dubai and a branch in Abu Dhabi.

For more details, visit www.ofisdubai.com or contact Dubai: +971 (0)4 3309290 or Abu Dhabi: +971 (0)2 6713399. Enquires can also be sent to customercare@ofisdubai.com for Dubai and to ofisad@eim.ae for Abu Dhabi.

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DESIGNER Q&A

Year of the Dragan ROM A NI A N - BORN R A DU DR AG A N HE A DS UP A F RENCH DE SIGN F IR M T H AT ’S BUILT WORK IS A LL TO BE FOUND IN T HE MIDDLE E A S T. CID MEE T S HIM .

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omanian-born, Paris-based Radu Dragan takes a highly intellectual approach to design. As well as being an architect, urban planner and the founder of Dragan Architecture, he is also a doctor of social anthropology and ethnology, and the author of two books, La représentation de l’espace

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dans la société traditionnelle: les mondes renversés, and Symbols and Language in Sacred Christian Architecture. He is a member of the French Order of Architects, has been an associate professor at the Ion Mincu Institute of Architecture in Bucharest since 1982, and has lectured at the renowned Ecole Pratique des Hautes

Etudes of Sorbonne. But what looks like a decidedly European CV also has a surprising Middle Eastern twist.

Since launching Dragan Architecture, a multi-disciplinary design firm that does everything from urban planning to interior design, in 2000, Dragan has enjoyed notable success in the GCC, particularly in

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DESIGNER Q&A

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Saudi Arabia – to such an extent that all of the French firm’s completed projects are now to be found in this part of the world. Commercial Interior Design caught up with Radu Dragan to find out why.

Tell us about your career so far.

I started my career in Romania, where I worked for some years before settling in France in 1990.

I then worked in prestigious French firms such as Vasconi Architecture, Ingenierie (where I contributed to the design of the Palace of Justice in Grenoble) and François Deslaugiers. I opened my own office in 2000. There were only a few of us in the beginning, but the office has developed over the

last few years, mainly due to important commissions from Middle Eastern developers. All of our built projects are in the Middle East. We also have some important projects in Europe on standby. Due to the economic crisis, many of these projects remain unbuilt.

I have a Doctorate in Social Anthropology and another one in the History of Religions from Sorbonne. For some years, I taught at Sorbonne and am currently a visiting professor at the University of Architecture in Bucharest.

I have also published a couple of books on anthropology.

Why design?

For a long time, common philosophical thought preached that form follows

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function. The architectural theories of the 20th century are largely indebted to it. However, and on a larger scale one might suggest, form also determines function. And form is design, if we accept a definition larger than that in the fashion magazines!

So, I think that ‘designing’ things is bringing them into existence.

1 Dragan recently completed a luxury hotel project in Jeddah.

2&3 The company has also done work in Riyadh.

What are the defining characteristics of your work?

I think it is a continuous (and often tortured) search.

What are the most interesting projects that you have worked on?

Undoubtedly, the unbuilt ones… our five-star hotel project in Bucharest, the

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DESIGNER Q&A

Towers of Cluj, the Library of Prague.

There are too many imperfections in finished buildings.

How important is the Middle East market for you?

In recent years, the largest part of our work has been for Middle Eastern customers, so I can say that today it is our most important market. We have designed the common spaces of a luxury hotel in the region, and the King Abdullah International Conference Centre, which is currently under construction in Jeddah. We have also designed many luxury villas and private residences, and an urban project in Riyadh.

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Tell us about the high-end hotel project in Riyadh.

It is a luxury hotel of 360 rooms and suites, with a restaurant for 600 people and another one for 240 people. The rooms are set around five large inner atriums. The decoration of the four lateral wings symbolises the four elements: earth, water, air and fire. In the middle of them is the central atrium, which has the symbol of the sun.

It was difficult to propose a very modern design as it is an official building. However, I tried to bring in some art deco style themes.

4&5 Dragan has designed a new housing district for Riyadh.

What other projects are you working on right now?

As mentioned, we are finishing the building of a new convention centre

in Jeddah. We are also working on a private villa, and a hotel in Kuwait is on the cards.

How sophisticated is interior design in this part of the world, would you say?

Sophistication in its sense of refinement is not wealthy (even if it is not necessarily un-wealthy). Rather, it is a conceptual problem. In practical terms, it means a perfect mastering of details.

As far as I can see, there is a frantic search for modernity here in the Gulf.

It is as if, with the almost unlimited means that you have, you are trying to push design to its limits.

But is society prepared to assimilate this very rapid change? I thing that sophistication will be reached only when

the social psyche perceives this futuristic design not only as an exterior sign of wealth and power, but as an inner dimension of its own weltanschauung [a comprehensive view of the world and human life].

How does this compare to France, where you are based?

There are very good architects and designers here in France, with a very interesting conceptual approach.

Unfortunately, design is a collective approach and it needs considerable financial support. In France, we have a competition system which makes it rather difficult to obtain a public commission, where the financing is still considerable. It is certain that today the 5

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DESIGNER Q&A

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6,7&8 Because of the current economic climate,

Middle East provides much more opportunity for architects and designers than Europe does.

many of Dragan’s European projects remain unbuilt.

What are the greatest challenges currently facing interior designers?

Technology is changing our world very quickly. We must assimilate it and integrate it into our work, but the problem is that these transformations are happening too fast for our minds. We are not able to understand most of the things around us (for example, I know few people that are able to fully understand how to work not only a computer, but even a washing machine). Increasingly, we are users, not makers, and how can we shape the world if we don’t understand it?

What is the most important piece of advice that you can give to students looking to work in the design field?

As a French anthropologist recently said, the younger generation wishes not to work, but to create. This may seem like a good thing, only I am unable to see the difference between the two. I am afraid that work is viewed less and less as a positive value in our modern society. And design, as I have said, is not only about a good pencil or even computer. I think we must teach our students a sense of labour that our modern society seems have lost.

to? And is there a country that you would like to work in, but haven’t yet?

It is difficult to say. After almost 30 years in the business, I have worked on many types of architectural and interior design schemes.

Maybe I’d say that I would like to have more liberty in my design choices, and more trust from clients. A good design is born only when an intelligent designer meets an intelligent customer.

Last but not least, I would like to work more on contemporary design.

However, if there is an architectural programme that I never touch, it is the sky scraper. I am not a fan of high-rise buildings, but they are evidence that our modern cities must develop in a vertical sense if we want preserve land 7

– and the vertical sense is fascinating because it is almost metaphysical.

Also, I have never designed a museum.

A museum space dialogues with singularities, when all other programmes do it with multiplicity.

As for a country where I would like to work, the world is very uniform today, and, concerning our cities, design is largely responsible for this. This makes the world smaller and more familiar, but also more boring. I am, as with many people today, a citizen of this smaller (and more accessible) world, so I think I could and would like to work anywhere.

And I have found the search for modernity here in the new Middle East quite fascinating.

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Is there a type of interior space that you haven’t worked on, but would like

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CASE STUDY: HAKKASAN

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CASE STUDY: HAKKASAN

Haute HAKK A SAN, A PIONEER IN MODERN C ANTONESE CUISINE , M ADE ITS UAE DEBUT L A ST MONT H

L

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aunched in London in 2001, Hakkasan was initially envisaged as a ‘Chinese Nobu’.

Nearly ten years on and the brand is recognised as having set new standards in Chinese cuisine and haute Chinois design. The original Michelinstarred London location has since spawned sister restaurants in locations as far reaching as Miami and most, recently, Abu Dhabi.

The name Hakkasan pays homage to the hakka people of the New Territories of Hong Kong, while san is a respectful form of Japanese address. As the name suggests, the restaurant is rooted in the culinary traditions of China – but not restrictively so.

MODERN AUTHENTICIT Y Founder, Alan Yau, has defined the Hakkasan concept as such: “The fundamental principle that has essentially determined the DNA of Hakkasan emerged early on: modern authenticity, encapsulating a paradox in that the traditions of the past are acknowledged, yet there is no fear of change.

“It is this spirit that infuses every aspect of the restaurant, from its design and ambience to service and, of course, cuisine. The fusion of authentic and modern engenders a freedom to pick and choose what is worth retaining and what is in need of change.”

Located in Abu Dhabi’s landmark Emirates Palace, the newest addition to Commercial Interior Design | JULY 2010

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CASE STUDY: HAKKASAN

1&2 Chinese scenes decorate the walls in the private dining rooms.

3 The interior is rich and sensuous.

4 The 15m-long blue glass bar.

5&6 Furniture is finished in a fish-skin embroidery.

the Hakkasan family opened on June 1.

With a capacity of 165, the restaurant is anchored by chef Lee Kok Hua from Hakkasan London, who has worked under the guidance of Hakkasan head chef Tong Chee Hwee for five years.

New dishes specifically designed for the UAE market sit alongside Hakkasan classics such as Peking duck with Royal Beluga caviar and grilled wagyu beef with king soy sauce.

The aim was to create a venue in Abu Dhabi that could rival – or even surpass – the London mothership. “We want customers coming here who have been to the London outlet and saying: ‘This is as fantastic as London, or even better than London’,” said Didier Souillat, chief operating officer, Hakkasan Limited. “There, we turn 500 covers on a good Saturday night, and we hope to do the same here.”

Recreating the Hakkasan ethos in a UAE setting fell to Paris-based design firm, Gilles & Boissier, which was also responsible for the interiors of the Hakkasan restaurant in Miami, as well as the W Hotel in Pudong, Shanghai and the Hotel 1850m in Courcheval. “We were asked to bring the London urban spirit to Abu Dhabi, while creating a modern authentic Chinese experience.

It had to be elegant and sophisticated, creating a new level of luxury dining in the emirate,” said founder and CEO of Gilles & Boissier, Patrick Gilles.

According to Gilles, Hakkasan blends the traditions of authentic Cantonese

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cooking with a modern flair and opulent style. “Hakkasan revolves around immaculate attention to detail, from what you find on your plate to the space that surrounds you. Everywhere you look, you must feel the exquisite craft that went into the ambience, just as with every bite you take, you feel the passion and love that went into the food.”

BRINGING BACK THE DRAGON The Hakkasan design ethos centres on the slogan ‘bring back the dragon’, a response to the way in which Chinese restaurant design has shifted away from its colourful cultural roots towards a stark modernism. As a reaction to this, the décor of Hakkasan has sought to regain a distinctive Chinese-ness,

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with rich, sensuous overtones. This has become a fundamental component of the Hakkasan interior concept, which also promotes a sexy, nightclub feel.

Core elements of the Hakkasan brand, which are also evident in the Abu Dhabi restaurant, include blue glass, a caged dining area, and a contemporary European reinterpretation of Orientalism in the design of furniture, fittings and equipment. The overall impression is one of cool charm.

Based on the same design thinking as the original London venue, the 1,000m² Abu Dhabi restaurant is divided into restaurant, lounge and bar sections, through the clever use of carved wooden lattice screens.

On arrival, diners are greeted by an entrance desk composed of a stainless steel, mirror-polished console with a marble top. A rectangular, white silk pendant hangs overhead.

The dining area is cocooned in a woodwork structure surrounded by blue glass, with a back-lit, stainless steel frame. This is the first real taste of China – reiterated elsewhere in the form of traditional patterns, Chinese forms recreated in marble, and handand custom-made Chinese pots that double up as candle holders. Furniture is finished in a fish-skin embroidery.

“The eye must play around with the different layers of the dining room, which has a cage-like feel. The deep blue is an electroshock of colour,” Gilles maintained.

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CASE STUDY: HAKKASAN

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CASE STUDY: HAKKASAN

TRUE BLUE Deep blue glass also surrounds the open kitchen, casting an interesting hue on the bustle underway on the other side of the screen. “An openspace kitchen behind a wall of blue glass is visible from the dining area, making the action in the kitchen part of the restaurant’s theatre – without being too ‘in your face’. The blue glass is an integral part of the Hakkasan brand design concept,” said Gilles.

A 15m-long, blue glass, rectangular bar with a retro-lit top is another striking feature of this brooding interior, and is complemented by a back bar with blue, retro-lit acrylic shelves.

Custom-made, conical steel pendant lights hang overhead, while cleaved slate on the back wall has been fitted with ripple lighting to create an atmospheric, night-time feel.

Meanwhile, the Ling Lang lounge café “is a more architectural space that plays with the verticality of elements in order to insist on volume height.

Seats are separated by white marble elements, with a fish-skin pattern. Red leather and dark blue pillows create contrast with other seating areas, and red pendants are like Chinese lanterns, but modernised”, said Boissier.

Four private dining rooms are separated by vertical pinewood shutters.

The walls of each room are adorned with hand-carved panels of grey-tinted oak that depict Chinese scenes. Even the toilets promote a sense of calm, “in the spirit of a spa”, explained Gilles.

White marble is set against dark wood, and polished steel-framed mirrors mingle with a touch of exotic teak in the sinks. Asian-fragranced soap is further evidence of the level of attention to detail inherent in this interior.

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LIGHT YEARS

7&9 The colour blue is an integral part of the Hakkasan brand image.

8 The Ling Lang lounge.

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Lighting is one of the most important features of this interior design scheme, but also presented one of the greatest challenges, Gilles explained. “All lighting is about patterns coming through the claustra and creating contrast.

“It means that some parts are voluntarily dark, to highlight others. The main idea is to utilise lighting to create a dynamic feel in the space.”

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“The main challenge was finding a treatment for the windows because this kind of project does not like natural light too much, especially the UAE’s extraordinary sunlight,” he noted.

“Remember that the original London concept was made in a basement without any windows. So how could we let the sun come in without creating too much contrast with the dark wood? We decided to highlight the wood colour and we chose some lighter leather colours. Then the existing windows were covered with very dense Chinese woodwork to create a nice and efficient filter. The result is that the project also works nicely at lunch time.”

Another challenge was creating a dramatic entry experience – since the restaurant has two main entrances, one from the interior of the Emirates Palace Hotel and one from the exterior. “It was extremely difficult to create a foyertype area, so we decided not to favour any of these entrances.

“We disrupted the typical idea of dramatising the arrival area and acted as if there was no entrance. You open the door and you are instantly in, which adds to the mysterious feel of Hakkasan. There is no warning – you are suddenly in a modernised Oriental haven,” Gilles said.

While it was important to capture the essence of the original London restaurant, it was also necessary to anchor this project to its Abu Dhabi locale. On a practical level, this meant reassessing seating dimensions and spacing between tables, but it also meant subtly incorporating local design elements.

“It had to reflect the original London Hakkasan outlet, but the design had to evolve a little bit. In London, you will not see the white marble, and also some of the patterns in the carved wood panels reflect an Arabic feel and the designs that you can see around the Emirates Palace,” said Souillat.

The end result is exciting and intriguing, Gilles concluded. “What creates the identity of this space is the way that your eye can move, play everywhere and never rest. And each time you visit it is like the first time because each seat has a totally different view.”

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VISIONARY? Yes. That’s why we innovate.

WE’VE CREATED A GLUE-LESS WAY TO INSTALL CARPET TILES. Now there’s a smarter, more sustainable way to install carpet tiles. Without glue!

Introducing TacTiles™.

Compared to traditional glue installation, TacTiles™ reduce environmental impact by up to 90%.

And they virtually eliminate VOCs.

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FEATURE: THE MODERN OFFICE

Merging technology Shannon McGrath

WIRELESS CONNECTIVIT Y IS COMBINING WITH SUSTAINABILIT Y TO SHAPE THE OFFICES OF THE FUTURE, SAYS FIDA SL AYMAN

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he days of clock-watching employees buried behind cubicles, sitting at desks cluttered with a tangled mess of cables and wires, are long gone.

Wireless technology has freed office

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workers from their desks, and has resulted in more open office spaces that encourage collaboration.

A focus on sustainability, meanwhile, has pushed this technology to the forefront, paving the way for innovation

in design and flexibility in working conditions. “The difference between office furnishings and office technology has almost completely disappeared,” noted Jill Gordon-Keep, business development manager of furniture Commercial Interior Design | JULY 2010

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FEATURE: THE MODERN OFFICE

1 An office by

and services supplier, Buro 45. “A long time ago technology was something that you’d put on the furniture, like a computer and a fax machine, with all the cables, but now the desks themselves are becoming more technologically advanced,” she continued.

The company’s Bordonabe range of office desks, which incorporates cables into the desk structure, is “industry standard for a product of this level and quality”, she continued. “All the cables and electrical mechanisms are actually housed under the work surface.

“It’s a simple system with very subtle, easy-access sliding cupboards, which has custom sockets depending on the needs of the individual – you just don’t have any wires out at all.”

Clive Wilkinson Architects, interior design architect, and Woods Bagot, executive architect.

2 Marketplace

by Teknion.

WIRE F REE Wire management solutions have also extended beyond desks and computers, and currently take advantage of wireless technologies such as Bluetooth and wi-fi to keep offices free from the tangled mess of cables. European office supplier Bene incorporates

a wide range of technologies into its furniture. Integrated wide-angle projectors, for example, eliminate the need to fi x machines from the ceiling, or to place them on a desk where they can inadvertently be knocked.

Likewise, LCD monitors sealed into a desk allow the user to electronically raise the screen when it is needed, and lower it back into the desk when it is not.

“We cannot have a completely wireless office yet,” said Ahmed Kandil, Bene’s managing director for the Middle East and Australia, “but having these different types of connections allows designers and the office furniture industry to minimise the need for bulky wires.”

When the wireless office does finally come into existence, it will be in no small part due to wireless electricity.

Siddharth Peters, managing director of Dubai-based office furnishings manufacturer, The Total Office, believes that wireless electricity is not for the future, but the present. “We’ve been dealing with wireless internet, data, voice, you name it, and we’ve had a lot of clients joke with us, asking:

‘What’s next, wireless electricity?’ Well, we are already there.

“The technology itself is not new, but the application is,” he continued. “Wireless electricity works through a Powermat, a platform which sits flush on a worktop, and through its corresponding communication kits, can charge iPhones and iPads, Blackberries, cameras, laptops and even desktop lamps.

“We’re demonstrating this to all our existing clients and we believe that in two years at least 20% of all larger companies will have this within their workspace, especially in collaboration areas, where people want to have a quick discussion but don’t want to bring all their wires with them.”

In time, wireless electricity will also influence the nature and design of shared workspaces and meeting rooms. Desktop-based conferencing, for example, is on the rise, taking away the need for the large and imposing video-conferencing rooms of old.

Heidi Demunyck, sales manager for Summertown Interiors, explained that more and more people

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FEATURE: THE MODERN OFFICE

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“are requesting a desktop conferencing connection for their computers, so a lot of the time now meetings are happening in smaller interview rooms or multifunctional rooms”.

SPATIAL AWARENESS

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As offices have become more space efficient, the configuration and use of office desks, enabled with wireless technology, has also undergone tremendous change. “In some cases an office is almost like a hotel lobby,” said Gilbert Griño, marketing manager, Bafco.

“The old concept of the office, where there are standard desks, is gone,” he said, referring to the growing trend of hot desking. “There are a lot of interpretations of hot desking, but essentially it’s about having empty workspaces which are completely connected. People come into the office to connect with what’s happening, so design shouldn’t push frigid or standard furniture.”

Using a host of wireless technologies can also make a company more dynamic than its competitors, said Gordon-Keep.

“All these technological advances make it much easier for them to form and reform when they have to restructure, or as the organisation demands it.

Technology-led design can be very flexible and responsive to how the nature of work is going to change,” she added.

The notion of employees each having their own permanent desk is becoming an antiquated one, admitted Amanda Stanaway, senior associate at Woods Bagot. “Some of the projects we’ve been working on have been modelled on an activity-based working model, which is where no one has a particular desk but there are different varieties of settings, depending on the task,” she explained.

Technology has driven design, she continued, in that “everybody in the office is given a mobile phone and a laptop, which means they can actually work anywhere within any environment”.

This, in turn, has presented new opportunities for designers to create offices that are sustainable. After all, “when a building’s occupants are able to work anywhere, it becomes an incredibly efficient, sustainability model”, Stanaway explained.

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INGRAINED EFFICIENCY So, when tasked recently with designing office space for a company employing 3,500 people, Woods Bagot created a building able to accommodate 2,700 at any one time. “It’s an activity-based office, which is a very different approach to how you work within an office, and we were able to put the sustainability aspect of that into practice,” said Sarah Kay, principal and interior design leader at Woods Bagot.

“This model takes into account the fact that most office buildings have an occupancy rate of 60% to 80% at any one time, considering sick leave, people moving, or the type of work they do. So, you can use that remaining 20% to load

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FEATURE: THE MODERN OFFICE

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3,4&5 Wire-free solutions from Forma 5.

6 Open, informal spaces by Summertown Interiors.

7 Shannon McGrath

the floor with 20% more people,” said Kay. “Technology is the only way we are able to do this,” she continued, referring to the iPad and other lightweight touchscreen devices, which allow people to work away from their desks with ease.

“In terms of spatial efficiency, it’s an incredibly sustainable footprint in any energy consumption model. That sort of workplace looks drastically different to another type of workplace because it’s not just desks within a space – it’s much more active, there are many more people walking around, the technology looks different, even the fittings look different,” Kay continued.

Catering to clients who place sustainability high on their agenda is

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An office by Clive Wilkinson Architects, interior design architect, and Woods Bagot, executive architect.

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FEATURE: THE MODERN OFFICE

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8,9&10 Office solutions

by BAFCO.

becoming a priority for the region’s major suppliers of office furnishings and design services. Design and manufacturing firms such as Bene, The Total Office, Bafco and Buro 45 comply with international green building codes such as LEED, ISO and BREEAM, and encourage their clients to also prioritise the environment when choosing designs and furniture.

Many companies in the Middle East, however, are far behind their European, British and American counterparts in recognising the importance of sustainable practices. “Clients don’t really put in specific requests to have materials sustainably sourced, but as a manufacturer it is our responsibility,” said Griño.

“If the cost of producing our products 9

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the eco-friendly way is the same, and it is, then we may as well do it the correct way,” he pointed out.

If any effort is put towards being sustainable, Kandil added, it is mostly for marketing and public relations purposes. “In all honesty,” he said, “I see some of our local clients, and they just want to have LEED certification; they don’t actually care about the environment. To be sustainable, it requires lots of money, and in the Middle East we find it difficult to find clients that pay proper money for proper projects.”

Gordon-Keep, meanwhile, believes that the economic downturn has stunted the region’s progress in demanding sustainably-sourced furnishings. “It’s about spend at the minute. If a larger

company is doing a refit, then they have a budget allocated, but smaller companies are moving out of necessity, more often than not. They don’t know what the future holds and how long they’re going to be in a space, so they don’t want to overspend.”

Kandil, however, remains optimistic that local companies and government departments will change their attitude.

“Organisations here are far behind, yes, but they are on their way.”

As advances continue to blur the lines between progressive workplace design, wireless technology and environmentally sustainable practices, the region’s most efficient and productive workplaces will be those that seamlessly merge all three.

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DESTINATION FOCUS: LIBYA

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DESTINATION FOCUS: LIBYA

Untapped potential LIBYA OFFERS INCREDIBLE OPPORT UNIT Y – BUT ONLY T HE BOLD NEED APPLY

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development frenzy is underway in Libya. The oiland-gas-rich-country has been largely unaffected by the global economic crisis, and is busy burying its fortunes into infrastructural and economic development. According to the International Monetary Fund (IMF), the country’s economy could grow as much as 5.4% this year.

“Libya is a growing market and from our experience over the last two years, it is a market with huge potential. The government is keen on investing heavily in all of its infrastructure, from roads to hotels and schools, and that brings excellent opportunities for architectural and design companies,” noted Isabel Pintado, head of the interior design, Godwin Austen Johnson (GAJ).

While there is opportunity in the office and retail segments, it is Libya’s massively under-developed tourism industry that could represent a potential goldmine. “Libya offers a niche market for tourism that is based on historic and cultural interest. It has one of the world’s best examples of Roman architecture, which has been preserved due to isolation from high impact tourism,” said Margaret Palmer, design director, Wilson Associates, Abu Dhabi.

Hotel chains from around the world are already queuing up to make their move. Turkish hospitality group, Rixos Hotels, opened the 120-room Rixos Al Nisr in Tripoli in March. Marriott is also planning its Libya debut, with a 270room hotel that is due to open in 2011.

Meanwhile, Wilson Associates is working on an InterContinental in Tripoli, and GAJ is working with the Libyan government on a seven-star hotel, also in Tripoli. The property is nearing completion and will be set amongst a mixeduse development in the Regatta area of the city. “Another project that is in the final design stage is a mixed-use development with a strong office component

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located a few kilometres southwest of Tripoli,” Pintado revealed.

Yet another mixed-use project on the cards is Medina Tower, a joint venture between Mediterranean Investments Holding (MIH), IHI, which is a sister company of the Corinthia Group, and the Libyan Economic Development Real Estate Company, a sovereign wealth fund.

The 40-storey, mixed-use Medina Tower will offer 242 apartments, 23,000m² of office space, 20,000m² of retail space, a conference and exhibition centre and four floors of underground parking. Construction will commence shortly and is expected to be completed within four years.

MIH is a joint venture between the Kuwaiti National Real Estate Company and Corinthia, a Maltese company with a long-standing relationship with Libya.

“Corinthia has been operating in Libya for over 25 years, initially in the catering business, where it provided meals for thousands of workers on rigs and oil fields, as well as airline catering,” explained Reuben Xuereb, managing director of MIH. “When the new Tripoli airport was inaugurated, Corinthia was also responsible for the duty free shops and other facilities at the airport. Later on in 1999, Corinthia took a bold decision to invest in and develop what became the first and only five-star hotel in Tripoli.”

Corinthia’s second Libyan venture, as part of MIH, was Palm City, a residential development launched in 2006. “In just four years, a flat, 170,000m² plot of land has been transformed into a village comprising 413 residential units and a piazza in the heart of the village that has become the place for tenants to meet and shop for their daily needs, as well as enjoy the services of a beauty salon, a bank, a large supermarket, a café, a laundry and a kids play area.”

Health and leisure facilities include a large clubhouse with an indoor pool,

spa, squash court, gym, kids play area, four tennis courts and a five-a-side football pitch. The development also offers a private beach and a Movida fine-dining restaurant.

“Clearly, Corinthia has believed in what Libya has to offer for decades and not just in recent years. This is a country that boasts numerous archeological and World Heritage sites, enjoying 2,000km of coastline on the Mediterranean sea, the finest Sahara desert, and the beautiful Cyrene and Green mountains, as well as the very distinct Acacus mountains.

“Add to that an abundance of natural resources and a country that has not spent much over the last 30 years, and Libya provides some very interesting opportunities for investment, in a wide ranging spectrum of industries, not least in real estate and tourism.”

Naturally, a market in such early stages of development also presents significant challenges, GAJ’s Pintado pointed out. “Libya has only recently started developing its infrastructure so you’re not only facing physical obstacles in terms of supporting services to your project, but also evolving policies and regulations. However, those challenges that we encounter also present opportunities for GAJ. As consultants we are able to provide additional support in an advisory capacity, or identify other design opportunities beyond our project.

“A close relationship with your client is essential when working in Libya, as are regular site visits and close communications. Face-to-face discussions are crucial, but be mindful that feedback usually takes longer than you’re perhaps used to,” she warned.

When it comes to interior design, Libya remains “under developed and largely ethnic”, according to Wilson Associates’ Palmer. But as people begin to travel more widely, this is changing rapidly, and demand for high-quality design in Libya is undeniably on the up.

1 Ancient berber granary in Libya.

Commercial Interior Design | JULY 2010

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www.intertende.com

made by italian excellence

SUPPLIERS YOU SHOULD KNOW

FLOORING SUPPLIERS YOU SHOULD KNOW

A

ccording to Angela Schaschen, managing director of Deutsche Messe Dubai, organiser of Domotex Middle East, the trade fair for carpets and floor coverings, sustainability is still the number one trend shaping the flooring industry.

When it comes to buying patterns in this part of the world, wooden flooring has become more and more prevalent in recent years, but there is still high demand for wall-to-wall carpeting, Schaschen pointed out. This market also has a penchant for ‘luxurious’ products, she noted.

The current economic climate is having an undeniable but not entirely

www.constructionweekonline.com www.constructionweekonline.com

negative impact on the flooring industry, Schaschen admitted. For property owners looking to add value to their investment in a highly competitive marketplace, flooring is an obvious place to start. “There are so many empty properties around right now. Owners trying to add value to these properties will start with flooring; it’s the most obvious thing you can do,” she said.

Moving forward, the flooring industry is likely to be revolutionised by nanotechnology, predicted John Alexander Smith, professor and Emeritus chairman of the department of interior design at the American University in Dubai.

“If we apply nanotechnology to flooring finishes, there are unlimited potential benefits. Floors could be self cleaning. They could have thermoinsulation, UV and solar protection, fire proofing, anti-grafitti, anti bacterial, scratch proof, and even anti-fingerprint properties,” Smith said.

“We are at the outset of a new era.

As an architect or a designer, what you will basically do is write the specification of the material that you want. So let’s say you wanted it to absorb solar radiation during the day and, at night, emit energy as light.

Instead of working with what already exists, you are starting with a clean, blank piece of paper.”

Commercial Interior Design | JULY 2010

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SUPPLIERS YOU SHOULD KNOW

BSH Walls and Floors

CID speaks to Reza Nikzad, managing director of BSH Walls and Floors in the Middle East.

Tell us about your company.

Thirteen years ago, BSH Walls and Floors was established, along with our commitment to being a true partner to our customers. We have made it easy for people to reach us by building offices in Iran, Dubai and Canada. Over the years, we have earned an impeccable reputation for excellent quality, exquisite design and superior service.

What sets you apart?

BSH Walls and Floors is a reliable, friendly and responsible partner. We continuously bring in the latest product lines, which combine beauty, practicality and functionality. We were the first to showcase the latest technology in flooring when we introduced leather floors to the market.

few, we have supplied carpeting to the Dubai Civil Aviation Authority, Dubai International Airport and The Emirates Integrated Telecommunications Company (Du). We have also supplied laminate flooring to the Burj Al Arab in Dubai, and provided Abu Dhabi Duty Free with PVC flooring.

Any news?

As an environmentally-responsible company, we are very proud of our 130,000ft² office, which has been certified as a LEED Gold building by USGBC. Today, the products that we offer all contribute to LEED credits.

We have also expanded our market in the US and Canada, which has elevated our relationship with worldclass designers and architects. This has also enabled us to work closely with manufacturers to bring the latest trends to the market.

How do we contact you?

What projects have you been involved with in this region?

We have worked on a number of prestigious projects in the region. To name a

CID speaks to Roy Najjar, executive director of international business development for Boa-Franc.

certified and qualified for LEED credits.

These floors are perfectly designed for all of your projects.

Tell us about your company.

Any news?

Boa-Franc is a North American leader in the manufacture of superior quality, prefinished, hardwood floors, such as the highly-acclaimed Mirage collections.

Mirage has launched Alive, a brand new series designed specifically for active families. Alive floors, which are available in red oak, have a lightly brushed and textured surface that conceals everyday scuffs and marks. Alive floors come in three colours: Urbana, a brown grey blend; Terra, an earthy brown for natural appeal; and Isla, a white, sandy colour. Earlier this year, the company also launched four additions to its popular Sweet Memories series, available in Handcrafted Oak. These additions are Exhilarating Carousel, a creamy white; Château, a dignified grey; Teddy Bear, a soft brown; and Gingerbread, which is available in Aged Maple.

What projects have you worked on in this region?

We have worked on the Palm Jebel Ali Beach House, as well as projects, including palaces and resorts, in other GCC countries.

What sets Boa-Franc apart from the competition?

Absolute consistency and the highest quality in species, finish, colouring, width and thickness, guarantee that Mirage prefinished hardwood floors are smooth, uniform, easy to install and beautiful beyond compare. Mirage also continues to take responsible, concrete action, as it has for the past 25 years, with an innovative approach to sustainable development. Mirage floors are FSC

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JULY 2010 | Commercial Interior Design

For more information, visit www. primeflors.com or www.torlysme.com, send your inquiry to info@wallsand floors.com or call +971 (0)4 8855500.

How do we contact you?

Roy Najjar can be contacted at roy.najjar@boa-franc.com and tel: +971 (0)55 880 5987. For more information, please visit www.boa-franc.com or www.miragefloors.com.

Boa-Franc www.constructionweekonline.com

SUPPLIERS YOU SHOULD KNOW The low-down from S.V. Vanitha, business development manager of Instep Trading, a Dubai-based supplier of quality wood flooring.

Tell us about your company, Instep Trading.

Instep

For distinguished and superiorquality timber floors, take a step to Instep. Instep Trading brings you exceptional wood flooring sourced from around the globe.

Instep Trading offers all kinds of wood flooring, for internal and external use.

By offering the finest service, along with genuine-quality wood flooring, for the past 16 years, Instep has earned itself a reputation for being a specialist in this field. This is also thanks to the impeccable knowledge and expertise of the owner of Instep, a man who turned his passion and inspiration into one of the finest wood flooring companies.

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

CID catches up with Fouad J. Mira, deputy general manager, sales and marketing, of the Saudi Arabia-headquartered carpet specialist, Al Mira.

in different yarn types, to give our customers the flexibility they need to design a piece of carpet that meets their expectations.

Tell us about your company.

What projects have you worked on in this region?

The owners have over 60 years of experience in the carpet industry, as retailers. They decided to establish the Al Mira Carpet Factory in 1994 to meet the ever-increasing demand for quality carpets in Saudi Arabia and the Middle East. In December 2005 we gained ISO 9001:2000 certification for quality management systems for both operations and personnel performance.

What sets Al Mira apart from the competition?

Producing high-end quality carpets is our main priority, and we provide our clients with the opportunity to customise their commercial establishments and places of residence.

We also take great care with the quality of service offered to our clients.

In addition, we offer very competitive prices, special delivery terms and a wide range of colour selections

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

What sets you apart?

We always have new and unique items up our sleeves – for example, our new product, Dark Mahogany, which is weather and water resistant. Our installation and technical know-how also sets us apart and we are trendsetters in the industry.

What are your best-sellers?

Our best sellers are specially modified wood floors which are completely resistant to moisture and water.

Have there been any recent developments at your company?

We aim to serve the environment by offering sustainable wood as well as LEED-certified wood floors.

Where do we find you?

Warehouse Number 3, Al Hathboor warehouse, Marrakech Street, Umm Ramool, Dubai. Tel: +971 (0)4 285 5996. For more information, please visit www.instep-floors.com.

Al Mira

We have been involved in many projects, inside and outside of Saudi Arabia, for the largest contracting companies in the region, including private villas, wedding halls, mosques, offices and hotels.

Have there been any recent developments at your company?

We have added to our exclusive collection of machines to continue building on our customised business.

How do we contact you?

Our location is Industrial Area Sector 5, Jeddah, Saudi Arabia. Our postal address is Jeddah 21468, PO Box 34343.

You can also contact us on tel: +966 2 6081211, fax: +966 2 6081263, and email: administration@almiracarpets. com. For more information, visit our website: www.almiracarpets.com.

Commercial Interior Design | JULY 2010

49

SUPPLIERS YOU SHOULD KNOW

InterfaceFLOR

By Ana Elisa Seixas, marketing director, Middle East, Africa and India.

Tell us about your company.

InterfaceFLOR is the world’s leading manufacturer of carpet tile, offering designers and customers a wide variety of colour combinations, textures and patterns, ranging from cool minimalism to fashion-conscious carpets. The company invented the concept of the carpet tile nearly 50 years ago and has been systematically developing it ever since. Today, InterfaceFLOR offers a wide range of commercial modular flooring, combining style, innovation and practicality, to suit all kinds of buildings.

It is all manufactured along sustainable principles and taking into consideration Mission Zero, the company’s unique drive to achieve a zero environmental footprint and become the first sustainable company by 2020.

What sets you apart?

We are not just a carpet tile manufacturer. We believe that innovation, design and sustainability go hand in hand and that reflects not only on the way we run our business but also on our products. During the mid-1990s the company’s founder and chairman, Ray Anderson, put the company on track to becoming the first sustainable company

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JULY 2010 | Commercial Interior Design

by 2020. Now defined as Mission Zero, the company’s unique drive to achieve a zero environmental footprint is a central part of the organisation’s ethos and culture, and is reflected throughout the InterfaceFLOR product portfolio.

What projects have you been involved with in this region?

We have been quite active throughout the region, from offices to airports and education spaces. We have just finished installing a beautiful mix of products for KAUST University in Saudi Arabia and are responsible for the Abu Dhabi Airport renovation.

Any news?

We have just launched a bold new offering inspired by the 1980s Memphis Design Movement. With bright colours, souped-up black and white stripes and strong graphics, the three main styles, along with an extensive pattern library and co-ordinating solids, form one of the most exciting offerings InterfaceFLOR has ever brought to market.

How do we contact you?

Speak to Ana Elisa Seixas. InterfaceFLOR’s office and showroom is open from 9am to 5pm from Sunday to Thursday. You can also book an appointment on +971 (0)4 399 6934.

www.constructionweekonline.com

SUPPLIERS YOU SHOULD KNOW The low-down from Carpets Inter’s senior export manager, Teerachai S.

Carpets Inter

Tell us about your company.

Carpets Inter is a world-class leader in contract carpeting. From the largest corporate projects to the most discerning individuals, Carpets Inter has the expertise and attention to detail to help realise any vision. We are one of the largest contract carpet manufacturers for the hospitality and commercial markets, including special sectors such as cruising and aviation.

Our comprehensive product range also covers the automotive industries. We pride ourselves on being able to fulfil the requirements of any custom job.

What sets you apart?

We are proud to be a local leader in the ‘reuse, recycle and reduce’ movement, and are the first in the region to obtain and comply with both Quality and Environmental ISO certifications,

By managing director, Laurent Messara.

Tell us about your company.

Established in Sharjah in 1988, we specialise in medium to high-end contracts and the wholesale of world-leading brands of soft floor coverings and parquet. As a major UAE distributor, we stock 80,000m² of carpet tiles, ten lines of contract carpets from Balsan, France and all residential vinyl and parquet from Tarkett, Luxemburg.

What sets you apart?

We deal exclusively with renowned manufacturers such as Tarkett, the residential vinyl leader from Luxemburg, and Balsan, the French manufacturer of contract carpets. We stock all their high-end products, making them available to the UAE market overnight. With 177 designs, from wood to children’s designs and trendy modern designs, always in stock, Tarkett’s residential vinyl range is a reasonably priced option for residences and contractors alike.

Our workshop also manufactures sisal and seagrass made-to-order rugs with a choice of cotton or linen fabric borders.

What projects have you worked on?

Our contracting division has been active in many office and hospitality projects

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as well as a comprehensive series of internationally-recognised Product HSE and Niche certifications.

What projects have you been involved with in this region?

In the UAE, we have supplied The Al Murooj Rotana, Abu Dhabi Beach Rotana, Sharjah Rotana and the Meydan Hotel. We have also worked with Rotana in Qatar, with the Grand Mercure Hotel in Bahrain, and the Al Anoud Novotel, Faisaliah Hotel, and InterContinental Hotel in Riyadh.

Any news?

In 2009, Carpets International Thailand’s manufacturing facility received recognition from three environmental/ sustainability sources: NSF, Carbon Label and Carbon Footprint.

How do we contact you?

Email: teerachai@carpetsinter.com; tel: +662 318 3670 (ext 430).

over the last couple of years. All Fun Cities (amusement parks for children inside malls) have been supplied with our Traffic 345 fungistatic and bacteriostatic soft vinyl. In May, we covered the Nike dribble contest football pitch that was installed in the Mall of the Emirates with our new Diamond landscape grass.

Any news?

Janser, the German flooring tool manufacturer, has decided to tie up with Messara Trading to install its first pickup shop in the Middle East. All Janser professional tools and floor machinery such as grinders, professional vacuums, knee kickers and carpet cutters etc, are now available at the Messara showroom in Sharjah. In addition, we have successfully launched Gorilla Tech Glue, our own brand of professional carpet adhesives. Several new velours and wall-towall carpet from AW are now in stock for light hospitality or residential use.

How do we contact you?

Our four warehouses are situated near our head office and private showroom in Sharjah, Industrial Area 4. Contact Laurent Messara, managing director or Sumit Srivastava, project sales manager on +971 (0)6 533 6625 or send your enquiries to messara@eim.ae.

Messara Trading Commercial Interior Design | JULY 2010

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ADVERTISING IN

GROW YOUR BUSINESS ACROSS THE REGION WE WILL CHECK YOUR AD COPY TO ENSURE YOU RECEIVE DIRECT SALES LEADS ADVERTISING WILL RAISE YOUR PROFILE AMONGST YOUR COMPETITORS EDUCATE YOUR CUSTOMERS ON YOUR BUSINESS BY ADVERTISING GENERATE UP TO 60 SALES LEADS PER MONTH BY USING OUR EMAIL BLASTS

ADVERTISING WILL SELL YOUR PRODUCTS & SERVICES QUICKER – CAN YOU AFFORD NOT TO CONTACT ME ON THE NUMBER BELOW?

LEIGH ROCHE Sales Manager Direct: +971 4 210 8679 Mob: +971 50 869 0916 Email: leigh.roche@itp.com

ITP BUSINESS PUBLISHING CO. LTD. Aamal House, IMPZ PO Box 500024, Dubai, United Arab Emirates Tel: +971 4 435 6000, Fax: +971 4 435 6080 Email: subscriptions@itp.com, www.itp.com/subscriptions

PRODUCTS

New on the market AMEBA Ameba is a pendant lighting concept from Vibia that is adaptable and adjustable to every space.

Designed by Pete Sans, the light fitting is made of five different basic shapes that fit together perfectly

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and can be combined to create an unlimited range of compositions.

The sections are wired to each other, so no matter how many are used, only one j.box is required in the ceiling. In addition, the fitting

is hung with aircraft cables that are adjustable in height.

BRIGHT LIGHTING AGENCY +971 (0)4 2347212 www.vibia.es

Commercial Interior Design | JULY 2010

53

INTERIOR DESIGN SHOW 2010 8–11 NOVEMBER 2010 DUBAI WORLD TRADE CENTRE

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POSURE A NEW DECADE OF DESIGN INDEX DESIGN SHOW 8–11 NOVEMBER 2010 DUBAI WORLD TRADE CENTRE Book your stand now by calling +971 (0)4 438 0355 or email naomibarton@dmgworldmedia.com www.indexexhibition.com

Official Media Partner:

ACCESSORIES

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FLOORING

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KITCHENS & BATHROOMS

LIGHTING

Co-located with:

TEXTILES & UPHOLSTERY FABRICS

PRODUCTS

MIX Cosmic has launched Mix, a compact collection of washbasins designed by Martin Azúa.

The new collection is made in bathstone, with open spaces for storage, a built-in towel rail and a range of different tops. The

collection also features mirrors with interior lighting, shower trays and large bathtubs.

COSMIC +34 938 654 277 www.icosmic.com

MÓZ/ART Móz/Art is presenting a new series of wall treatments for contemporary environments.

Featuring Mondrian-inspired, hand-etched patterns highlighted with translucent colours, the Móz/ Art collection fuses form, pattern and colour to create an interactive

visual display. Móz/Art panels are composed of 80% post-industrial recycled aluminum and contribute to LEED accreditation.

MÓZ DESIGNS +1 510 632 0853 www.mozdesigns.com/mozart.html

HT LUX Following on from the release of the Winebag and Opale wine cellars, Sand & Birch Design has once again collaborated with Cantine Elleme to produce the HT Lux. The new wine cellar is piped in oak and maple wood, with Inox finishings,

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anti-UV glass, LED lighting and a capacity for about 70 bottles, set on removable shelves.

SAND & BIRCH DESIGN +39 773 1762584 www.sandbirch.com

Commercial Interior Design | JULY 2010

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PRODUCTS

GRE AT WHITE KNIVES Sharp, sleek and effective, Great White Knives are now available exclusively in the UAE. Made from hardened ceramic, Great White Knives are some of the most advanced and sharpest knives available on the market.

Ergonomically designed for an efficient cut and user safety, the composition of the knives ensures that they will never rust, making them easy to clean and extremely long lasting.

Great White Knives are available in a range of sizes.

GREAT WHITE KNIVES +971 (0)4 311 7169 www.greatwhiteknives.com

SIRCHESTER & BARCELONETA Raffaella Mangiarotti and Matteo Bazzicalupo of Deepdesign have revisited two classic seating options for Serralunga. The Chesterfield sofa and Barcelona armchair by Mies van der Rohe have both been reinterpreted.

Recognising that the boundaries between outdoor and indoor living spaces are being blurred, Bazzicalupo and Mangiarotti have created the Sirchester and Barceloneta outdoor seating options. Sirchester is a range of outdoor seats, including a sofa and armchair, which come in the typical Chesterfield form. Sirchester,

however, has a lighter profile and is made of white rotational resin.

The product family is also available in yacht blue, black, leather, apple green and fuchsia – as well as in an illuminated version that is fitted with inner lighting.

Meanwhile, Barcelona has been given a younger, fresher look with the Barceloneta outdoor armchair, which is stackable and available in ivory white, black, red and mocha.

SERRALUNGA +971 (0)4 218 022 www.serralunga.it

HOSPITALIT Y T VS Samsung Electronics has unveiled its latest collection of hospitality televisions, the LED TV Series 6 6000 and Series 4 4000, as well as the LCD Series 4 457 range. Designed to modernise hotel rooms and meet a wide range of needs and tastes, the hospitality

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TV lineup incorporates the latest technology, seamlessly blends in with its surroundings, and provides an interactive experience for guests.

SAMSUNG ELECTRONICS UAE: 800 726 7864 www.samsung.com

Commercial Interior Design | JULY 2010

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PRODUCTS

X-TECH Ceramica Cielo has unveiled X-Tech, an evolution of its Jungle range of bathroom fittings.

X-Tech features a brand new finish which is highly resistant to corrosion and abrasion, and is durable enough for commercial

use. X-Tech is available in two sophisticated crocodile skin finishes: metallic platinum and gun barrel titanium.

CERAMICA CIELO +39 7615 6701 www.ceramicacielo.it

RE VERSE Andreu World has launched Reverse, a range of tables defined by a recyclable polyethylene base of sculptural, proportioned form, which can be matched with table tops of varying dimensions. Designed by Piergiorgio Cazzaniga, Reverse

is offered in two different sizes and fi ve colours: black, white, red cayenne, chocolate brown and cement grey.

ANDREU WORLD +34 9618 05700 www.andreuworld.com

T45 LIVING KITCHEN An island in the likeness of a large executive desk is the central feature of the new T45 Living Kitchen by TM Italia Cucine. Arranged in an L-shape, the island incorporates a sink, a Gaggenau cook top and ample work space.

Access from each side encourages spontaneous gatherings.

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JULY 2010 | Commercial Interior Design

A wall of high cabinets integrates a refrigerator column, oven, microwave and dishwasher.

TM ITALIA CUCINE +39 735 780 836 www.tmitalia.com

www.constructionweekonline.com

PRODUCTS

SARIA Saria is a celestially-inspired LED mini pendant with a colourful glowing edge, created by Nora Lighting. The product features a micro-sized glass disk that measures just 4¾ inches across and is ¼ inch deep. The fixture is rated at 50,000 hours of performance, at 70% of total lumen output.

NORA LIGHTING +1 800 686 6672 www.noralighting.com

K ARBON Inspired by lighting and construction equipment with articulating joints, the new Karbon

by Kohler signals a paradigm shift in the design of modern kitchen faucets. Unlike others, the Karbon faucet will maintain the exact position where a user places it, in or outside the sink, keeping the spray head and water flow exactly where it’s desired. Additionally, the faucet offers both spray and aerated water flow options, eliminating the need for a

side-spray. The faucet is available in high-quality, durable Polished Chrome and Vibrant Stainless finishes, and carries a lifetime-limited warranty.

VA S

BOHÈME Bohème is the latest collection from Swedish wallpaper company, ECO Boråstapeter. The new collection is inspired by the unusual antique items found at auctions and second-hand stores, and is characterised by

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JULY 2010 | Commercial Interior Design

large and small floral patterns, dots and stripes, and cake paper patterns in bright colours.

Also new from Kohler is the Vas ceramic faucet, which uses nearly half as much water as traditional faucets, and offers a return on investment in less than four years.

The product has a pitcher-like, vitreous china spout.

ECO BORÅSTAPETER

KOHLER

+971 (0)4 2325220

+971 (0)4 364 2650

www.ecobt.se

www.me.kohler.com

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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.

S A U D I A R A B I A 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

240 Public Housing Villas in Yanbu

Royal Commission for Jubail and Yanbu (RCJY)

In House

Al Muhaidib Contracting Company

74

Project under construction

Residential Development

8000 Residential Units - North Jeddah

Kinan/Savola Group/Eleba Company

Not Appointed

Not Appointed

640

Project in concept stage

Residential Development

Al Barari - Luxury Villas in Jeddah

Al Barari

Not Appointed

Not Appointed

27

Project in concept stage

Residential Development

100 Bed Hospital in Qatif

Ministry of Health

Beeah Planners

Saeed Radad Al Zahrany

17

Project under construction

Hospital

Prince Mohammad Bin Abdulaziz Airport Expansion in Madina - Phase1

General Authority for Civil Aviation (GACA), Saudi Arabia

Zuhair Fayez & Partners

Not Appointed

240

Project under design

Airport

Jabal Al Kaba Development - Mega Hotel Abdul Latif Jamil Real Estate

Dar Al Handasah

Saudi Constructioneers Est

101 - 250

Project under construction

Hotel

Dar Al-Qeblah Complex

Munshaat Real Estate Projects Company

Zuhair Fayez & Partners

Saudi Binladin Group

180

Project under construction

Commercial Buildings

Umm Al-Qura University Expansion Staff Accommodation - Phase 2

Umm Al Qura University

SaudConsult

Nesma & Partners Contracting 16 Company

Project under construction

Residential Buildings

Imam Islamic University in Riyadh Islamic Studies College

Imam Islamic University

Tibsa/In House

Saudi Art of Architecture Maintenance Ltd.

Project under construction

Educational Facilities

Olaya Towers in Riyadh

General Organization for Social Insurance (GOSI)

Zuhair Fayez & Partners

Nesma & Partners Contracting 250 Company

Project under construction

Commercial Buildings

King Fahd National Library

Arriyadh Development Authority/ King Fahd National Library

SaudConsult/Gerber Architects

Saudi Binladin Group

78

Project under construction

Recreational Facilities

Residential Town in Al Batha - Phase 4

Ministry of Finance

Abdulrahman Al Noeim Engg.

Consult.

Al Eraini Contracting Company

14

Project under construction

Residential Development

Tabuk Domestic Airport Expansion

General Authority for Civil Aviation

Saudi Consolidated Engineering Co;

Saudi Binladin Group

59

Project under construction

Airport

ITCC Park in Riyadh Phase 1

The Public Pension Agency

Zuhair Fayez & Partners

Al Rajhi Projects/Al Yamamah / CCE

1,500

Project under construction

Mixed Use

King Abdulaziz University - Nuclear Research Facility

King Abdulaziz University

Not Appointed

Not Appointed

150

Project in concept stage

Educational Facilities

Rayadah - Mixed Use Development in Jeddah

Rayadah Investment Company

Not Appointed

Not Appointed

150

Project in concept stage

Mixed Use

Three 100-Bed General Hospitals

Ministry of Health

Al Naem Engineering/Arclane Engineering

Saudi Pan Company for Trading & Contracting

70

Project under construction

Hospital

Pediatric & Maternity Hospital in Rafha

Ministry of Health

Al Mashriq Contracting

Al Mashriq Contracting

53

Project under construction

Hospital

Imam Islamic University in Riyadh Phases 1 & 2

Imam Islamic University

Tibsa

Al Fouzan Trading & General Construction

133

Project under construction

Educational Facilities

Souq Okaz in Taif

Supreme Commission For Tourism

Not Appointed

Not Appointed

50

Project in concept stage

Shopping Centre

Laboratory for General Products in Jeddah

Authority for Management & Specification

Soleiman Abdullah El Kheraiji Consult.

Naif Abo Ryash Est.

3

Project under construction

Commercial Buildings

Al Dossary Tower in Dammam

Mr. Yousef Al Dossary

Saudi Designers Engineering Consultants

Al Zahrani for Trading & Contracting

20

Project under construction

Residential Buildings

Zahran Business Centre

Zahran Real Estate Development & Investment

Saudi Diyar Consultants Architects

Al-Joudah Contracting Company

84

Project under construction

Commercial Buildings

Sheikh Saleh Al Rajhi Center

Ministry of Health, Saudi Arabia

Al Majaz Engineering Office

Al Areel Contracting & Industrial Co. Ltd.

10

Project under construction

Hospital

Twin Towers In Jeddah

Salah Serafi Corporation

Abnia Design Consultant

Mubarak Al-Guthmi Contracting Company

80

Project under construction

Mixed Use

Industrial Institute in Dammam

Zamil Industrial Investment Company

Al Awami Planners & Consulting

Amjad Shami Contracting Est.

20

Project under construction

Educational Facilities

Business Village at Jeddah

Omar Kassem Alesayi Group

ERGA Art & Design

Not Appointed

80

Project under design

Mixed Use

Al Rajhi Landmark Tower in Riyadh

Saleh Bin Abdul Aziz Al-Rajhi Business Council

Atkins

Not Appointed

266

Award awaited for the Mixed Use main contract

Central Hospital in Arar

Ministry of Health

Al Mashriq Contracting

Al Mashriq Contracting Company

53

Project under construction

Hospital

Umm Al-Qura University Expansion in Makkah - Female Campus - Phase 1

Umm Al Qura University

SaudConsult

Al Arrab Contracting Company

41

Project under construction

Educational Facilities

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JULY 2010 | Commercial Interior Design

27

www.constructionweekonline.com

CONTRACTS

K U WA I T 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

Center for Research & Studies at Sharq

Ministry of Public Works

Gulf Consult

Al Jaraih Contracting

12

Project under construction

Commercial Buildings

17 Storey Office Building in Hawalli

Almad Real Estate

Option One

Not Appointed

2.5 - 15

Project under design

Commercial Buildings

Kuwait Capital Tower

Al Dar National Real Estate Company

Al Jazeera Consultants

Mohamed Abdulmohsin Kharafi & Sons

250

Project under construction

Mixed Use

February 25 & February 26

Tijara & Real Estate Investment Company

Soor Engineering Bureau

First United Gen. Trading & Contg. Co.

101 - 250

Project under construction

Commercial Buildings

Accommodation for Jumeirah Development in Ahmadi

Jumeirah Development

Al Aliyan Consulting

Not Appointed

16 - 30

Project under design

Residential Buildings

Hospice for Children at Sulaibikhat

Kuwait Association for the Care of Children Hospital (KACCH)

Gulf Consult

Ahmadiah Contracting & Trading Co.

24

Project under construction

Hospital

Kuwait Control & Meteorological Center

Directorate General of Civil Aviation

The Associated Engineering Partnership

Sayed Hamid Behbehani & Sons

38

Project under construction

Commercial Buildings

Police Headquarters at Mubarak al-Kabeer

Ministry of Public Works

SSH

Not Appointed

30

Award awaited for the Commercial main contract Buildings

Ideal High School at Aqaila

Ministry of Public Works/Ministry of Education

Al Zamami Consultant

Bader Al Mulla & Brothers Company

17

Project under construction

Educational Facilities

Petroleum Research Laboratory in Ahmadi - Phase 2

Kuwait Institute for Scientific Research

Al Zamami Consultants

Bader Al Mulla & Bros Co.

2.5 - 15

Project under construction

Commercial Buildings

Al Hamra Tower

Ajial Real Estate Company

Al Jazeera Consultants

Ahmadiah Trading & Contracting

241

Project under construction

Commercial Buildings

Central Bank of Kuwait Headquarters

Central Bank of Kuwait

Projacs/PACE/HOK

CSCEC/M.A. Al Kharafi & Sons

375

Project under construction

Commercial Buildings

19-Storey Residential Building in Jabriya

Wafra Real Estate Company

Option One

Not Appointed

16 - 30

Project under design

Residential Buildings

Vocational Training Institute in Jahra

Public Authority for Applied Education & Training

In House

Al Hamra Kuwait Company

38

Project under construction

Educational Facilities

Residential Building at Bneid Al Gar

Mr. Ismail Ibrahim

Al Mousawi Engineering Consultant

Mahlab Al Nasf & Sons for Contg. & Tradng Co.

2.5 - 15

Project under construction

Residential Buildings

Police Headquarters at Hawalli

Ministry of Public Works

Salem al-Marzouk & Sabah Abi-Hanna (SSH)

Not Appointed

30

Project under design

Commercial Buildings

Police Headquarters at Al Farwaniya

Ministry of Public Works

Salem al-Marzouk & Sabah Abi-Hanna (SSH)

Not Appointed

30

Project under design

Commercial Buildings

Police Headquarters at Jahra

Ministry of Public Works

Salem al-Marzouk & Sabah Abi-Hanna (SSH)

Not Appointed

30

Project under design

Commercial Buildings

Salmiya Park in Kuwait

PAAFR/KCMCC

Projacs/Gulf Consult

Wara Construction Company

124

Project under construction

Recreational Facilities

Police Headquarters at Ahmadi

Ministry of Public Works

Salem al-Marzouk & Sabah Abi-Hanna (SSH)

Not Appointed

30

Project under design

Commercial Buildings

Headquarters for Kuwait Investment Authority

Kuwait Investment Authority

KEO International

Not Appointed

200

Project under design

Commercial Buildings

Extension of Crowne Plaza

Intercontinental Hotels Group (IHG) Osama Bukhamseen Design

BIG Contractors

31 - 100

Project under construction

Hotel

Ideal High School at Al Farwaniya

MOE/MPW

Al Zamami Consultants

Bader Al Mulla & Bros Co. W.L.L

16 - 30

Project under construction

Educational Facilities

Police College at Mubarikiya District

Ministry of Public Works

Gulf Consult/SOM

Kuwait Arab Contractors

157

Project under construction

Educational 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 | JULY 2010

63

OPINION

Greening the city

BY NA ZNEEN SABAVAL A

G

ood landscape design adds immense value to a project, not just in terms of resale value and monetary benefits, but also in terms of feel-good value.

The landscape industry in this region is still very young, even though it has progressed quite a bit over the last decade. Greater variety is available not only in terms of plants but also in terms of maintenance and care products, such as sweet soil and fertilizer, which are crucial to maintaining the original design intent of the landscape.

But good design can only be achieved by quality contractors with a vision. Here in Dubai I think that the limited exposure that most contractors have to international design trends is reflected in the uniformity and similarity of their projects.

In LA, where I studied and worked for seven years, we had brilliantly proactive contractors with good creative minds who looked at unusual design elements as a challenge. Here in the UAE, contractors are resistant to trying new things and tend to look at the bottom line rather than the design. I think a big part of the reason for this is because most clients are not aware of what is possible and contractors like to take the easiest option in terms of availability of materials and plants etc, rather than spending more time sourcing unique, unusual elements.

I am sure that this will change as potential clients nowadays are more aware of landscape design trends than what they may have been even two years ago.

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JULY 2010 | Commercial Interior Design

Unfortunately, there is quite a bit of division amongst the different components of the landscape industry. There is no single forum to help the designer, supplier, contractor and nursery owner to work together to create a unique landscape.

The same plants and paving materials are available from most vendors, so choice is limited. Most nurseries do not stock unique materials or plants. They have to be imported from other countries, making them more expensive and, as a result, attractive to fewer clients.

Another issue is that, culturally, here in Dubai clients tend to look at having things finished very quickly, and this is reflected in how we find the same materials, flora and fauna used again and again. Back in the US, gardens are very highly valued and there are countless government incentives provided to expand green space and build in an environmentally-responsible manner.

I think many people have preconceived notions that the UAE is a desert and not much can grow here. This is a misconception. With the proper care, many varieties of plants will do well here, including plants that thrive in the heat and arid Australian climate, as well as some Mediterranean plants that like prolonged heat.

Of course, water quality is a concern and is a direct result of water scarcity.

Because natural rainwater is in very short supply, most of the water available for irrigation is TSE (treated sewage effluent), which is high in salt content. Combine poor sandy soils with poor quality water

and you face a tough challenge in designing a lasting garden space.

Ultimately, an effective landscape design is a collaborative effort. Input from the client is very important in terms of what look they are going for, how they would like to use the space and how much work they are willing to put in once the garden has been planted. Client input helps shape each individual design and the functionality of the landscape, based on the client’s lifestyle.

A good contractor is also a crucial element in the design as there is no point having a good design but failing to deliver the finished product. A good design requires an experienced team of professionals to convert design into reality. Last but not least, add a cup full of passion to the mix and you have a garden that will give you many years of happiness.

There is so much potential for exploration here. I think rooftop gardens and terrace gardens will be big future trends, and not just for high rises but for the individual villa as well. I also think that at some point, urban planners in this city are going to realise the importance of community gardens, where a certain percentage of land is completely reserved for green space, accessible to adjacent apartment buildings in the heart of the city. So don’t be surprised if when flying into Dubai over the next few years, you see a lot more green from the sky.

Nazneen Sabavala is the director of landscape design at 3 Square Interiors.

www.constructionweekonline.com

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)

www. bafco.com