COMMERCIAL
COMMERCIALInterior design
Interiordesign
The essential guide for Middle East interior design professionals
An ITP Business Publication
Is Italy still synonymous with cutting-edge design?
WINDING DOWN
Why Kenneth Laidler has decided to take a step back
The essential guide for Middle East interior design professionals An ITP Business Publication
DESIGNER OF THE YEAR Presenting the winners of the third annual CID Awards
September 2009 Vol.5 Issue 9
December 2009 Vol.5 Issue 12
ITALIAN DESIGN
Dec Vol.5 Issue 12
CONTENTS
December 2009 07
DESIGN UPDATE Exclusive interviews with Piero Lissoni, Ross Lovegrove and Nadja Swarovski, who share their opinions on the current state of the design industry. CID also looks at the key trends and challenges highlighted during last month’s IFI General Assembly and World Design Congress, and Index exhibition.
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PROFILE Every month, CID provides a company of choice with the opportunity to introduce themselves, and highlight any new and exciting developments at their company. This month, the spotlight is on Czech lighting specialist, Preciosa Lustry.
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DESIGNER Q&A Kenneth Laidler, founder of KLD, and former president of the Association of Professional Interior Designers (APID), has been a constant, committed, often controversial member of Dubai’s interior design community. Here he talks exclusively to Selina Denman about his plans to take a step back.
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WHITEPAPER
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Kenneth Laidler, in his capacity as president of APID, has written a whitepaper proposing the continual assessment of professional interior design practioners. Over the next few months, CID will be publishing exclusive extracts. This month, Laidler provides a detailed breakdown of the different skill sets required by concept designers, visualisers and design technicians.
Commercial Interior Design December 2009
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CONTENTS
December 2009 28 CID AWARDS 2009
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Presented by Al Aqili Furnishings, the third annual CID Awards took place at the Park Hyatt on November 15. We reveal all of the winners, which included Alfred Johnson, Bishop Design Associates, Inoui Designs, Godwin Austen Johnson, Enrico Botta and Outcast Interiors.
43 WATER CONSERVATION With the need to conserve water becoming ever more pressing, particularly in this part of the world, bathroom companies are taking sustainability right to the heart of their product designs.
48 MADE IN ITALY An emphasis on quality, innovation and creativity means Italian brands are still at the forefront of the design industry. CID looks at some of the key players currently leading the pack.
55 PRODUCTS A selection of new products, including Torlys Leather Floors, Lamontage, Plug and Blendz.
61 CLASSIFIEDS CID’s own directory of suppliers and manufacturers.
63 CONTRACTS Your monthly guide to contract tenders in the region, provided by Ventures Middle East, in conjunction with CID.
64 OPINION 28
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Commercial Interior Design December 2009
Steve Maslin, access consultant and inclusive design manager for Stride Treglown, presents his case for inclusive design.
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FORM FOLLOWS FLOW. Living City, design Phoenix Design
Bathroom Culture since 1892
www.laufen.com/middleeast
Bahrain: Al Abbas Gallery +973 17741919 alabbas@batelco.com.bh Iran: Farbar +98 21 88 03 6364 sales@farbar.ir Jordan: Izzat Musa Marji & Sons Co. +962 65 52 02 84 info@marji.jo Kuwait: Arte Casa Trading Co. +965 4848 000 info@artecasa.bz Lebanon: Georges Nassr +961 1 482 462 georgesnasr@zahleh.com Oman: Ahmed Mohsin Trading L.L.C. +968 248 17 019 sware@amtoman.com Qatar: Al Abbas Gallery +974 4675167 alabbas@qatar.net.qa Saudi Arabia: Dar Alfun for Ceramics (Articasa) +96 6 2252 4402 info@articasa.biz Syria: Uni Group +96 31 15 32 67 00 unigroup@net.sy United Arab Emirates: German Home for Kitchen & Bathrooms +971 4 268 9993 info@germanhome.net Yemen: Abu Al-Rejal Trading Corp. +967 1 272 519 sanitary@abualrejal.com
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obilising the design industry is no mean feat. Convincing designers to show an interest, get involved, engage and interact is not always the easiest of tasks – even when there’s free food and drink involved! Which is one reason why we were so chuffed with the turnout for this year’s CID Awards. Battling downtown Dubai traffic at its most horrific, during one of the busiest weeks on the annual design calendar, representatives from nearly 40 of the region’s leading design firms gathered at the Park Hyatt on November 15 to help us celebrate the achievements of the interior design industry. We would like to extend particular thanks to those who flew in especially for the ceremony, particularly Inoui Designs and Enrico Botta from Bahrain. Their presence went a long way in supporting our attempts to make this a more representative, regional event. The breadth of turnout was matched only by the breadth of entries. There was a 100% increase in the number of projects nominated this year, as compared to last year. In some categories there were up to 30 projects entered for an award. The geographical scope of entries was also unparalleled. From hotels in Morocco to sales centres in Tunisia, retail facilities in Damascus, offices in Jordan, hotels in Qatar and auditoria in Bahrain, the spread was truly impressive. So, without coming across as overly gushing, thanks. To those who joined us on the night; to those who invested time and energy in putting their projects forward; to our judges for making a difficult job look easy; and to our sponsors for seeing value in what we do. Thank you all, for mobilising.
Certain images in this issue are available for purchase. Please contact itpimages@itp.com for further details or visit www.itpimages.com
Selina Denman, Editor
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DESIGN UPDATE
No more Captain Organic Why Ross Lovegrove is no fan of his nickname UAE: Ross Lovegrove takes design very seriously indeed. Which is why he is no big fan of his ‘Captain Organic’ moniker. “As if I’m going to come out of a telephone box wearing tights or something,” he laughed. “That’s fine; maybe it’s just a bit of fun. But it’s not serious enough – and I’m quite serious. I don’t want to turn design into some jolly little activity,” said the man famous for pioneering intelligent, organic, environmentally-sensitive design. “Once you get a label on things, you can’t fight it off. Because it gets on the internet and spreads like a virus. So you end up becoming very cautious about what you say and how you move and how you stand. Because it all goes out there and is disseminated worldwide.” The most cursory of Google searches reveals this to be true. Page upon page of Captain Organic references highlight the ease with which people label, categorise and pigeon-hole, without taking the time to understand the many complexities at work. Because being pigeon-holed is completely at odds with Lovegrove’s predominantly artistic sensibilities. “People come to me and say, we want a ‘Ross Lovegrove’ bathroom. And I say, well, what is a ‘Ross Lovegrove’ bathroom? And then I have to find out what it is that they expect from me. “Design is expected, art is unexpected. And I’m more interested in the unexpected. Not just delivering a service,” Lovegrove elaborated. “If I couldn’t maintain my own independence in terms of my own expression, I wouldn’t do this job. I would give up,” he added.
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“The thing is, there is fashion and trend in design and, well, I don’t look to be a part of that. Most people can’t copy what I do because it’s quite sophisticated. That’s quite a self-protective idea. I work more as an artist, with support. So I’m looking for the sculptural presence of things.” The relentless pace of Lovegrove’s creativity is highlighted in the breadth of projects he is currently working on: a perfume bottle for Calvin Klein, a yacht in Italy, a watch for Issey Miyake, lighting for Artemide and Yamagiwa, and so on. This is a man who has not taken a day off all year, and who travels to two or three different countries every week. “I just want to keep my head down at the moment,” he explained. “I just want to keep doing what I do, and then see how the future unfolds. There’s a lot of irrelevance in the world which doesn’t turn me on – which I don’t crave to be a part of,” he added. Lovegrove uses the contrasting styles of his living and working environments to highlight an inherent dichotomy in his life. A Start Trek-type working environment that is painfully modern and technologically advanced sits below a home that is brimming with wood, Henry Moore drawings and African art. “It’s opposites. I exist on the basis of opposite forces. Not a lot of people know that – but when they only see you through the work that you do, they don’t understand the background noise.” See the January 2010 issue of Commercial Interior Design for our full interview with Ross Lovegrove.
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Swarovski Middle East FZE Roundabout No. 6, P.O.Box 17128 UAE – JEBEL ALI FREE ZONE – DUBAI TEL. +971 / 4 / 881 65 62 WWW.ARCHITECTURE.SWAROVSKI.COM
Downsquare 110 x 110 mm
INNOVISIONS IN LIGHTING Inspired by a pyramid, Madison’s clear, pure form catches the eye. Due to the cut of the crystal maximum effect with a minimum number of facets is achieved. The play of light Madison creates on the ceiling is elegant and straightforward, reflecting the symmetry of the facets. Swarovski is opening up entirely new interior-design possibilities to architects and lighting designers with its sophisticated luminaires and lighting systems.
DESIGN UPDATE
Lessons from Lissoni CID meets the ever colourful Piero Lissoni UAE: Piero Lissoni is reluctant to share his thoughts on Dubai. “I am a guest,” he said. “It is not correct.” But, after some gentle persuasion, he conceded: “It is like a big accident between New York and Singapore”. By his own admission, Lissoni, founder of Lissoni Associati, is somewhat schizophrenic. From watches to buildings and interiors to graphics, he works across the whole spectrum of design – and cites Leonardo, the Bauhaus and Donald Duck as sources of inspiration. “My work as a product designer is like driving a car for Formula 1. You have to be fast, and you have to control the car like a surgeon. When it comes to architecture, it is like you are in a rally. For various reasons, it is more complicated. And around every curve is a surprise,” he said. Lissoni’s client list reads like a who’s who of contemporary design: Boffi, Living Divani, Porro, Alessi, Cassina, Flos, Kartell, Fritz Hansen, to name but a few. When asked what he would like to work on next, Lissoni’s stock answer (particularly if the person doing the asking is female) is ‘a beautiful daughter’. “I am totally
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convinced that the future is in the hands of the female. They are more stable, and more intelligent.” Unfortunately, the fairer race has yet to fully make its mark on the world of product design, he admitted. The number of truly successful female designers remains remarkably low. “One was my assistant for five years, Patricia Urquiola,” Lissoni said. “Fortunately, some females have started coming through now. But it’s not easy to survive in this industry.” And yet, in some cases, critical acclaim has come far too easily, Lissoni continued, blaming the media for being too quick to herald emerging talent. “Somebody designs one nice – not incredible, but nice – piece and everybody talks about this new genius at work. You have to wait. You have to go through the first piece, the second, the third, the fifth, before you can be judged,” he said. Those worth celebrating? “The old Japanese architects”, Philippe Starck “because he is an iconic, rock and roll type star, but also very professional”, Antonio Citterio and, “for beautiful organic forms”, Ross Lovegrove. “There are so many of them. I like people who are not superficial. Because, unfortunately, this industry is more superficial than ever.”
Commercial Interior Design December 2009
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13 – 16. 1. 2010
Contract business in hospitality, health care, residential & more
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DESIGN UPDATE
Designer rocks Nadja Swarovski talks fashion and design UAE: Few people have been better positioned to witness the increasingly frequent intermingling of design disciplines as Nadja Swarovski, the woman responsible for positioning Swarovski at the forefront of the fashion, art and design industries. “There has been a real cross pollinisation between all the different disciplines – from fashion to art to music to design,” she explained during an exclusive interview with Commercial Interior Design. “I think it’s because of the breakdown of so many barriers. It’s true – the world is flat.” In fact, while Swarovski has no formal training in design – and readily admits to living “vicariously through the designers” that she collaborates with – she has played a key role in encouraging this interplay of disciplines. The Swarovski Crystal Palace initiative, for example, was created to reinvigorate the relationship between crystal and lighting, by encouraging leading creative forces to reinvent the chandelier. In addition to collaborating with product designers and architects such as Zaha Hadid, Ross Lovegrove, Karim Rashid and Ron Arad, to name but a few, the project has called on the talents of musician Lenny Kravitz, as well as figures more closely associated with the world of fashion, such as Solange Azagury Partridge. “I think one thing is true – if you have an eye, you can certainly apply it to many different areas; you don’t necessarily need to be stuck in a certain discipline,” Swarovski, currently vice president of international communications at the company founded by her great-greatgrandfather, said. “The crossover is tremendous and it’s certainly more accepted nowadays.” There are a host of other designers and architects that Swarovski is eager to collaborate with, she
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admitted. “I’m endlessly curious about how designers interpret the use of our product. “We are a multi-faceted product – no pun intended – and just as multi-faceted as that product is, so are the types of application. Working with Norman Foster or IM Pei would be incredible. There are so many people like that, but also a lot of product designers; Martino Gamper, for example, is incredible. “He’s from that young, emerging group that are so talented but also so thoughtful and so down to earth. That’s exactly the spirit that we want to convey. “We want to work with a mix of well-established, successful designers, but also emerging designers who have totally new ideas and who might also have completely different experiences.” The company has been working with Greg Lynn on an installation for Design Miami, and with Tokujin Yoshioka, Yves Behar and the Hariri sisters on a new collection that will be launched at the Milan Furniture Fair. “The direction is going to be not so much lighting, but evolution into furniture and art. The Hariri sisters did one chandelier for Crystal Palace, which is basically a rock crystal. “Their new collection will be based on that, in combination with leather, crystal and metal. They are also creating a jewellery line that mirrors that furniture line – so talk about cross pollination!” With her multi-faceted, front-row view of the industry, Swarovski is also perfectly positioned to gauge how the current economic crisis is impacting design. “What I’ve noticed with the latest collections in Paris, Milan, New York and London, is that they are incredibly celebratory of life. I have to say, the message there is that the financial crisis is not a creative crisis,” she maintained. “Just the opposite, in fact.”
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DESIGN UPDATE
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Commercial Interior Design December 2009
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DESIGN UPDATE
According to the experts CID discusses the key issues, trends and challenges facing interior designers at present, as highlighted by big-name speakers at last month’s IFI Congress and Index Exhibition UAE: “This year was crucial,” noted Piero Lissoni. “And it was crucial for different reasons, not just because of the crisis. 2009 was important because we are remodelling our consciousness around the future, around new ways of working and around new possibilities,” he elaborated. This was a key theme that wove itself in and out of most of the presentations during last month’s IFI Design Congress. The traditional sustainability debate seems to have evolved, almost imperceptibly, into a wider, more realistic discussion about creating design that is intelligent, innovative, and ‘human’. “We have to be a little bit more intelligent,” insisted Lissoni, who was in Dubai to speak at the congress. “This is the trend. My clients are saying to me: ‘Please; it is time to use a little bit more intelligence’.” Ross Lovegrove, one of the other big-name speakers at the IFI Congress, mirrored some of these sentiments. 2009 was notable not only because of the tumultuous global economy – but because of the changes in attitude spurred by the crisis, he maintained. “It has been an unusual year, and not just because of what has happened in the global economy,” Lovegrove explained to CID. “What’s been good for me is that
people are still interested in innovation, and they see innovation maybe as a way out. “With all of the environmental work that I do, finally there’s a wonderful synergy between the natural environment, organic design and the technology needed to make things happen – harnessing energy, sustainably, for free, for example, which is something that I’ve been talking about for a long long time,” he said. “I’m not a designer that’s just jumped onto that idea. I’ve been doing it since I was very young. There’s the feeling that if I can stick with it, now is a good time. It’s a good time for everything that I’ve been talking about. Maybe this is my window,” he added. A more regional take on the sustainability debate was presented by John Alexander Smith of the American University of Dubai and Karim Farah, a senior architect with Dar Al-Handash, who is actively contributing to the establishment of the Egypt Green Building Council. They were joined by Interface Flor’s Neel Bradham for an IFI panel discussion entitled ‘The impact of sustainability on design & innovation’. Farah’s very simple definition of sustainability: “To meet our needs without compromising the ability of future
generations of meeting theirs”, reiterated the very human nature of the debate. Speakers at the IFI Congress also heralded in an era of greater pragmatism. “As architects, we are obsessed with the image of a building and not necessarily the performance of that building,” highlighted Daniel Holguin, founder of Multiplicities. The emphasis should be on crafting spaces that will enhance the user experience and evoke a genuine emotional response. “You can only create a successful guest experience and social spaces if you know how you want your customers to feel,” highlighted Bob Puccini in a presentation entitled ‘Enhancing the dining experience: the F&B philosophy’. The importance of pragmatism was also reiterated by Sebastian Conran, who insisted that: “One of the key things designers can do is interpret and harness technology to make it accessible to human beings”, in a presentation entitled ‘The design business’. A more ‘human’ ethos is perhaps also evident in the current ‘feminisation’ of design. Victoria Redshaw, CEO of UK-based trend forecasting company, Scarlet Opus, drew attention to the move away from hard, masculine lines, towards softer, more curvaceous
designs, in a series of presentations during Index. “The future’s female,” she insisted. But this softening of design is not synonymous with a simplification of design, Redshaw maintained, highlighting the trend towards ‘simplexity’. “Simplexity is a new design ethos,” she explained. “It is simplicity layered with complexity”. One of the overriding messages highlighted during both Index and the IFI Congress was that the current economic climate has created a series of new and exciting opportunities for designers, particularly in this region. “Everyone has been focusing on the top end of the market, which means that there is a lot of potential for those that are able to service other market niches,” Ivar Krasinski, principal, Burt Hill, pointed out. “There is plenty of opportunity for segments that have been under-served. “Companies can no longer just rely on an over-abundance of detail and cost per m² to prove themselves. Our job is not to go over the top but to create effective experiences,” he reiterated. “It’s the time of the underdog,” Holguin suggested. “Clients can no longer afford the Zahas and the Franks. It’s an opportunity for younger designers. It’s time for a new chic, a new rawness.”
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PROFILE
Preciosa Lustry WHO PRECIOSA is a trusted global player in the field of decorative lighting objects. Located in Central Europe, the company offers custom project services in design, manufacturing, installation and maintenance. All lighting projects undertaken by PRECIOSA are tailor-made for each particular customer.
USPS PRECIOSA offers a fascinating spectrum of products, including both classical and modern lighting fixtures, lighting sculptures, art glass and glass decorations. Almost 300 years of participating in the development of the unique craft of chandelier-making has enabled PRECIOSA to master this fine-tuned art to perfection. The combination of age-old hand techniques and modern technologies yields impressive results. The large in-house team of designers makes PRECIOSA a creative partner in the sphere of modern design.
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Commercial Interior Design December 2009
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PROFILE
WHERE The headquarters are located in Kamenický Šenov in the Czech Republic. PRECIOSA also has a customer centre in Jablonec nad Nisou in the Czech Republic, as well as worldwide subsidiaries in Dubai-UAE; Singapore; Hong Kong; Madrid-Spain; Moscow-Russia; New York-USA.
WHAT’S NEW Lighting objects created from suspended mouth-blown glass components or machine-cut crystal stones are currently the company’s best-selling masterpieces. In lighting projects, their designers also use fused glass. When shaping it, they often draw inspiration from nature’s variability and ancient legends, as well as from works of art by creators of worldwide reputation.
CONTACT In the Middle East, the subsidiary, PRECIOSA GULF FZCO’s staff are ready to provide customers with a truly professional service. They can be found in the Jebel Ali Free Zone, PO Box 18185, Dubai, UAE, or contacted on the phone + 971 (0)4 883 8473, fax + 971 (0)4 883 7913, and email sales@gulf. preciosa.com.com.
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Commercial Interior Design December 2009
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DESIGNER Q&A
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Winding down Ken Laidler has been a constant, committed, often controversial member of Dubai’s design community. Here, he talks candidly to Selina Denman about his plans to take a significant step back
A
fter four years as the face of APID, and over three decades at the helm of his own design firm, Kenneth Laidler has decided to take a step back from both roles. Having begun his career on a building site at the age of 14, Laidler is ready to focus on other pursuits, he explained recently in an exclusive interview with Commercial Interior Design. APID’s hosting of the IFI General Assembly and Design Congress last month seems like a fitting send off for Laidler, who is handing over presidency of the association to Farida Abdulla Kamber. The event was an apt manifestation of Laidler’s typically ambitious, sometimes
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seemingly over-reaching, attitude. While he will readily admit that he might not be everyone’s ‘cup of tea’, Laidler has remained committed to changing perceptions of the interior design profession and, as president of APID and a driving force in its initial foundation, has dedicated a significant amount of time and energy into furthering the cause of interior designers in this region. For this, the industry can only be thankful. CID caught up with Laidler to find out more about his plans for the future.
young to retire, but not many people started working when they were 14. I was working on a building site by the time I was 15 and didn’t even go to university until I was 21. Basically, I haven’t had any time off since the age of 14. And I feel like there’s so many things that I would like to have done – and now I’m making the time to do them. It scares me when I hear of people dying in their 60s, before they’ve achieved anything. I think: ‘No, there’s so much more that I want to do’.
You’ve decided to take a step back from the mainstay of the business. Why now? Many people have said that 60 is too
Like what? It changes. I remember somebody once saying that you should know what you
1. Kenneth Laidler.
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DESIGNER Q&A
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2&3. Kenneth Laidler has worked across the complete spectrum of commercial interiors.
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want to do by the time you are 25. Here I am at 60 and I still don’t know! For example, if you had asked me a year ago if I would consider buying a yacht, it hadn’t even occurred to me, until I walked onto one and thought, ‘This could be a wonderful way to spend your time; I could write and I could sketch and draw, and I could see places’. But I can’t actually ever see myself retiring completely. I’d be bored out of my mind after the first ten minutes. It’s not a simple case of retirement – its just a change of direction in my career. There are so many interesting things to do in life. I’m not saying that I don’t love design. I really do. The problem is that everybody is a design critic or a design expert now. Before you can even finish what you are trying to achieve, someone is already commenting on it. If they’d only let you finish what you are designing, then they’d appreciate the whole picture. I guess it’s because not many people, apart from designers, can see the whole picture. They cannot visualise it. That’s why designers are designers, whether they are interior designers or architects
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or fashion designers – they can visualise the whole thing in their head, for clients that can’t. You’ve been doing this a long time. Has the average client changed? Become more demanding, for example? It’s changed, probably because clients travel a lot now and see more of what is happening worldwide. It means their perceptions are already formed. But if they want you to copy what they have already seen in Chicago or Singapore, what’s the point of hiring a designer? The other thing is that everybody, from hotel operators to chefs and everybody in between, seems to be an expert in interior design. When you’ve got the CEO of a telephone company telling you that a certain office layout won’t work, even thought he may be brilliantly experienced in mobile telephones, what actually does he know about interior design layout? If he says, ‘I don’t want my office there because it has no view’, I can understand it, but when they make sweeping comments like ‘it won’t work’, what gives them that in-depth knowledge?
And if they have that knowledge of everything, then interior designers, architects, surgeons, lawyers and accountants might as well stop working and let the CEOs take over! Frankly, I wouldn’t presume to tell the head of a telecommunications company how to market his latest mobile phone, so what gives him the right to tell an interior designer with 30 years experience that what they are doing is wrong? This is what frustrates me, because everybody now seems to think they are an expert in interior design, when actually all they have is a lot more exposure to interior decoration, and that’s not the same thing. Until we can get people to recognise the difference, we will continue to suffer these frustrations. Differentiating interior design from decoration, and establishing it as a profession rather than a hobby or a charity, has always been a bugbear of yours, and something that you have tried to address through APID. How much progress have you made? We’ve gotten further towards it, but we have so many people to convince. I
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DESIGNER Q&A
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make no bones about it, we have problems convincing property developers and their project managers who, don’t get me wrong, are brilliant at getting the concrete poured and making sure that one floor is going up every week, but don’t understand the subtlety and value of interior design. How have you seen the standard of design in Dubai evolve since you arrived here – and is it where it should be, in your opinion? It has improved tremendously. It really has. It has improved because there has been a need, and a realisation on behalf of developers that they had to do something fundamentally different. Yes, there’s still a huge amount of improvement required. However, when you talk about interior design, it is subjective. So it’s not for anyone to say this is brilliant or this is bad or this is awful. If you are talking about commercial interiors, if they work well, it matters little if your peers like it or don’t like it. What matters is that they are functioning properly and earning the client money. I’ve heard designers say, ‘I would never
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design a themed interior because it’s not modern or chic’. I don’t think that’s necessarily the right attitude to take. I think that you have to design what is correct for the client and what is correct for the individual project. And if you look around Dubai, some of the themed concepts are still here 10 and 20 years later. If I were to mention places like the Red Lion at the Metropolitan, it’s irrelevant whether I like it or not, that pub – which was not designed by me, by the way – is still there and hasn’t changed at all, which means that it has not cost the client any more money. There’s a lot of one-upmanship about whether you are designing for a three-star hotel or a five-star hotel, or whether you are using steel and glass as opposed to wood and terracotta, but designers have to know all things and all materials, and they have to look at all projects individually. If it works and it makes the client money, you should never be ashamed of it. You are stepping down as the president of APID. What involvement, if any, will you have moving forward?
I’m still on the board of directors of APID. My involvement is still going to be quite active. Not on a day to day basis – the new president and vice president will be taking over that – but, for example, I have instigated a series of examinations and I will be putting those together (read more on page 24). What would you say were your most significant achievements as the president of APID? Getting it formed in the first place! But also getting designers to trust each other. One of the biggest problems with designers is that they are like kids in a school examination, hiding their work so no one can see it and copy it. Everybody is trying to not say anything about how they are doing. I think quite a significant step has been taken where designers are now willing to sit down with each other and be honest, and talk to each other with a view to assisting and helping each other. I received a letter from a founding member recently who had been asked by a client to produce design work for free. He’d written back to say: ‘We do
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4&5. Sketches and renderings by Kenneth Laidler Design.
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DESIGNER Q&A
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not produce free design work; it’s not in the interests of your project and it is not in the interests of professional design’. When we read this out at an APID board meeting, it was 100% supported. Now, if that particular client approaches any of the other APID members, we would expect them to stand together. That can do nothing but support the professionalism of designers.
6. KLD was recognised during the 2009 CID Awards for its residential work.
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How has the last year affected the design industry in this region in the long term, do you think? At our gala dinner in December last year, I warned that unless we stood together as designers, we would put our position here back by ten years. I think we’ve certainly gone back – whether it is by ten years is open to debate. It is evident in the fact that people are asking to get design work done for free;
Commercial Interior Design December 2009
it’s evident in the ridiculous contracts we are being asked to sign by property developers, which are not related to design but to contracting, by way of performance bonds, bid bonds, retentions, crazy insurance clauses, none of which are legal, acceptable or any way practical. It has affected us. A lot of designers, whether they are prepared to admit it or not, are suffering. We are not in a position of strength. What would you say were the high points of your career? I’ve not reached them yet! When we got past 30 years of being in business and I looked back at it, there’s been some huge ups and downs; situations where I’ve taken two steps forward and then five back. But to actually sit back and say, ‘I’ve got 30 years of being my own employer and of employing staff’, that
is something. If you talk about projects, I think what’s important is when a client says, ‘You’ve helped me earn a lot of money’. That’s my job. That’s what professional designers should do. Is there a pinnacle? I don’t think there should be. I think every designer should feel that they have to look beyond the hill they have just climbed to another, and then the one beyond that.
2010: MY PROJECTIONS I think there’s going to be a recovery in the economy but the repercussions of what has happened are not going to instantly go away, as far as architects and designers are concerned. It took many years to get to a level where we were being fully appreciated, it took literally nine months for it to slump back, and it’s not going to come back again overnight. It’s going to take time.
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WHITEPAPER
The continual assessment of professional designers Kenneth Laidler, former president of the Association of Professional Interior Designers (APID) has written a paper proposing the continual assessment of interior design practioners. Over the next few months, CID will be publishing exclusive extracts. Here, Laidler provides a breakdown of the different skill sets required by concept designers, visualisers and design technicians IMAGINATIVE SKILLS Imaginative skills are perhaps most important for the traditional interior designer or ‘concept designer’, the creative thinker who is able to conceive of innovative concepts from an individual thought process. The concept designer will rely heavily on their historical and geographical knowledge, or more likely their ability to research relevant aspects related to a given concept. The need to produce visuals and visually communicative material is less important for the concept designer than
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in the past, as specialist illustrators now carry out this role, albeit under the concept designer’s guidance and supervision. A design conceptualiser must understand the technical challenges that his or her concept will create and whilst they may not involve themselves in the full creation of the technical solution, their guidance is critical if technical operatives are to produce detail drawings suitable for a contractor. Furthermore, the design conceptualiser must be very clear on his or her vision with respect to colour, detail,
furniture selection, lighting moods and operational feasibility. And while they do not need to produce client-presentable visual images, the design conceptualiser must be able to produce sketches that are clear enough for both visualisers and design technicians to transform into full presentation works. Any concept designer – unless it is his or her wish to select all of the FF&E themselves – must also be able to guide the FF&E specialist, in order to ensure that the furniture, fittings
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WHITEPAPER
and equipment not only matches, complements and enhances the design concept, but complies with all specificational and operational requirements. A concept designer will be expected to co-ordinate and closely follow his or her creation through to final completion and handover to the client, liaising with contract managers and interior contractors. They will have to represent the interior consultancy at presentations, site meetings and co-ordination meetings, and will lead the design team on a project by project basis. Therefore, it follows that the creative or conceptual designer must be informed on all aspects relating to the interior design profession, whilst not necessarily being an expert practitioner in all specialist processes.
TECHNICAL COMPREHENSION Whilst a fair degree of technical comprehension is required by all interior design personnel (even administrative and secretarial staff), none more so than the design technician. Note that we no longer use the term draughtsman, as no professional interior design consultancy can accept operatives who simply draw, without the necessary technical knowledge and understanding. The design technician is critical in producing accurate, scaled layouts, elevations and details, to be used to obtain competitive construction bids from interior fit out contractors. Given that, in-depth knowledge of architectural and interior design history and philosophy is not essential, but is nevertheless useful, as interpretation of the concept designer’s initial concepts may rely heavily on the manner in which the design technician interprets a detail, proportion or connection between elements and materials. Therefore, a full understanding of constructional detailing is required, combined with a knowledge of not only the specificational parameters of the
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material, but the precise manner in which all materials are fixed, jointed and worked, in order to produce technical details. One of the most underrated yet important aspects of interior design detailing is simply how it is all jointed. All interiors have junctions between walls and floors, walls and ceilings, walls and walls, and so on. Similarly, all items within the interior have the same form of connection. Therefore, a clear knowledge of how to join wood to wood, metal to metal, wood to metal and so on, is paramount in producing good design detailing. Without this understanding of the characteristics of the material there can be no logic in the connection detail. Without applying logic we end up with what constitutes as bad design – the opposing properties of the jointed material may cause the opening up of joints due to expansion and contraction variances in materials. The science of materials must be clearly understood, if not by the concept designer then certainly by the design technician. The design technician is one of the most important members of the design team, who in the fullness of time can guide both new concept designers and FF&E designers as to the practicality of a detail, a specification, or even a concept.
VISUALISATIONAL EXPERTISE All interior designers, in all categories or specialisations, need to have the ability to visualise a concept. Some may have a picture in their head, some product sketch perspectives, some elevations, others may write down and describe the concept in words. But in today’s world of competitive professional interior design, a client must be convinced that the designer he has selected is creating the right vision for his project. Whether you mean hand-sketches, watercolours, air brush renderings, marker pen illustrations, Photoshop images or 3D photo-realistic renderings,
‘visualisation’ is now a very important design and sales tool for the interior design consultant. This area may be so specialised that it is not possible to test, examine or analyse the quality of the visualiser, as the visual is effectively a piece of art and, as such, open to both interpretation and subjectivity. However, whilst not all visualisers are trained interior designers, it is important that they understand the materials that they are illustrating, in order to create a realistic interpretation of the concept designers’ vision. All too often, visuals are produced that look effective but, upon closer inspection, demonstrate a lack of understanding of not only the materials, but in fact the 3D nature of the concept. It follows therefore that even pure visualisers need some degree of technical comprehension, some degree of specificational competence, and some knowledge of historical relevance. With a piece of furniture, depicting an incorrect style of leg for the period may not be noticeable to all, but would allow others to doubt the level of interest that the visualiser had taken in his or her work. I contend therefore that even a visualiser must understand the basic nature of the construction of an interior, the characteristics of the material he or she is depicting, the logical connections of the constituent parts of the interior and, last but not least, the relevance, or not, as the case may be, of historic, geographical and religious connotations considered to be important in the concept design. These areas of comprehension should be tested, analysed or examined, in order to assess the level of expertise of an illustrator. Next month, Laidler will highlight the need for specification skills, administrative competence and awareness of evolving construction practices.
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CID AWARDS 2009
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Commercial Interior Design December 2009
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CID AWARDS 2009
CID AWARDS 2009 The third annual CID Awards took place at the Park Hyatt on November 15. The awards paid tribute to the industry’s tenacity, originality, and unwavering commitment to enhancing built environments across the region. 2009 has been a challenging year for the interior design industry and yet, in the face of so many seemingly insurmountable obstacles, design firms have continued to produce cutting-edge creations. A record number of companies from across the Middle East put their work forward for a CID Award this year. From hotels in Doha to sales centres in Tunis and retail facilities in Damascus, this year’s entries were truly representative
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of the region’s design industry as a whole. There were 14 award categories in total, covering the whole spectrum of commercial interiors. Projects were judged on aesthetic value, originality and innovativeness, but also on functionality and practicality. The judging panel consisted of John Alexander Smith, from the American University in Dubai; George Katodrytis from the American University of Sharjah’s School of Architecture and Design; Alan McCready, managing director of Al Habtoor ISG; Victoria Redshaw, CEO of Scarlet Opus; Lu Buchanan, exhibition director of Index; and Sergio Padula, light planning manager at iGuzzini.
John Alexander Smith
George Katodrytis
Lu Buchanan
Sergio Padula
Victoria Redshaw
Alan McCready
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CID AWARDS 2009
Interior Design of the Year: Residential Winner: Kenneth Laidler Design (KLD)
Shortlist HIGHLY COMMENDED
Bishop Design Associates (BDA)
Etcetera Living – Al Barari villas
Alfred Johnson – penthouse
Inoui Designs – Al Jassrah Palace
Varied theatrical stage sets and atmospheres are part of everyday life in this villa Judges, CID Awards 2009
Interior Design of the Year: Retail Winner: Alfred Johnson – Etisalat A highly successful, brand-enhancing, cuttingedge design suitable for a technology company Judges, CID Awards 2009
Shortlist HIGHLY COMMENDED
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Caulder Moore – Gina Shoes Dubai
BDA – Watchland Abu Dhabi
Archdome Interiors – Nada G
Octopus – Toshiba flagship store
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CID AWARDS 2009
Interior Design of the Year: Public Sector & Institutional Winner: Enrico Botta – Al Jawhara Center This is a design that focuses on the real end use of the space, but still achieves an excellent design aesthetic Judges, CID Awards 2009
Shortlist HIGHLY COMMENDED
Broadway – DP World Terminal
Dubai Silicon Oasis Authority (DSOA)
Alfred Johnson – Etisalat HQ
IR Design – Dubai Modern High School
Interior Design of the Year: Office Winner: Woods Bagot – Majid Al Futtaim Group Project Office Elegant, hi-tech simplicity and great use of natural light Judges, CID Awards 2009
Shortlist HIGHLY COMMENDED
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DWP – Iris Bay
GAJ – private office
Enrico Botta – Kuwait Finance House
Rareform Branding – Barclays
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CID AWARDS 2009
Interior Design of the Year: Hospitality Winner: KCA International – The Lagoons A very ambitious and exciting project that promises truly innovative and forwardthinking public areas Judges, CID Awards 2009
Shortlist HIGHLY COMMENDED
BDA – Fairmont Dubai
GAJ – Hotel, Marrakesh
United Designers – W Doha
Wilson Associates – Atlantis The Palm
Interior Design of the Year: Leisure & Entertainment Winner: Rockwell Group – Nobu Atlantis The space has been completely transformed into an art installation for eating, introducing new layers, environments and formal geometries Judges, CID Awards 2009
Shortlist HIGHLY COMMENDED
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LW Design Group – Warehouse
Drawlink Group – JAL Spa and Pool
LW Design Group – Okku
Outcast Interiors – Ruth’s Chris
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CID AWARDS 2009
Innovative Lighting Award Winner: DPA Lighting Consultants – Okku The project uses new LED technology, and features respect for lighting levels, good perception and effective integration into the architectural space Judge, CID Awards 2009
Shortlist HIGHLY COMMENDED
Alfred Johnson – Imagination Studio
BDA – Al Anwaar
DSOA – Client Services Centre
Alfred Johnson – Etisalat
Outdoor Design Award Winner: Godwin Austen Johnson: Hotel, Marrakesh A wonderful command of spatial thinking linking interior and external environments Judges, CID Awards 2009
Shortlist HIGHLY COMMENDED
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R&R – The Sevens Sports Stadium
Etcetera Living – private villa
GAJ – Lagoon Island
Terraverde – private villa
Commercial Interior Design December 2009
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CID AWARDS 2009
Environmentally Sustainable Design of the Year Winner: Bluehaus – Dubai Chamber of Commerce Integrated thinking: from the building through to the interiors and the users Judges, CID Awards 2009
Shortlist
Summertown HQ
L’Oreal Offices
Reader’s Choice: Interior Contractor of the Year Winner: AMBB Interiors
For the first time, this year’s CID Awards also included a Reader’s Choice Award. CID called on the interior design community to put their experience and expertise to good use by selecting this year’s Interior Contractor of the Year. Every single company that submitted an entry for the awards was asked to simultaneously vote for their preferred contractor. The aim was to identify an interior contractor that delivers a consistently high standard of work and a high level of professionalism, and is respected by its industry peers.
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Where cutting-edge design
meets the latest innovations
The Middle East’s only office solutions event 9 – 11 February 2010, Dubai World Trade Centre. 11am – 7pm Register now for FREE fast-track entry theofficeexhibition.com Bringing you the newest innovations and latest trends from the world’s best office manufacturers and equipment suppliers. The Office Exhibition is the region’s only place to source high-end furniture, technology, interiors and services to fulfil all your office requirements. With manufacturers now also supplying healthcare and educational products, this is simply the ‘must attend’ event for 2010.
furniture
technology
interiors
consultancy
CID AWARDS 2009
Behind the Scenes Winner: Agustin Pido – Outcast Interiors Agustin joined Outcast as a tea boy at the beginning of 2009. He started to take an active interest in Outcast’s interior design work. One night during an extremely busy period, he stayed until 10pm and watched. The following day he said he thought he could help. He now takes an active part in the co-ordination of presentation materials. He’s turned out to have a great eye for the composition of boards, supports the designers’ research, helps with the cutting, pasting and mounting, and does everything with a smile and the highest levels of enthusiasm. Outcast is a talented and hard-working company, but to my mind no one epitomises this quite like Agustin does. From the moment he walked though our doors he has been a humbling example of how everyone should approach their role, and is an inspiration to have around. Justin Penketh, managing partner, Outcast Interiors
Shortlist • Highly commended: Renate Fernandes – KLD • Linnea Forslund – BDA • Darshana Dhakan – DWP • Jobeth Estabaya – GAJ
Young Interior Designer of the Year Winner: Dinan Salaheddine – Inoui Designs
Dinan’s work is classy, elegant and international Judges, CID Awards 2009
Shortlist • Highly commended: Cormac Lynch – GAJ • Alfred Johnson – Imagination • Emma Moore – R&R Design • Ghada Bushager – Inoui Designs
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CID AWARDS 2009
Interior Designer of the Year Winner: Isabel Pintado, GAJ Isabel Pintado has been with Godwin Austen Johnson (GAJ) Architects since 2005. She built the GAJ interiors brand from scratch to a 20 person design team that has a proven track record of success. Her business acumen, interpersonal skills and affable personality have helped the department grow from strength to strength. When she’s not dissecting a client’s brief, she is researching international market trends, refining the department’s business plan and contributing to industry magazines and conferences. Pintado has worked on projects ranging from luxury hotels to bespoke residences, trendy bars to museum cafes, and commercial offices to health spas. Her versatile style is clearly evident, as each project is truly unique.
Shortlist • Paul Bishop, BDA • Enrico Botta, Enrico Botta Architecture and Interior Design • Glynis Rabone, R&R Design • Leila Abdulrahim, Dileonardo International
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CID AWARDS 2009
Interior Design Firm of the Year Winner: Bishop Design Associates Bishop Design Associates has – and continues – to achieve an excellence of design that is of an international level. It is a testament to this boutique design practice that through its design approach it achieves a consistently high standard of work and possesses an incredibly diverse and varied portfolio which encompasses all aspects and disciplines of interior design. Its innovative, forward-thinking and avant garde approach to design will continue to shape the urban environment of which our industry is an integral part. The practice continues to create dynamic and engaging spaces and design solutions, each identifiable with the BDA signature brand, but always original. BDA is also committed to lending its time, knowledge and expertise to fellow industry peers.
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Shortlist • GAJ • LW Design Group • R&R Design • Woods Bagot
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FEATURE WATER CONSERVATION
Flushed with success With the need to conserve water becoming ever more pressing, bathroom companies are taking sustainability right to the heart of their product design
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here’s no hotter topic than sustainability at present, and here in the Middle East – the driest region on the planet, with the lowest amount of rainfall – nothing is more pressing than the need to save water. A recent report by the World Bank stated that this most valuable and precious of commodities is set to become dangerously scarce within decades, unless the way it is managed radically improves. According to a Development and Climate Change study carried out in the MENA region: “Per capita water availability is predicted to halve by 2050, even without the effects of climate change”. So what can the design industry do to minimise the impact of water wastage? The bathroom is an obviously place to start, and bathroom manufacturers today are taking the issue of water efficiency extremely seriously. A raft of new products are entering the market, from reduced flow mixers to waterless urinals and even toilets that flush using water recycled from the washbasin.
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“Water shortages and the long-term security of water supply are serious concerns for us all,” noted Kim McBean, marketing manager, Sanipex Group. “With global warming, the greenhouse effect and other such concerns, the world is looking for more ecofriendly and less resource-consuming products. As a result, many designers and manufacturers have taken steps to ensure that bathroom products are stylish as well as eco-friendly.” To cater for this need for increased water efficiency, Sanipex has launched the H2ECO range from Vado, which incorporates a reduced flow aerator in all wash basins and sink mixers, reducing the flow of water to 5L per minute. In addition, all of Sanipex’s WC cisterns feature a dual-flush mechanism providing three litres of water for a half-flush and a maximum of six for a full flush. Flow restrictors have also been inserted into the company’s range of showerheads from Bossini, Zucchetti and Fantini. Other innovative
eco-solutions include the Ecoplay grey water cistern for flushing WCs, and the Sanipex waterless urinal. Sanipex has also brought in its own labelling system, which provides information on the water efficiency of all its products. The idea is to help consumers in choosing the most water-efficient products, in order to save on water and energy bills.
A ‘WHOLE LIFE’ APPROACH Geberit is another company taking the issue of sustainability extremely seriously. The company was a pioneer in the introduction of dual-flush technology, and today the concept of sustainability is at the core of its product designs. According to Guy Wilson, head of the Gulf regional office at Geberit International Sales, the issue of water conservation forms just one aspect of sustainability at Geberit. “Sustainability is an all-encompassing approach and has been a central theme at Geberit since 1990. It is important to consider the sustainability of products in modern
1. Products by Laufen.
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FEATURE WATER CONSERVATION
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2. Laufen is focusing on creating sustainable products.
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bathrooms with the understanding that water consumption is only one contributing element,” said Wilson. “All Geberit products are developed using a ‘whole life’ approach, which takes into account the use of raw materials, manufacturing, distribution, product use and end-of-life, to measure the overall environmental impact.” For example, all of Geberit’s suppliers are signatories to a code of conduct ensuring the ethical and sustainable sourcing of raw materials. In addition, the company’s focus is to develop products with a long lifespan, in order to minimise waste. “When a product is built to last, it means fewer replacements and less waste from replacing an inferior product,” explained Wilson. “At Geberit, we truly believe that our product quality can have a lasting impact on our natural resources by
Commercial Interior Design December 2009
TRENDSPOTTING: TIPS FROM THE EXPERTS “The next real evolution in the consumption of water, particularly as far as flushing is concerned, will require a holistic approach to the complete plumbing and drainage system within a building. In order for current drainage systems to function, a minimum amount of water is required to ensure hydraulic efficiency.” Guy Wilson, Geberit. “Sustainability is a top priority for Roca, to which we dedicate 2% of our total turnover. It is becoming increasingly important as the need to save the planet becomes more of a reality.” Victor Schoone, Roca. “Our focus is to create bathrooms that integrate seamlessly into architecture. So any functional detail that isn’t necessary for the aesthetic impression of the bathroom has to disappear inside the product – these include water saving technologies.” Ivan Zupanovic, international sales and marketing manager, Laufen Bathrooms. “Water saving aerators and restrictors, which have already become part of the standard product range offered for tapware in many countries, will soon become apparent in the Middle East region too, we believe.” Kim McBean, Sanipex Group. “However, a fundamental mindset shift is necessary to really conserve water in the region. Many weeks worth of water saving in an efficient bathroom is very quickly undone through the careless use of garden hoses to wash down driveways – a common sight in the region!” Guy Wilson, Geberit.
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FEATURE WATER CONSERVATION
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extending the replacement timeline and reducing manufacturing processes.” Geberit is also taking an innovative approach towards the development of the sustainable bathroom products of the future. “The present reality is that sanitary technology, in terms of water consumption, has now evolved to the point where only incremental savings can be achieved,” said Wilson. “The next real evolution in the consumption of water, particularly as far as flushing is concerned, will require a holistic approach to the complete plumbing and drainage system within a building. In order for current drainage systems to function, a minimum amount of water is required to ensure hydraulic efficiency,” he continued. “In the future, we see a move towards integrated design, with attention being paid to the sizing and design of drainage systems
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in order to serve advances in the reduction of flush volumes. This is an area of keen interest and research for Geberit.”
SEAMLESS SOLUTIONS Another market leader in the field of water conservation in bathroom design is Roca. The company has its own dedicated design centre which constantly seeks to implement new water-saving solutions. Earlier this year, Roca was awarded the Design Plus award at the ISH show in Frankfurt for its W+W (Washbasin + Watercloset). The award aims to recognise products that are outstanding in terms of their innovative concept and sustainability. Created by the Roca Innovation Lab and designed by architects Gabriele and Oscar Buratti, W+W is an ingenious innovation which reuses water from the washbasin to flush the toilet. The design
features a washbasin and toilet fused into a single piece, in a gently curved Lshape design, with the toilet positioned at the lower end, and the sink at the top. Water from the washbasin is used to fill the lavatory cistern, reducing water consumption, when compared to a standard toilet, by 25%. An automatic cleaning system prevents bacteria in the water and stops any potential bad smells. Victor Schoone, country manager, Middle East, for Roca, talked passionately about the need for water conservation in bathroom design. “Sustainability is a top priority for Roca, to which we dedicate 2% of our total turnover. It is becoming increasingly important as the need to save the planet becomes more of a reality. Roca solutions are LEED and ESTIDAMA compliant up to the highest levels, reaching Diamond (LEED) and Pearl (ESTIDAMA) specifications.”
3. Roca was awarded with a Design Plus Award for the W+W. 4. A water saving tap from Geberit.
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FEATURE WATER CONSERVATION
Another innovation from Roca is the Roca cartridge, inserted into all mixers and taps to control water flow. “Roca mixers all carry a Roca cartridge, the R-44 PLUS, which is guaranteed for life,” explained Schoone. “This cartridge allows for 50% water saving as there’s a stop when opening the mixer; it’s only by pushing further that you can get 100% water flow. This cartridge limits hot water consumption too, which reduces emissions. “The R-44 STAR cartridge has an additional characteristic; when the lever is in the middle position it gives 100% cold water (usually a mixer gives 50% cold and 50% hot water when in the middle position). The R-44 STAR cartridge limits emissions by 400kgs carbon dioxide emissions per year per person.”
ECO-STYLE
5. Total solutions from Roca.
Also focusing heavily on sustainability is Swiss manufacturer Laufen. The company works with some of the world’s most established designers, including Stefano Giovannoni, Ludovica+Roberto Palomba, Wiel Arets, Hartmut Esslinger of Frog Design, Phoenix Design and
Process Design, to create cutting-edge bathrooms in terms of technology as well as style. “Our focus is to create bathrooms that integrate seamlessly into architecture. So any functional detail that isn’t necessary for the aesthetic impression of the bathroom has to disappear inside the product – these include water saving technologies,” explained Ivan Zupanovic, international sales and marketing manager, Laufen Bathrooms. Water saving products from Laufen include toilets with 4.5L or 3L in the dual flush volume system.
A CHANGE IN MINDSET Top bathroom suppliers such as Laufen, Geberit, Sanipex and Roca are continuing to evolve and develop their product ranges to produce ever more efficient water-saving technologies. But with such dire warnings of water shortages in the Middle East, the experts warn that it will take more than just the latest technologies to bring about a change in fortunes for the region’s water worries. “With the introduction of new DEWA regulations
for high-rise buildings and the LEED influences for design, the focus in this region is certainly on reducing water usage,” commented McBean. “Water saving aerators and restrictors, which have already become part of the standard product range offered for tapware in many countries, will soon become apparent in the Middle East region too, we believe,” she added. But more needs to be done to change the public mindset towards water wastage, she added. “People need to be made aware of ways in which they can save water and how it can affect the environment if they don’t.” Wilson agreed: “It is pleasing to see the broad acceptance of water saving products and practices in general through out the region. Most new project designs incorporate the principle of water conservation. However, a fundamental mindset shift is necessary to really conserve water in the region. “Many weeks worth of water saving in an efficient bathroom is very quickly undone through the careless use of garden hoses to wash down driveways – a common sight in the region!”
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FEATURE MADE IN ITALY
Italian influence An emphasis on quality, innovation, style and creativity means that Italian brands are still at the very forefront of the design industry
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FEATURE MADE IN ITALY
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he Italians have always been known as the masters of design. The words ‘Made in Italy’ are synonymous with elegance, style, superior craftsmanship, top-quality materials, and an impressive design legacy that stretches back hundreds of years. With such emphasis placed on quality and innovation, it’s little wonder that Italian products have been so wholeheartedly embraced by the Middle East interiors industry. Despite coming with a higher price tag attached, Italian brands have carved out a strong foothold in the
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high-end interiors sector, as consumers in the region have welcomed the sense of exclusivity and luxuriousness deemed inherent in an Italian-designed product. Laurence Dehler, sales manager, UAE, Purity Gallery, which is responsible for bringing top-end Italian brands, including Ritmonio, Curvet, Boxart and Boffi, to the Middle East, highlighted why Italy remains at the forefront of the design industry. “Italians have been designing for thousands of years; they understand the genesis of design. They are bold and are clearly the leaders
when it comes to modern-day design ethics. They understand the market and what people are craving. They stay true to their beliefs and know how to create beautiful, aspirational products – from fast cars, furniture, fashion and food. It’s a lifestyle that we all buy into.” Antonio Cartanese, managing director of Duram, which is the exclusive distributor of Fantoni in the region, added: “Italy is known for its design, technology, its materials, its history, its heritage, and its craftsmanship – but most of all, for its passion.”
1. A Piero Lissoni design, created for Porro.
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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)
FEATURE MADE IN ITALY
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A QUESTION OF QUALITY Purity Gallery was launched to specifically target an elite, design-oriented consumer. Products in the gallery have been created by top-class Italian designers such as Antonio Cittero, Claudio Silverstrin and Piero Lissoni. The popularity of Italian products is down to a combination of unquestionable quality and artistic heritage, Dehler continued. “Italian design is known for being a little more expensive, but then again you are buying original pieces that are crafted by very talented people. Italy has always been synonymous with the finest architecture and design. “Products are created with great passion and in true symphony with form and function. You can rest assured that when you buy Italian design, you are also buying into the quality and a
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certain style that is synonymous with Italian design. It is unmistakably the finest there is on the market.” With demand for Italian brands holding strong, Purity recently branched out into outdoor furniture, with the launch of a brand new range of products from Paola Lenti. The Milan-based company specialises in rugs and seating for outdoor environments, and is famous for textile innovation, and for using specially treated materials such as metal and wood. “True to Italian quality standards, these outdoor furniture and rug items can withstand humidity and water, as well as the harsh rays of the sun,” said Dehler. “You can be assured that this furniture will see many beautiful seasons outdoors and create a luxury environment throughout the year.”
Another brand reporting growing demand for its ‘Made in Italy’ products is La Murrina, which produces lighting designs and glass objects made from famous Murano glass. The company also offers limited editions, or signed pieces, the result of collaborations between famous Italian artists and talented master glassblowers. All products are handmade works of art that come from the island of Murano. “Italian designers have always been known for offering the most prestigious and high quality products,” explained Deepa Bhambhani, brand manager, La Murrina. “Italians have an inherent eye for good design. “Italian design is about the importance given to aesthetics, shapes and colours, and innovation in technology. New trends come from Italy because
2. A sofa by Living Divani.
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FEATURE MADE IN ITALY
3. Elegant ideas from Living Divani.
there is a strong sensibility towards beauty and design, and a passion for the home. That’s what sets Italian design apart – its quality and class.” La Murrina recently introduced its ‘New Classic’ lighting collection, which brings a contemporary flair to the classic shapes of the past through use of bold colouring and updated styling. The innovative light pieces are created by master glass blowers in single or multiple tiers, to suit any project size. These statement light pieces are intended for use in a modern, streamlined interior space. According to Bhambhani, the new collection has been very well received in this part of the world. “This region is always ready to appreciate and get acquainted with anything new, even if
the customers still appreciate classic shapes and colours. “The market here is becoming more accustomed to accepting quality and innovation. This is where we find a place for our one-of-a-kind products.”
THE CULTURE OF DESIGN Another key player when it comes to Italian products is Fantoni. The Fantoni group upholds the ‘culture of total design’, from the creation of new materials such as flooring and wallcoverings, to their use in innovative, liveable workplace settings. In terms of the latest trends coming out of Italy, Cartanese highlighted simplicity of design, innovation and enhanced interpretation of space. “At
Fantoni we have introduced some very interesting additions to our collections,” Cartanese added. First is the Tre Collection, created from a collaboration between Anna Serravalli and the Fantoni Research Centre. The office design is characterised by a pureness of geometrical lines and absolute functionality. Another office collection is the XL system, which has been upgraded with a new central screen adorned with glass bands, and acoustic slats for sound absorption. Finally, for an office with lashings of luxury and class, Fantoni has created the Stripes Leather collection – its table top and sides are completely covered in leather, which is available in various colours, while the frame is a black epoxy
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FEATURE MADE IN ITALY
lacquer. The vertical panels of the bookshelf are also covered in leather. Also known for its innovative approach and use of new materials is Kartell. The company has played a pivotal role in the introduction of plastics in domestic interiors, since it pioneered plastic furniture in the 1950s. According to Mustafa Khamash, managing director of Kart Furniture, Dubai, it is “innovation and research” that has placed Italian design at the forefront of the industry. “When it comes to interior design, Italy has always been the country of new trends, with its futuristic vision of shapes, materials, colours and multi-use products. Kartell is one of the leading Italian companies, offering a large number of products every year and developing new materials to be used in the furniture industry.” Kartell recently marked its 60th anniversary by producing the Kartell Masters Chair, an elegant design piece created in advanced polycarbonate, by two contemporary masters, Philippe Starck and Eugeni Quitllet, as homage to three of the greatest 20th-century masters of design, Arne Jacobsen, Charles Eames and Eero Saarinen. The timeless design looks set to become a new classic.
THE REAL THING According to Bhambhani, the greatest challenge facing Italian companies such as La Murrina, which pride themselves on producing quality pieces of art or furniture, is the issue of replicas. For every Italian company producing original, handmade designs, there seem to be ten copycats using budget materials and sub-standard workmanship to produce cheaper versions. “The most important point is not only to focus on the style of the product, but on educating people on the need to research the quality of the design, and refuse copies. For Italian design, it’s vital not to fall into mass production but to sustain the uniqueness of the product,” said Bhambhani. Perhaps unexpectedly, the current financial crisis has reignited consumer demand for quality, leaving Italian
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companies in good stead. Italian brands in the region say demand for their products is actually experiencing a surge rather than a decline, as consumers become increasingly aware of the importance of longevity of design, and go for more expensive originals, rather than cheaper rip offs. “Demand has not suffered at all,” said Cartanese. “The cost factor of our designs has moved closer to products from the East, without any compromise on quality, and are still in high demand.” Dehler reiterated that there has been a major increase in demand for high-end
design in this region, which shows no signs of abating. “Yes, these products are a little more expensive, but the crisis has made more of us understand that we need to have superb quality and finishes, at a time when the world seems a little drab,” Dehler explained. “We have not seen demand for our designs suffer at all. If anything, we are seeing a rise in the consumer’s need for fewer items, without compromising on quality and price. Our inner being is striving for perfection in a world which seems to be falling apart.”
4. Kitchen solutions by Boffi.
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PRODUCTS
New on the market
PUMPKIN COLLECTION With a fresh approach to contemporary design, the iconic Pumpkin Collection by Ligne Roset is a combination of comfort, style and elegance. Designed by the late Pierre Paulin, the collection is a remake of a classic piece that was originally part of the ElysĂŠe Palace in Paris. The collection is characterised by soft, organic, round shapes and is available in a vibrant selection of hues. Al Tayer Group +971 (0)4 2011208 www.altayer.com
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PRODUCTS
LAMONTAGE The Orientalist Woven Art has announced that New York based Liora Manne’s Lamontage rug collection will now be exclusively available at its galleries across Dubai and Singapore. Manne’s manufacturing processes are so distinctive and innovative that they are patented. The collection is antimicrobial, and treated with permanent nano silver particles that never wash out and prevent deterioration of the material, as well as preventing the growth of mould and mildew. The collection is made of 100% acrylic materials, making it perfect for both indoor and outdoor use. “We are extremely privileged to offer the exclusive Lamontage collection to discerning clientele in the region. With this new offering, we have taken our collection to a completely new level – setting new boundaries for carpet design,” said Abi Bagheri, managing director, The Orientalist Woven Art. The Orientalist Woven Art +971 (0)4 344 8811 www.theorientalist.com
TORLYS LEATHER FLOORS Torlys has launched its leather flooring in the Middle East. Torlys Leather Floors come with a backing layer of cork – a natural insulator – for extra comfort, warmth and quietness. They contain no harmful VOC emissions, no added formaldehyde, and exceed California Indoor Air Quality standards. The floors look beautiful and are made to stay that way for decades. Each floor is engineered so precisely that fewer resources are needed during production, and the ultra-tight Uniclic joint ensures a 1/1000” gapping tolerance for the life of the floor. This is backed by a 25-year wear warranty. Yalda Showroom +971 (0)4 341 3484 www.torlysme.com
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Commercial Interior Design December 2009
Albert +971 50 854 5629, Simon +971 50 854 5327 Office +971 4 885 8825 E-mail: Albert@alomi.ae
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PRODUCTS
BLENDZ Blendz, a dynamic new series of overlays for architectural panels, is now available from Móz Designs. The product is offered in a wide array of hand-etched patterns and colours. Colour sequences are categorised into seven descriptive groups, ranging from Sunset’s variegated and vibrant reds, oranges and golden hues, to the Bliss series’ cool blues, greens and turquoises. Each Blendz colour sequence is available in 14 organic patterns, with visually-telling names such as Thunder & Clouds, Seashell, Waterslide, Fog, Bamboo, Coral and Coarse. Structurally versatile, Móz aluminum panels decorated with Blendz can be utilised in a broad range of interior and exterior installations, including overhead canopies, ceiling and column coverings, wall fabrications, multi-panel art installations, elevators, room dividers and wall screens. The panels are constructed from solid-core 0.04’’ aluminum and measure 4ft by 8ft. Móz Designs +971 (0)4 364 3936 www.mozdesigns.com
MASTERTOP DTZ BASF Construction Chemicals has launched its Mastertop DTZ terrazzo flooring range in the UAE. Hard wearing and highly decorative, the epoxy terrazzo floor covering is ideal for use in public areas that are subject to high volumes of foot traffic and rolling wheels. Mastertop DTZ combines pigmented epoxy resin with graded crushed marble, recycled crushed glass or glass aggregate. “This range offers extensive décor possibilities, its epoxy finish is seamless, and it provides the ultimate in durability and low maintenance, typically lasting the life of the building… and it is eco-friendly to boot,” said Ian Smith, Performance Flooring Business Systems Manager at BASF Construction Chemicals. BASF Construction Chemicals +971 (0)4 809 0800 www.basf.com
PLUG Andy Martin Workshop recently unveiled the ‘Plug’ bucket, a champagne and wine cooler. The design of the bucket is a play on the form of a bottle; the base is hand spun in pewter and polished off to a mirror finish. The bucket itself is crafted from blown glass or can be produced in pewter to match the base. Andy Martin Workshop +44 (0)20 72292425 www.andymartinassociates.com
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PRODUCTS
SHAN GARA After years in development, Mark Wilkinson has unveiled the Shan Gara kitchen. Promoting new sophistication and a new form of minimalism, Shan Gara is an eminently practical, hi-tech, handle-less design, offering colour choices, intriguing sliding elements, new solutions to storage and natural materials. The kitchen is crafted from exclusive hardwood that has beautiful rich tones and comes from sustainable and well-managed FSC-certificated forests in the depths of South America. In addition, Shan Gara features a motorised system, designed in partnership with Blum, for the operation of the large capacity drawers. Mark Wilkinson Furniture +971 (0)4 3388540 www.mwf.ae
GENERATION BY KNOLL A new chair for the contemporary workplace, Generation by Knoll takes elastic design – where a product rearranges itself in response to its user – to a new level. Created by Formway Design, Generation by Knoll is distinguished by a high performance elastomer that has been used in a range of consumer and industrial applications, and gives Generation its spring and flexibility. One of its most common uses – as a hinge on dishwasher doors – gives a good indication of its durability and flexibility. “Generation by Knoll is the first chair that lets you sit how you want,” said Andrew Cogan, CEO, Knoll. “Generation by Knoll moves as you move and is designed to respond to the way people really sit, including seemingly unconventional postures. It is all about being able to express yourself and your individuality.” Knoll Middle East +971 (0)4 7017531 www.knoll.com
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CONTRACTS
PROJECT FOCUS Commercial Interior Design is committed to helping its readers grow their businesses, so we have teamed up with Ventures Middle East to bring you the latest tenders from around the region on a monthly basis.
BAHRAIN PROJECTS DATABASE - Building Projects Focus Project Title
Client
Consultant
Main Contractor
Value / Value Range (US$. Mn)
Project Status
Type of Project
Health Center in Hidd
BBK
Adel Ahmadi Associates
Mohammad Jalal Contracting
8
project under construction
Hospital
Cebarco Tower
Mr. Khaled Abdulrahim
Modern Architects
Cebarco
16
project under construction
Mixed Use
Zawia Residential Towers on Amwaj Islands
Falcon Property Company
Davenport Campbell/MSCEB
Charilaos Apostilides (Chapo)
80
project under construction
Residential Development
Mansoori House
Mr. Hassan Mansoori
Mazen Al Umran Consulting Engineers
M & I Construction
2.5 - 15
project under construction
Mixed Use
Al Matrook Tower
Mr. Faisal Ali Al Matrook
Mohamed Salahuddin Consulting Engineering Bureau
Charilaos Apostilides (Chapo)
19
project under construction
Commercial Buildings
5-Star Hotel & Multi-storey Apartment at Bahrain Investment Wharf
V.K Universal Property Management Co;
Future Engineering Consultants
Al Namal Construction
31 - 100
project under construction
Mixed Use
Shopping Mall in Hidd
V.K Universal Property Management Co;
Global Engineering Bureau
Al Namal Construction
40
project under construction
Shopping Center
King Hamad General Hospital in Muharraq
Ministry of Health
Ismail Khonji Assoc./Australian Design Group
AA Nass/Burhan International Construction
135
project under construction
Hospital
Grand Muharraq Park
Ministry of Municipalities & Agricultural Affairs
Salah Al Rumaih Group
Not Appointed
50
project under design
Recreational Facilities
Nasmah Tower
RMK Projects
Salah Al Koheji Engineering
RP Construction
13
project under construction
Residential Buildings
Diplomat Commercial Office Towers
National Hotels Company
Mohamed Salahuddin Consulting Engg. Bureau
Chase Perdana Berhad
70
project under construction
Commercial Buildings
Water Garden City
Albilad Real Estate
HOK/Scott Wilson
Not Appointed
751 - 1,000
project under design
Mixed Use
Isa Town Health Center Building
Ministry of Health
Adel Ahmadi Associates
United Arab Construction Company
7
project under construction
Hospital
Regent Tower
Kimo International
United Engineering
AAA Homes
17
project under construction
Residential Buildings
Nurana
NS Holdings Co./Manara Developments
Davenport Campbell
Not Appointed
1,000
project under design
Mixed Use
Workshop & Accommodation in Tubli
Skyline Trading Corporation
Aref Sadiq Design Consultants
Skyline Trading
2.5 - 15
project under construction
Mixed Use
30 Storey Residential Building in Juffair
Tashyeed Properties Company
Syrconsult Consulting Engineers
Not Appointed
16 - 30
project under design
Residential Buildings
Investment Gateway
Al Salam Bank/Amar Holding Company
OBM International
Not Appointed
101 - 250
project under design
Commercial Buildings
Note : The above information is the sole property of Ventures Middle East LLC and cannot be published without the expressed permission of Ventures Middle East LLC, Abu Dhabi, UAE
www com/construction 86 arabianbusiness Commercial Interior Design October 2007
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OPINION
Inclusive design
By Steve Maslin, Stride Treglown I became interested in design that includes disabled people during my architectural studies over 20 years ago, which led me to receiving an Access Prize for one of my designs. After I qualified as an architect I also worked with disabled people, part time, for Social Services. Several years ago, I was approached by Stride Treglown and was then able to become a Consultant Member of the National Register of Access Consultants, through the relatively unusual combination of experiences that I had gained. As an access consultant, my role is about providing advice to both the client and design teams regarding the relationship between costs and risk, between investment and value, and between design decisions and how one might manage buildings inclusively, once completed. How do you define ‘inclusive’ design? Simply put, it is designing for everyone – including disabled people. We also call this ‘universal design’. It is not just about wheelchair users, but people who have difficulty with movement, vision, hearing, learning and/or language. It also includes children and parents, pregnant mothers and elderly people. I compare it with a pair of spectacles. Although I have difficulty seeing without spectacles, I am not considered disabled. Likewise, rather than the focus being on someone’s disability, the aim is to design environments that can be managed in a way that ‘enables’ rather than ‘disables’.
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Is this still a relatively new concept? How much awareness do you see in this part of the world? The concept of inclusive design has only gained momentum in countries such as the US, UK and Australia within the last 20 years – due to legal requirements. Even so, the relationship between design and the psychological wellbeing of occupants is still little understood, even though it impacts employees and customers, and can affect clients’ productivity and revenue earning activity. Inclusive design is still a much newer concept in many parts of the Middle East, where there is a need for design guidance. Many buildings and external places lack the application of inclusive design. Inclusive design considerations very much depend on the nationality of the design teams involved. However, as with sustainability, there are signs that this is about to change. Where countries are embracing not only environmental sustainability, but social and economic sustainability, there is the potential to take inclusive design forward at a faster pace than elsewhere. What’s the case for inclusive design? Where designs are inclusive, people function better, and the environments created can be considered to be more valuable. Inclusive design is about investment in our most precious resource, people, and is about sustainability. Can you highlight a project that you’ve worked on that is particularly inclusive?
We have recently been working on an interior design concept for a competitionwinning entry for a drug rehabilitation centre at Bosence Farm, Cornwall, in the UK. Because the psychological wellbeing of people fighting drug addiction is especially important, the focus has been on the interior use of colour. Whilst maintaining a relatively neutral but warm background, the aim is, with the input of local artists, photographers and residents, to introduce photographic images of local scenery at selected locations within the building, with colour extracted from these images. When it comes to making designs inclusive, what advice would you give to interior designers in this region? Go beyond just wheelchair user access to sensory and psychological aspects of inclusive design. Understand the relevance of inclusive design to the sustainability agenda, the relevance of the cultural context and the relationship between capital investments made by your clients, the productivity of their staff and the willingness of their clients do business. Encourage clients to employ access consultants, so as to provide advice that includes an understanding of their needs, the design and construction process, and the needs of their staff and customers – including disabled people. Steve Maslin is an access consultant and inclusive design manager for Stride Treglown (www.stridetreglown.co.uk).
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