Insp i r a t i on a nd r eso u r ces f o r i nte r i o r des i gn p r o f ess i on a l s
GET WITH THE PROGRAM The modelling software that could become mandatory
WORKPLACE WONDERS Well-planned offices equal a more productive team
December 2016
snap-happy Photogenic features for the Instagram generation
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T R E N D S
CONTENTS DECE M BER 2016
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FEATURES
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Planned productivity Well-designed workplaces equal more efficient staff
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Trending now What does 2017 hold in store for the world of interiors?
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Get with the program It’s time to embrace building information modelling software
CONTENTS DECE M BER 2016
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Make way for millennials Hospitality design has evolved to appeal to younger adults, says Elie Choucair, associate senior interior designer at Dubai’s Godwin Austen Johnson
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Hotel Instagram How photogenic features can please snaphappy tourists
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The great outdoors Bold furniture and accessories to brighten boring exteriors
REGULARS
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Welcome News Wish list Supplier spotlight: lighting
CEO Wissam Younane wissam@bncpublishing.net Managing Director Walid Zok walid@bncpublishing.net Director Rabih Najm rabih@bncpublishing.net
Editorial
Group Publishing Director Diarmuid O’Malley dom@bncpublishing.net
Interior design should always be a team endeavour, from the initial concept to the final lick of paint.
Group Sales Director Joaquim D’Costa
Multidimensional in more ways than one, it draws in professionals from an incredibly diverse array of disciplines, from architecture to lighting, textiles and ceramics.
jo@bncpublishing.net +971 50 440 2706
Business Development Director Rabih Naderi rabih.naderi@bncpublishing.net +966 50 328 9818
Editor Lauren Steadman lauren@bncpublishing.net Art Director Ifteqar Ahmed Syed syed@bncpublishing.net Sales Manager Michelle Rebelo michelle@bncpublishing.net Marketing Executive Mark Anthony Monzon mark@bncpublishing.net
SUBSCRIBE subscriptions@bncpublishing.net PO Box 502511 Dubai, United Arab Emirates P +971 4 420 0506 | F +971 4 420 0196 For all commercial enquiries related to Design Middle East contact sales@bncpublishing.net T +971 50 504 0182 All rights reserved © 2016. Opinions expressed are solely those of the contributors. Design Middle East and all subsidiary publications in the MENA region are officially licensed exclusively to BNC Publishing in the MENA region by Design Middle East. No part of this magazine may be reproduced or transmitted in any form or by any means without written permission of the publisher. Images used in Design Middle East are credited when necessary. Attributed use of copyrighted images with permission. All images not credited courtesy Shutterstock. Printed by International Printing Press ippuae.com
At Design Middle East, we hope to appeal to the many people who share a common interest – that of creating stunning indoor spaces. From insightful interviews with industry leaders to the inside track on the region’s most exciting developments, it will offer a fresh perspective on the innovations, trends and talent shaping this vibrant sector. Whatever your specialism, we hope you’ll find something of interest within these pages.
NEWS
Vegging out
The Rug Company x Rodarte, 2.74m x 1.83m, AED 46,868
Chiesa Green, The Rug Company, 2.74m x 1.83m, AED 19,671
L cushion, Vivienne Westwood x Sue Timney, AED 644
A humble cabbage is the unlikely thread running through a line of luxury textiles. Kale, the hardy leaf favoured by nutritionists, has been deemed a top trend for next year, with swatchmatching firm Pantone naming the vegetable’s verdant shade one of its top 10 colours for spring. The hue also features heavily in the latest range from The Rug Company, a British firm founded in 1997. Comprising four rugs and two cushions, the collection came out of a collaboration with fashion houses Vivienne Westwood, Rodarte and Jonathan Saunders, plus interior designer Sue Timney. Each piece is made entirely by hand using ancient Tibetan techniques; the label also produces runners, throws and wall coverings. All can be seen at the brand’s recently opened showroom in Alserkal Avenue, Al Quoz – why not make going green your New Year’s resolution?
Climbing Leopard, The Rug Company x Diane Von Furstenberg, 2.74m x 1.83m, AED 60,376
therugcompany.com
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The Rug Company x Rodarte, 2.74m x 1.83m, AED 46,868
Design Middle East
Key Shadow, The Rug Company, 2.74m x 1.83m, AED 19,671
NEWS
Dubai Festival City light and sound show to open by year end
A Las Vegas-style light and sound show is set to open in Dubai Festival City within weeks. Developer Al-Futtaim Group Real Estate worked with Laservision – the producer of Singapore’s popular Marina Bay Sands show – to create the sizeable attraction, which forms part of Al-Futtaim Group Real Estate’s AED 1.5 billion redevelopment of the creekside complex. “We have specifically designed this spectacular show to be seen and enjoyed from all angles and viewpoints including our restaurants, the InterContinental Hotel and the whole area of water of Festival Bay,” said Steven Cleaver, Director Shopping Centres, Al-Futtaim Group Real Estate. “This project has been three years in the making and what we have developed is truly an awesome spectacle.” The permanent feature is billed as “first-ofits-kind attraction” that will “bring together elements such as light, water and fire to dramatic effect.” Cleaver added: “We have worked closely with our partner Laservision to develop a cuttingedge multimedia show that will tell a magical 360-degree story across the water.” Al-Futtaim said the area of light being beamed onto the resort would be “the world’s largest permanent projection surface… five times bigger than the world’s largest IMAX screen.” It will also incorporate “giant water screens”
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NEWS
Draw Link Group reveals upcoming schemes
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Draw Link Group has unveiled its projects for the year ahead. The design and architectural practice is orchestrating the concept, development and execution of the Rosemont Hotel and Residence, in Dubai Internet City. Sited alongside Sheikh Zayed Road, the two-tower structure will house 450 rooms and 280 serviced apartments. Draw Link Group’s founder, CEO and key architect, Daousser Chennoufi, said: “We are excited to announce our upcoming projects that we feel are helping to shape the infrastructure of the UAE. “Our aim is to produce innovative design solutions and create alliances with a network of valued partners, combining our mutual expertise and bringing the highest quality to the market.”
Design Middle East
NEWS
Sedar Global teams up with Armani Casa
Wall coverings specialist Sedar Global has announced a partnership with Armani Casa, the Italian fashion house’s home décor brand. Sedar will become the line’s sole carrier across the Middle East and North Africa. Sedar’s Creative Director, Nahel Selo, said: “We are proud to be working with this iconic trendsetter in the world of fashion. “Bringing together Armani Casa – a leader in fashion, and Sedar Global – a leader in wall coverings, we aim to fuse two worlds together and provide our clients with polished and modern designs.” The first line to emerge from the collaboration is a series of wall coverings sold under the name of the Refined Structures1 Collection. Characterised by understated, nature-inspired patterns with an Oriental touch, they come in a palette of muted shades including ice white, pale gold and dove grey to more intense hues including sage green and Pompeian red. They retail at AED 700 per roll. www.sedarglobal.com
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NEWS
Sanitary ware goes on display as Ideal Standard opens showroom
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One of Europe’s most admired product designers flew in to Dubai as his latest line of sanitary ware went on show. Robin Levien presented his Connect Air and Tesi total bathroom solutions at Ideal Standard’s new showroom on Sheikh Zayed Road. He said: “The Connect Air collection offers a comprehensive bathroom solution; it is all about lightness and provides a combination of practicality and affordable luxury. “Back in 2009 I predicted that products would get lighter and advances in technology and engineering have made the slimming-down of products possible. Connect Air taps into the minimalistic trend for sleek and slim line interiors, which can now be transferred throughout the household to include the bathroom.” Londoner Levien is one of the most successful product designers of the past quarter-century. A Fellow of the UK’s Royal Society of Arts, he studied at Central St Martins School of Art and Design and The Royal College of Art. See the January issue of Design Middle East for an exclusive interview with Levien.
Design Middle East
NEWS
UAE’s interior designers take on global water crisis
Hundreds of design professionals came together to support an organisation that funds sustainable safe water and sanitation projects. Surge’s Design, Dine, Make a Difference gala dinner was held on 7 December at The Address Dubai Marina hotel. The gathering was also the finale of a competition challenging interior designers to create bookcases made almost entirely of recycled materials. They were tasked with creating a bookcase using recycled materials for the nonprofit group’s annual competition and many brought their building partners onboard to help them realise their ideas. Laila Al-Yousuf, an award-winning senior interior designer at Perkins+Will, said: “I thought that instead of donating money or attending a networking event, it would resonate with my peers far more if we had to donate what we value most about ourselves – our creativity.” A number of Dubai firms have been involved in the challenge in recent years, including Allen Architecture Interiors Design, Arcology International, Art Plus 971 and Bluehaus.
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NEWS
Café society
A Beirut-based branding consultancy designed a pop-up coffee shop for a major international art show. Rana Salam Studio was commissioned by Turkish café Old Java to create the colourful space at the 3rd Instanbul Design Biennial. The firm’s founder and art director, Rana Salam, said: “We wanted the visitors to experience another world through the Istanbul Biennial’s pop-up coffee shop in which the city of Beirut is translated into a design experience through its architectural buildings, landscape and people. “Through pattern and print, we take visitors into a wild visual world.” She added: “Big hair, big cars, big dreams. Beirut is a city with contrast and contradiction that when mixed together create a fantastic piece of design.” Salam studied in London at Central St Martins School of Art and Design and at the Royal College of Art. The daughter of pioneering architect Assem Salam, her vibrant signature style is inspired by Middle Eastern popular culture. The 3rd Instanbul Design Biennial ran from 20 October to 20 November. Organised by the Istanbul Foundation for Culture and Arts, it was curated by Beatriz Colomina and Mark Wigley.
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wish list
Garden Igloo The German-designed Igloo is a multipurpose PVC geodesic dome that is light, portable and easy to move. With an optional shade canopy cover it can be used as a poolside cabana, or just a shaded bit of seclusion for a corner of a garden. Mosquito netting options for panels can also help keep the space insect-free in the early evening. An anchoring system helps secure the dome, which has a 3.6m diameter, creating a base area of 10m2. gardenigloo.com
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Brilliance sconce
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This sculptural sunburst of a light was designed by Janet Morais for her brand Koket. The light emanating from the centre is filtered through a thin sliver of agate, which provides a selection of bold colour choices. The thin metal rays are cast in metal and can be given finishes that include matte brass, oxidised gold, nickel or copper. The finished product is bigger than it looks with a diameter of 50cm, and weighs in at a hefty 15kg. bykoket.com
Design Middle East
wish list
Enchanted stool Cast in brass and given an oxidised gold finish, this bar stool has a Harry Potter vibe thanks to the woodland-inspired design that grows up from the legs into a twisted network of branches to provide the back support. The finish creates a faux-antique look and the solidity of the stool’s materials belie its delicate looks. A variety of upholstered finishes are available from the maker’s textile collection, including leather and velvet. bykoket.com
Chevron chair Upholstery specialist Aiveen Daly creates these dining chairs using a deep-blue metallic vinyl with precision-cut and stitched seams and black satin-gloss legs. The made-toorder chairs are built on a solid hardwood frame and can be finished as dark-stained oak or black in satin or gloss. The studio’s other work includes custom-decorated upholstery for a range of furnishings and accessories. aiveendaly.com
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Radia stool These moulded stools are built to be tough, with an inner core of expanded polyurethane foam for additional rigidity and structural support and an outer coating of automotive paint that will withstand heavy usage and anything the elements may throw at it. Designed by Zaha Hadid’s studio, the stools are said to reference the late architect’s early research into the geometry of towers. The symmetrical base is characterised by deep accentuated ridges, complemented by subtle directional lines flowing downwards along the outer façades. zaha-hadid-design.com
Tide shelving Available in the three simple gloss colours of red, black or white, this shelving system, made of thermoplastic resin, is intended to be versatile and streamlined enough to suit a variety of settings. Hadid’s practice has emphasised the combination of form and function to create a decorative and practical pattern of repeating solids and voids that can hold and highlight anything from glassware to books. zaha-hadid-design.com
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Design Middle East
wish list
Mesh coffee table For those brief moments when you just have to put the cup down, do so in style with this low coffee table. The steel wire mesh frame, which can be finished in zinc or copper, has a light appearance – perfect for smaller spaces – and is topped with a smoked-glass top for easy upkeep. bowlesandbowles.co.uk
Disc table and disc stools Casual dining doesn’t need to be ugly, although it often is. Eschew plastic and cheap veneers and head for some solid ash instead. The Disc table and Disc stools combine powder-coated steel in black, white or turquoise with matte lacquered wood to offer some clean dining lines with a comfortably casual vibe. Matching steel inserts pop a bit of colour on to the tops of the table and stools alike. bowlesandbowles.co.uk
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wish list
Enamel bowl Snacks and sugar have to go somewhere, so add colour to their environment with these bright enamelled metal bowls. The bold hues contrast sharply with the high-shine finish of the exterior and the pairs hustle up alongside each other in a flowing yin and yang-style design. They look the part and are available for peanuts. thelondonhomewarecompany.com
Stoneware pots
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Renowned designer Shalini Misra has taken the touch that has earned her plaudits from Delhi to New York and added them to a range of design products. These stoneware planters add a decorative touch that makes a nice change from the standard concrete or terracotta affairs. Solid and substantial, the pots can make the plants look good, break up an outdoor terrace or politely fence guests in. shalinimisra.com
Design Middle East
BAUMA CONEXPO INDIA 2016 December 12-15 HUDA Ground, Gurgaon/Delhi
GET YOUR TICKET NOW! www.bcindia.com/register
FEATURE
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Design Middle East
A working model Can clever office design unleash staff productivity?
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t sounds obvious to say no one really likes being in the office, but there’s more to that idea than simply feeling a bit work-shy. In May this year, the Middle East Council of Offices (MECO) and the Royal Institution of Chartered Surveyors (RICS) released a report on the connection between office environments and productivity in the region. Among some of the startling headline figures was the fact that 67 per cent of those surveyed reported at least one factor that had a negative impact on their productivity. There were plenty to choose from. A lack of flexibility was cited by more than 75 per cent of respondents, and noise and interruptions
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Design Middle East
in open-plan offices were a problem for 40 per cent and 51 per cent respectively; a further 34 per cent suggested that a lack of quiet areas was detrimental. Throw in the 38 per cent who complained about waiting for lifts and there was little to cheer about. “It was thought that if you change from what we call a cellular office environment, where everybody has their own individual office to an open-plan environment, that will be an optimum solution and we now know that it is actually far from that,” says Chris Seymour, regional development director at Mott MacDonald and co-chair of the Middle East Council for Offices.
“The reason for that is that people who are in the open-plan space continually get distracted by noise, movement of their coworkers, and other aspects. In particular this does not suit the introverts at all and companies need introverts, they’re the ones who are creative.”
Activity hubs
Dig down into the research and there were other interesting findings. For instance, Generation Y employees said an activity-based workspace was their preferred office layout and, importantly, folks outside that age group don’t mind it either. “Now, activity-based working is not where you have a fixed desk in open-plan. It actually means you don’t have that – the office is laid out in a manner that relates to the activity being undertaken,” explains Seymour, who also sits on the market advisory panel for RICS. “That activity might be collaborative, it might be creative or it might be one of learning. The theory is that you move around areas of the office depending on what you’re doing. This suits Gen Y, an increasing number of people in our workforce, making them more productive.” But it’s not enough to simply change the office layout. In order to achieve a design that keeps people productive, the basics have to be right – doing everything possible to create a comfortable environment. That means taking care of what some call ‘hygiene factors’ – things people only notice when they aren’t there, such as safety, security, a pleasant temperature and lifts that don’t keep them waiting all day. “This isn’t necessarily a MENA-specific problem,” says Salim Hussain, principal architect with Atkins. “If you look at a lot of the research done in the US or Europe, you find people have issues with older buildings where they can’t control the temperature or newer ones where staff say they don’t like open-plan. “The issue is not that the Middle East designs bad offices, it is the complexity of the work environment and the complexity of human beings. You can plan in a floor plate and say ‘Here, this is your workspace’, but this has a lot of nuances. We’re starting to understand those nuances now and are responding to them more.”
Comfort zone
In theory, responsive office designs make people happier and happiness in turn leads to greater productivity. Designing an office space that is responsive to its occupants could
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FEATURE
“A desk is not appropriate for quite a lot of the activities we’re doing today. We need choice and also a variety of spaces in which to work hand in hand, so people feel their needs are catered for” Oliver Baxter
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involve anything from providing a dedicated space for certain activities – be they meetings, phone calls or conference sessions – or fineturning the environment to meet individuals’ needs within reasonable boundaries that also work for everyone else. If people don’t feel comfortable physically, that could well affect them psychologically too. “Temperature, for example, is something you can give people control over, but the challenge with that in an open-plan office is that you have different people who want the air conditioning on or off,” says Hussain. “At the same time you can be a little more subtle. Temperature might be set [centrally], but if people have windows they can open, they have a level of control over their space. “Humans are complex – you don’t come in and switch on for eight to 10 hours. You have periods where you slow down or you speed up. Your environment needs to address this.” Taking a broader outlook helped some companies develop facilities in which work can take place anywhere, inside or out. Hussain cites the likes of Google and Apple as organisations in which the workspace is not a single element such as a desk but the whole environment. “There is a trend to move from cellular to open-plan, but for me it’s a question of really understanding how we function and then responding to that,” says Hussain. “The trend for me is not to say ‘Is it open or closed plan?’, it’s actually to respond to human needs. That doesn’t mean to say that openplan is necessarily the better solution for your particular environment. Make it responsive to what the user needs to give them an environment in which they can be productive.”
Design Middle East
Corporate culture
Getting the environment right is one part of a puzzle that also includes the culture of the company occupying the space. This has to be included in any assessment of which office spaces will work well and to help create an appropriately productive environment. Oliver Baxter, Insight Programme manager for Herman Miller, says: “You can create a really lovely lounge setting where people can engage in collaborative work or creative thought, but if the culture of the company means it’ll be viewed as a place where people slack off, it is never going to work. We try to educate, and in the first brief with the client elevate their knowledge, so that when spaces are provided they are appropriate for that client and the people within them know how to use them.” Baxter adds one of the key points is to give people the autonomy to choose where, when and how they want to work within a space. Designers must also recognise that work no longer just happens at desks.
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“Humans are complex – you don’t come in and switch on for eight to 10 hours. You have periods where you slow down, times when you speed up. Your environment needs to address those” Salim Hussain
“A desk is not appropriate for quite a lot of the activities we do today,” he says. “We need choice, and also a variety of spaces in which to work hand in hand so people feel their needs are catered for.” These changes are driven by a shift from old-fashioned process work to the informationgathering roles of the modern knowledge economy. One of the challenges this throws up is how to measure productivity – something once easily measured by counting units made is now far harder to quantify. “We see the impact of bad design globally,” says Baxter. “There is a variety of ways you can infer that bad design is at play. One of the predominant ways is to look at productivity, but it is hard to measure; engagement is easier. I like quoting Gallup, which highlighted in 2013 that 71 per cent of people worldwide were not engaged with their work. In the UAE that same year, the figure was 74 per cent. For me, some of that is down to poor design, some of it poor culture and some, poor technology as well.” Herman Miller has put considerable research effort in to finding ways to improve the office, including going so far as taking blood tests from sample groups trialling different office settings in an effort to determine the subjects’ levels of stress and trust. This depth of research has influenced the company’s approach to office design and its shift towards an activitybased working model. Baxter suggests these ideas give the region a chance to skip the pain of transitioning from cellular offices to open-plan workspaces – instead, they can head towards a more considered, activity-based model. “What we champion is more tailored to individual needs,” Baxter says. “We can skip a step and jump forwards. Speaking to clients in the region, there are some very forwardthinking organisations willing to skip that step and start to understand individual needs.” It’s a view supported by the RICS research, which found that the propensity to experiment with the idea of activity-based workspaces was stronger in the Middle East than in other places. The researchers concluded from this that designers in the region should be prepared to take more risks, be bold and experiment with activity-based working because the environment is not as conservative as it may first appear. If they do, the findings could result in a better and more productive work life for everyone.
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FEATURE
Modularity
Modern furniture and lighting fixtures go retro this year, says senior interior designer Elie Choucair. “At the recent Milan furniture exhibition we were delighted to see a lot of retro furniture pieces on display,” he says. “The modernisation of technology and production processes today are much more efficient and cost-effective, so it’s great to see beautiful old pieces being given a new lease of life.” Elie also believes modularity will be popular this year, challenging conventional design concepts and room layouts. “Flexible modular furniture allows us to mix and match the elements to create our own custom pieces. A sofa, for example, does not have to be designed to go against a back wall. “Created from a combination of modular seat cushions, vertical screens and finished off with free-standing coffee tables and pouffes, it can be arranged to create a comfortable central hub in the middle of the room.” Modular design is not only functional but is also playful, lending itself to a dynamic, everevolving ambience.
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Design Middle East
The shape of things to come What design trends can we expect to see in 2017? The team at Dubai-based architectural firm Godwin Austen Johnson share their insights into the year ahead...
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FEATURE
Embracing change
If one thing is certain in business, it’s that nothing stays the same – and with change comes the need for flexibility. Today’s workforce is fully functional with a laptop, a smartphone and a place to share ideas, making the need for a rigid cellular office area with designated desks largely redundant. Many companies are rethinking their office setups and how they are being used. Changing market conditions and an increasingly mobile new generation of employees are starting to shape the workplace in new and exciting ways with idea walls, reconfigurable soft furniture and communal social spaces. “The shift from traditional workplace design is finally gathering pace here in the region, with more emphasis on fluid, projectbased planning,” says Kathryn Brown, a senior interior designer. “These comprise different work settings, from solo working to bench desking and soft seating grouped around collaboration rooms.” It’s far easier to move people than desks so the design must be flexible enough to enable spaces to be adapted to suit a variety of purposes. Teams expand, contract and relocate – cellular spaces can be multifunctional without ownership.
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Design Middle East
Intuitively designed schools
A high-quality design that is rooted in the community and that facilitates learning will continue to gain ground in the next few years, according to partner Jason Burnside. “Children’s primary education is a constantly evolving science, which means that school facilities need to be adaptable and flexible. The design of the physical environment and the use of the space plays a crucial part in the experiences of pupils and teachers, and this will be a key focus when designing schools in the future.” Schools are much more than just educational
facilities – they are places where youngsters grow, play, socialise and share. It’s not just about sitting in a classroom – kids of all ages want to go out and play, interact and collaborate with their friends and this will be shaping how schools are designed going forwards. Jason believes the best-designed schools of the future will be those that enable and encourage youngsters to interact with their environments in a more meaningful way. “You have to consider the practical aspects such as durability, function and user flow,” he says “How the children will move around the school is key to intelligent design.”
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Attracting younger travellers According to partner Simon Chambers, the hospitality industry has undergone a substantial transformation in the past few years, one that has largely being driven by twenty and thirty-somethings. “As the millennial generation starts to make up a larger proportion of hotel guests their demands and preferences are clearly quite different from the generations before them,” he says. “For them, what’s important is value for money. Large guest rooms are not as important as high-speed internet – they just
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want functional, uncluttered spaces. Simon believes that in the next few years, hotels will spring up to cater specifically to this demographic. “Millennial guests want nothing more than a convenient place to stay that is digitally connected and provides comfort and choice rather than a luxurious experience. Designs, then, are highly flexible and modern but with a strong sense of style.” He adds: “Everything from the creation of social spaces and the visual identity of the property is now being considered to appeal to this generation.”
Circadian lighting There is a greater emphasis today on the role lighting can play in fostering health and wellbeing, particularly with regard to LEDs. For instance, power supplies can be improved to reduce or eliminate flicker, which is a common cause of headaches. “We tend to underestimate the importance of light on our wellbeing and just how much the light/dark cycle, or circadian rhythm, affects our moods,” says lighting specialist Regina Santos. “The availability of tuneable white light fixtures, the improvement of lighting control systems and the connectivity that allows people to have access to information and more control
of their environment are just some of the key trends right now.” Flexible lighting in homes and at the workplace is set to become the norm. “There will be a greater emphasis on referencing nature, which has a significant physiological impact on our bodies, through the use of colour-changing fixtures. “These can mimic the daylight cycle using different colour temperatures during the day and warm, low-level lighting at night time to prepare our bodies for sleep,” says Regina, who also believes we will see a greater reliance on apps to control our lit environment via our mobiles on producing comfortable and dynamic lighting schemes both inside and out.
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Design Middle East
Bright ideas Luminaries from the world of lighting share their insights into the industry’s developments‌
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L
ighting is one of the most influential factors in how a finished design is perceived by the people who experience it. With tone, brightness and colour, it can change the mood of a place from laid-back to menacing, all at the flick of a switch. But despite its significance, lights all too often find themselves a long way down a project to-do list. Consultants and suppliers are working to change this, advocating a lighting design process that is as important to the success of a project as the structures themselves. Through early engagement with the architectural and design teams, lighting providers can offer more considered options that not only respond to the space’s intended uses, but to its users as well. Technological advances mean that lighting has the potential to be as connected as other electronic devices, whether from one unit to the next or to a wider network. In the not too distant future, users will be able to personalise lighting environments more easily and, more crucially, there will be more opportunities to manage how lighting consumes energy. With the environmental impact of urban buildings increasingly at the top of the regional agenda, managing energy consumption is a vital part of containing operational expenses and meeting regional green building requirements, which are only set to become more strict. Making the right lighting decisions at an early stage of project can ensure that energy use to keep the spaces welllit is optimised, hits sustainable consumption targets and keeps everyone feeling comfortable.
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“In this region we meet challenges every day”
Design Middle East
PRECIOSA LIGHTING
Martin Fryzelka, managing director What is Preciosa Lighting’s history in the Middle East?
Preciosa Lighting has been raising some of the most skilled craftsmen in the world and shaping the future of glass art since 1724. We have more than 600 employees and 11 offices throughout the world striving to transform the most ambitious visions and ideas into reality with traditional techniques and cutting-edge technology. Major hotels, restaurants, operas, theatres, palaces and
even private residences make impressive design statements with lighting installations made from authentic Bohemian crystal. Recently we have delivered our installations to the Four Seasons Hotel Abu Dhabi, Bloom Central in Abu Dhabi, which comprises a Marriott hotel and apartment complex; Burj Al Arab, other private residences and, of course, Emirates Palace. In this region we meet challenges every day. One such example is the commissioning of a 1,600m2 light fitting that weighs 75 tons, designed for a private palace. It took six months to instal the lighting and up to 100 experts helped to make the project a reality.
What predominant lighting design trends do you see influencing the market?
Designers and architects are testing new solutions and possibilities that can take the adventure of decorative lighting to another level. These bright and innovative ideas often lead to unconventional designs, methods, and technologies that go far beyond the predictable and ordinary. What can clients expect when they come to you for guidance?
In cooperation with our engineering team and our research and development centre we are able to transform almost any dream, vision or idea into reality. This is especially true because of the confidence and know-how gained through the generations of craftspeople who have proven – over and over again – that with passion and selfdetermination, anything is possible. How and where can lighting be used to greatest effect?
Manufactured objects and installations are not only a source of light, but also a significant source of atmosphere and first impressions. Ideas and projects need to be approached individually in order to create the desired impact for interiors varying in style and function. In our team we have specialist lighting consultants who take all the aspects of the space and light into perspective to bring out the best features out of both. The atmosphere of the interior as a whole is what matters most when assessing the final result. What is your newest product?
This year we presented Crystal Automata concept. Chandeliers are often used to receive and inspire guests, in the past, automata [mechanical devices made to mimic living creatures] were also used to instil wonder. They included the first automatic gates at the temple of Alexandria and Prague’s astronomical clock, the oldest one still operating in the world. Preciosa has created modern motorised chandeliers inspired by the earliest mechanical devices. By setting Bohemia crystal in motion, the gem’s characteristic sparkle is accentuated as the distance and orientation to the light source changes. www.preciosalighting.com
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IGUZZINI
Sergio Padula, technical director How’s business?
We’ve just had the best year since we opened the office in Dubai [in 2008], so things are very active for us, but only within the emirate at the moment. There’s a lot going on here, including infrastructure and hospitality projects keeping us busy. What trends are influencing the lighting industry?
There is a technological revolution going on based around LED and associated with that is the idea of how to control the LED. So these are issues around the management of the lighting system and consequently what is known as the Internet of Things (IoT), which includes looking at how to integrate artificial intelligence into the system. Is there much regional interest in energy management?
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Of course – even within public transport and other government entities we can see that there is a great deal of interest in it. We predominantly talk with lighting designers because we work on a specification business model. They want the data we can provide to them, particularly the data with specifications that are the most up to date and that they can trust in it. These details cover the lifespan of the components and all related information and is, of course, independently tested by third-party laboratories.
Design Middle East
In which sectors are you most active?
Hospitality is a massive sector, for sure. Infrastructure is important too, especially around how to integrate lighting into large-scale landscape and master plan projects. Because this is a key part of our project portfolio, we are able to offer everything from downlights to street lighting – customers choose to deal with us because they can get a full-package solution. What products demanding?
are
these
sectors
For hospitality we introduced a technology we call tuneable white. This enables the user to adjust the colour temperature, so that when the fittings
are dimmed, you get a greater warmth of light. This is the kind of thing the market is definitely demanding now. How do you think your business will play out in the future?
It will be tough because there is a lot of competition, especially from the Far East, but we are sure we will succeed due to the high standard of the fittings we produce. We support conferences, learning programmes and lunch seminars to build awareness within the market that a high-quality product is always the best choice for the end user. iguzzini.ae
ZUMTOBEL GROUP
Donna Dederding, regional communications marketing and PR manager How important is quality lighting?
The mindset when it comes to lighting is still very different in the Middle East. The added value of high-quality lighting is not a priority for everyone. Lighting comes in at a very late stage of the project and that’s normally after budgets have been overshot and value engineering is carried out. The investment cost of quality lighting versus the return on investment thanks to energy savings is not always a strong argument, because of the low energy prices in the region. However,
we do see progress and newly implemented green building rating, such as Al Safat, are a good initiative to encourage sustainable lighting. We also have some first-class lighting designers in the region, particularly in Dubai, who have designed brilliant solutions with good-quality products and keep on communicating the importance of highquality lighting. What trends do you see influencing the market?
Clean, pure ceilings with the use of indirect light and clean light lines. We can see
that luminaires are becoming less obtrusive and more versatile. One product can cater to several applications and technologies such as tuneable white can transform a room from a cosy 2,700 Kelvin to a concentrated work area of 4000 Kelvin within seconds. As energy efficiency plays a substantial role in most designs, the integration of smart controls and sensors is becoming more important. “Properties are becoming Simplicity is the key and fashion-conscious and much with smart controls you can change your lighting from a less formal� desktop or smartphone in an instant.
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UMAYA LIGHTING DESIGN Alex Shaw, design director How’s business?
For some time now the Middle East has been in desperate need of international lighting consultants with locally based teams; sensitive to both the business dynamics as well as cultural nuances that work in the region entails. With this context in mind, it’s no surprise that demand for our work has been on the increase – irrespective of what is generally a negative market sentiment. We do have a good pipeline of work being generated from architectural consultants based in Spain and England but designing on behalf of Middle East projects. How and where can lighting be used to greatest effect?
There’s no easy – or even short – answer to this question. It depends upon a multitude of factors such as the use, ambience, occupants, et cetera, or even more practical issues such as electrical load, construction feasibility, budget and/or delivery lead time constraints. The important thing is for the lighting designer to be brought on as early as possible – ideally after the client has approved the architect’s conceptual work – as well as sharing as much information as possible about the space to be lit so as to balance these requirements. Another key factor is for the clients to be as engaged as possible, given that lighting has the ability to express, if not enhance, their architecture in the best possible manner while also differentiating their projects from those around them. Are emerging concepts and technology, such as the Internet of Things or energy management considerations, having an impact on lighting design?
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The IoT will completely change the lighting industry, from the simple fact that light fittings will not only be used for lighting, and light itself will not only be used for seeing, but also to carry information. The opportunities this opens up to the design community are endless, yet the mindset change required won’t be easy. Considering this trend has in practical terms only emerged out of North America and Western Europe over the past three years, the Middle East is therefore still unprepared for IoT. We just need to see where IoT takes us in the next five years. umayalighting.com
Design Middle East
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Design Middle East
Model performance Interior design has much to gain from BIM, but companies need to be prepared to put the work in to see the benefits
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uilding information modelling software, or BIM in common industry parlance, isn’t the first tool interior designers typically reach for when they start out on a project. A few years ago everyone would be forgiven for knowing nothing of software that was more for the likes of structural engineers or mechanical and electrical specialists. But times have changed. For one, green building regulations in the UAE have become more prevalent, got tougher and in some instances become mandatory. Meeting some of the regulations means staying on top of issues such as waste reduction – one of many things BIM can help with. In addition, usage of the
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technology is being mandated to a higher degree. The first such regulations hit Dubai in 2013 and were expanded in 2015. While these mandates currently cover only certain kinds and sizes of project, many feel the writing is on the wall regarding full-scale adoption, a factor that has seen some make the commitment early. “In 2012 we had a lot of conversations around BIM,” says Ben Corrigan, the founder and CEO of Bluehaus Group. ‘Is it the future? Is the region ready for it? Is it something we want to invest in?’ We made the decision that by 2014 we wanted to be delivering our projects in Revit as standard.” At the time, Bluehaus Group was very much an interior design company, but now the 60-strong
“I think we underestimated at the time the effort required to make that leap, culturally, more so than anything else”
firm counts architecture among its skill sets and boasts a dedicated MEP division, making the adoption of BIM in the form of Autodesk’s Revit – just one of a number of BIM software options on the market – all the more prescient. Once the decision had been made, the transition itself was not a simple process, nor was it instant. “I think we underestimated at the time the effort required to make that leap culturally, more so than anything else,” explains Corrigan. “It took us a good couple of years to really understand where we were going with BIM within interior design, where a lot more is bespoke than in engineering. “The period of the first two years was quite painful. You are changing the culture of
your business. What surprised us is that in the past when we’ve invested in software or made a change, it has been quite simple: you buy the program, train individuals in the business and move forward. You’ve got to have a team of people who are willing to embrace change. What we realised with BIM is that it’s as much about a cultural shift as it is about the investment itself.”
Computer love
Gone are the days when they Bluehaus had designers or architects marking up drawings then feeding them to a CAD draughtsperson. Changes to the workflow meant the company had to have a much more skilled-up team. There were other
challenges too. One of the most cited barriers to interior design firms making the investment in BIM is the nature of many of a project’s components. While off-the-shelf products, such as furnishing items, will often be available with BIM models ready to drop into a design, bespoke elements are not. Creating a BIM model of such a one-off feature is unlikely to be worth the effort, but compromises are possible and working across both BIM and AutoCAD has proved an effective compromise. “While we work 100 per cent in Revit across the group in architecture and MEP, we still accept that anywhere between 10 to 30 per cent of an interior project may be in AutoCAD,” says Corrigan, “although that might change in future.”
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With project cycles spanning anywhere from six to 18 months, it was a while before the benefits of shifting to BIM began to accrue. But when they did, the changes were very noticeable, says Corrigan. Some of these might be common to any business in the construction and design industry, including seeing project coordination get better and resulting improvements in the delivered product. Clash detection tools within Revit also proved a boon. But perhaps the greatest positive was the closer interaction with clients, who were getting to see their designs in more detail and as a result offering better feedback. “We can’t always expect our clients to understand the design the way we are communicating it,” says Corrigan. “So by working in 3D, almost from the get-go, you are showing them much more design, which means they are feeding back on it much more.” Corrigan says the adoption of BIM has generated a host of other innovations, including the creation of 3D fly-throughs built on the back of Revit, and the use of virtual reality to present designs to clients. “There is a real benefit in the design phase, in the upfront 3D presentation phase – there’s a fantastic benefit in terms of being able to produce a detailed design package more efficiently – but it is also spawning a lot of interesting innovation within the business where people are exploring what else it can do.”
Design Middle East
Brave new world
The ability to translate models into video game-style virtual environments might sound like a gimmick. But what few of them realise is that such projections are not merely a simple representation of the design but are in fact drawn directly from the models, accurate down to the last light fitting, AC vent or carefully selected chair. And this fact can give a virtual reality presentation real power. “BIM is about a single source of truth and about having a collaborative process,” says Charles Dunk, manager of the immersive technology group within consultancy AECOM. “The way it can really help the creative side is
by getting the collaborators to understand each other’s work.” Dunk, who specialises in virtual and augmented reality, believes both are a natural extension for BIM. The two go hand in hand and while you can have one without the other, most vendors are now bundling them together. “If you’re spending all that money on BIM, then you might as well go to the effort of adding the virtual reality because you’re already working in a 3D environment,” he says. Using virtual reality is a way of creating a visualisation that is up to date and relevant. While not typically beautiful 3D visuals, they are robustly accurate, enough to allow clients and collaborators to understand the project at a
human scale. But while people options, helping virtual reality is a great them understand and “BIM is about a way to present visuals, it reach a decision.” The real future may People react differently single source of truth to virtual reality, much lie in projection studios and about having a as they do to 3D movies, in which people can collaborative process” with some having a experience a design greater tolerance for it together, or in a more portable augmented that others. The tactile and olfactory elements reality, with digital are also missing, as well as what Dunk describes design elements overlaid on a real physical as a sense of presence – where you literally see environment – think Pokémon Go. While it yourself inside the design. “Digital mock-ups may be some time before such tools become allow decision makers to make a call,” says commonplace, it’s not just about the technology Dunk. “It’s all about ‘optioneering’ – giving being ready but getting designers to use the
existing software options. “Many companies aren’t adopting BIM,” explains Dunk. “If we’re gong to influence [adoption] we have to champion the cause of collaborative working and working in 3D – it’s about a culture of working together with a single source of truth. When you have that then you can start talking about BIM and virtual reality.” The full advantages of BIM will only become apparent with greater levels of adoption, spurred by both the regulatory environment and client contracts that either support or demand its use. Experience so far suggests this will be a significant cultural shift for many organisations, but the benefits are there to be taken.
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‘The process is everything’
Ivar Krasinski is a founding partner and the design director of Edge, a boutique consultancy specialising in architectural, planning and interior design. He reveals how BIM software was used throughout its work on residential tower 1/JBR and outlines the procedures from concept to completion…
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f necessity is the mother of invention, then process is the uncle. It applies to all fields of human endeavour in which methodology determines the outcome. In experimental science, controls ensure the result is reliable. In fitness, regimes are adjusted to achieve the desired result. The process is everything – and this is also true of architecture.
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A well-designed process enables people to consistently make the right decisions. On the other hand, a poorly designed one results in missed opportunities that even the architect doesn’t notice. Therefore, it’s crucial to design the process prior conceiving the project. We live in an exciting age in which fantastic innovations occur several times a day. The impact of hardware and software on design outcomes is familiar to anyone who has participated in
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architectural projects over the past 20 years. What is often missed is a hierarchy of decisions, pre-arranged to ensure the optimal outcome for any given stage of the project. As an example, consider a conceptual design. Creating a unique door jamb detail may be the right thing for certain projects, but spending the team’s time on working out details while walls are still moving by metres in the beginning of the design is wasteful, and has an adverse impact on the project. It makes the work hours input into the project ineffective. In addition to this, spending time on the wrong items reduces the number of options considered. It all means a less than optimal result. How so? For any given project there is a finite timeline. Even if flexing the delivery dates and letting them slip, we hopefully all agree that no project can go on forever. For any given team there is a maximum number of worker hours
What is BIM?
In the past two decades, building information modelling (BIM) software has become widely available. This powerful software offers a way to keep track of all project data within one comprehensive 3D model. Krasinski says: “The geometry of the model can be used to adjust the statistics and data and, inversely, editing the data changes the its geometry. “As the design evolves, with the right setup, the software continuously improves the numbers, giving real-time feedback about the project’s ability to meet criteria. The data can then be optimised to fit into the project’s criteria, allowing the best possible result.”
available. Every bit of time spent has an impact on the client’s bottom line. It can be either positive or negative. An inefficient design, or one that costs too much, can destroy a project’s financial model and feasibility. At the other extreme is a design process in which data is closely tracked and that enables adjustments to be made. It becomes evident that the proper use of the available time is crucial to a project’s success. BIM, in itself, is no longer that unusual. What is crucial is the way it is implemented in the design process. The 1/JBR project became a BIM one immediately after the napkin sketch stage. It might not seem like a big deal, but if we consider the way most firms typically use BIM, this approach differed vastly. In general, unfortunately, today most projects are modelled in BIM after the last stage – design development – begins. Until then, the team works in inaccurate 3D models or, even worse, 2D design software. This means statistics aren’t tracked at the crucial time when the biggest decisions are being made. Such a process wastes a lot of BIM’s potential to sharpen the pencils early on and contribute to the making of better pre-concept decisions.
“Keeping the design more minimal achieved better unit layouts, better efficiency and a tighter construction cost while maintaining a high quality of finish”
At the end of this pre-concept stage, all options contained clear information about the key parameters… Uninterrupted views of all of points of interest surrounding the building Each unit was of a specific size – one that matches the goals stated in the client’s brief exactly The ratio between net area (the part of the building which can be sold or rented) versus gross area (that which is required to operate the sellable part, but cannot itself be sold, such as the elevator core, fire stairs, public corridors and services) Structural efficiency Minimal duration of MEP services
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Pre-concept and concept
It is understood by some that a project’s success depends on a strong pre-concept or, at the latest, the concept stage. Making the wrong big moves early in the design process can quickly result in a project that underperforms or fails entirely. It all leads to the conclusion that it is important to have some statistical feedback right from the start, optimising a building’s areas, construction methods, façade design, parking and construction cost. A price that’s too high can quickly cause a project to end, or, if it’s too low, result in a design which doesn’t meet the expectations of any given market segment, leading to poor sales. 1/JBR is a 46-storey building in an incredible setting, with views over Blue Waters, Dubai Eye, Skydive Dubai and The Palm, Jumeirah. It was crucial that views to these points of interest were maintained as much as possible, and while the project aims high regarding market segment, the costs had to be controlled while maintaining the maximum quality. 1/JBR has overcome all these challenges, due to the use of BIM right from the start. The modelling process began with multiple options and iterations of each option. These alternatives were continuously tracked, keeping all views, areas, quantities and costs constantly in check. In the beginning, the team explored a range of options, of which some were more flamboyant than others. Models started off very modestly, with a minimum representation of each idea. Instead of trying to solve every design to a high level of detail, the options were continuously adjusted to ensure overall optimisation. At the end of this pre-concept stage, all options contained clear information about the key parameters.
The schematic stage
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At the schematic stage, the model gained a lot of detail, allowing even more accurate area calculations and cost estimates. Its size at this point exceeded 250Mb, meaning that had it been contained within a single file, it would have been almost impossible to work with. The high volume of data crunching the server required with each adjustment necessitated the use of work sets – a term meaning that the parts of one central model are opened in partially or entirely separate models for architecture, interiors, façade, structure and MEP. In this way, any one model can be edited
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Due to the data tracking for each option, it quickly became evident that keeping the design more minimal achieved better unit layouts, better efficiency and a tighter construction cost while maintaining a high quality of finish. At the end of the pre-concept, the team had considered seven arrangements. We discarded the most extreme options and chose one to continue into the concept phase. This is key. Before, not after, the concept stage, the optimal arrangement of units, core, structure and services was narrowed down to one scheme, one that both client and design team agreed was the best. With so much information available early on, the statistics didn’t change significantly in the subsequent stages. Because the team only focused on one option for the concept phase, and since much of the design had already been considered pre-concept, a more thorough investigation and documentation was possible at all subsequent design stages. Thanks to this approach, many critical design statistics became finalised at the concept stage.
“Working out details while walls are still moving by metres is wasteful”
more easily, since the time required to open it and parse the data is significantly reduced. Work sets were used to prevent professionals from different disciplines from editing each other’s files, ensuring the design remained intact and could only be modified by each expert team. This was significant because one of the largest time wasters in BIM is the unintentional changing of one part of the model while trying to work on another by persons who aren’t familiar with what the other specialists in the team may be doing.
Detailed design
Thanks to the BIM process, time was used efficiently right from the start, enabling all the criteria listed below to be achieved… Uninterrupted views to all points of interest from every room in each unit (excluding bathrooms).
that on these floors only two units use each elevator lobby
A high gross/built-up area efficiency
Private elevator lobbies in the upper third of the floor plates, meaning on these levels every lobby is part of the sellable area of each flat for maximum privacy
Semi-private lift lobbies (for the lower two-thirds of the floor plates), meaning
Private express lifts for each penthouse, providing total separation.
A very high floor plate net/gross efficiency
Having a lot of the small variables locked in at the end of the schematic stage enabled the team to use the detailed design stage to examine the design in minute detail, optimising the model with every step. The detailed design stage consisted only of detailing the agreed scheme, rather than scrambling frantically to improve the numbers. 1/JBR is soon going to rise out of the ground. When visiting the finished product, the building will show clear evidence of an efficient design process, thanks in large part to the use of BIM in the earliest stages. The interiors are clean, minimalist and elegant, while the exterior creates an iconic presence in the area. In conclusion, I strongly recommend that designers put their schemes into BIM as soon as possible. The improved decision making and efficiency resulting from this approach allow the creation of a well-tailored building. Everyone will be doing this in a few years’ time. I encourage everyone not to wait but rather to implement BIM in the earliest phases – starting today.
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Mid-market matters Budget hotels are booming in Dubai, shaking up a sector in which gold leaf and lamé still hold sway. It’s time to say goodbye to bland business centres and twee travel taverns mid-price properties embrace some seriously innovative concepts…
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ubai is famous for its legendarily lavish resorts, but as petrodollars plummet it’s started to woo the more cashconscious tourist. Spurred by demand from younger travellers, many from the Far East, hotels are taking cues from bars, nightclubs and trendy shops by incorporating edgy materials and photogenic artwork. Dubai-based practice Godwin Austen Johnson counts a number of high-end hotel groups among its clients, including Fairmont, Sheraton, Ritz-Carlton and Jumeirah, for which it designed Burj Al Arab’s Bab Al Yam restaurant. Now the interior design, architecture and lighting practice, known as GAJ, is seeing increased demand for highconcept yet affordable accommodation –and this wave of wallet-friendly properties presents a welcome creative challenge, says associate – senior interior designer Elie Choucair. “Midscale properties are becoming fashionconscious and much less formal,” he says. “There’s a greater focus on creative use of space and furniture arrangements that provide comfort and functionality, with quirky,
Design Middle East
fashionable, design-oriented concepts making up a significant aspect of the product.”
Mixing business with pleasure The first part of the hotel that most guests see is the lobby, and for this reason Choucair believes it’s vital that it reflects the venue’s identity. “You only get one chance to create a good impression,” he says. “We believe that the designer’s main efforts should be focused on transforming the public areas into warm, distinctive and memorable spaces.” Changes in guest behaviour, particularly those driven by technology, mean features once considered integral to hotels can now be scaled back. For instance, check-ins can now be handled online, eliminating the need for a large front-reception. Choucair says this can have a substantial impact on the way the space is designed. “The lobby area is taking on a greater significance as it becomes the venue for casual business meetings and a place to hang out,” he says.
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“There is a greater demand for open, flexible spaces that offer a comfortable environment where business and leisure blend seamlessly.”
Opulence is out
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The way guests use public spaces isn’t the only change – their expectations in terms of design have also evolved. Furthermore, as firms target guests from emerging economies, bling is falling out of favour. A twentysomething social media manager from Shanghai is likely to have different taste in décor than, say, a middle-aged Moscow housewife on a shopping spree – and this has a bearing on the overall concept. “Traditionally, this region has always been associated with luxury hotels that are designed around its Arabic heritage, with sumptuous, opulent materials and finishes,” Choucair says. “With the new mid-scale hotels, the design is based on genuine and original concepts.”
Design Middle East
He adds that designers increasingly incorporate antique, reclaimed and recycled materials into their work. “We are starting to see more vintage, warehouse-style designs with exposed concrete, textures and patterns, graffiti and colourful graphic walls creeping in.” One current GAJ project, for a midsize boutique hotel, involves the use of locally sourced materials and finishes, partly due to budget constraints “but also with a view to using and promoting local artists and craftsmen.” He adds: “The idea is to create an emotional connection between the traveller and the neighbourhood’s culture and history.” Antique furniture and accessories are being picked up at markets and upcycled for a quirky, authentic feel. “During the design process, we often have to push boundaries, reinventing the way we think. “Designing a hotel is becoming fun again.”
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Design Middle East
Room for creativity Budget travellers set on a culture fix will find a warm welcome to the Emirates at Rove Hotels’ quirky Downtown venue‌
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Sited in the lobby lounge, The Cabinet of Contemporary Curiosities installation is an eclectic collection of seemingly random objects. Connected by the theme “uncommon and unexpected Dubai”, they were supplied by several of the artists involved in the project. Although their styles, media and techniques vary wildly, they present unique “macro or micro views of the city.”
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nique pieces by UAE artists adorn Rove Hotels’ Downtown Dubai property. The recently opened hotel is aimed at the younger, design-conscious traveller who has a budget to stick to but doesn’t want to compromise on atmosphere. One of a series of properties developed by Dubai companies Emaar and Meraas, it’s distinguished by a number of artworks by UAE residents and nationals. Anne-Cecile de Chaumont, design manager of Rove Hotels group, says: “Our challenge was to create a midscale property without compromising on the customer experience. “The home-grown Rove Hotels and its flagship property, Rove Downtown Dubai, have redefined the meaning of value hospitality by embracing design and art to make it an integral part of the guest experience.” Working with lead interior design firm Stride Treglown, boutique consultancy Capsule Arts, engaged 10 locally based artists to interpret aspects of the UAE’ extraordinary cultural diversity to create imagery that both tourists and long-term residents could relate to. “Pleasant surprises, murals and installations bring evocative moments from Dubai’s everyday bustle to life,” says De Chaumont, adding that the pieces inspire a sense of adventure in guests, inspiring them to “start exploring Dubai and the local neighbourhood the minute they enter the property.” But although the Downtown Dubai venue was conceived to appeal to “the young and young at heart”, she says care was taken to ensure the concept didn’t alienate older visitors. “We are happy to see that Rove Downtown Dubai is attracting guests from all generations and cultures,” she adds. “This was achieved by spending time to make sure the selection of interior design, artworks, objects and accessories complemented each other.”
Three sheikhs
Most Dubai hotels display portraits of the UAE rulers; although not compulsory to do so, it’s considered a sign of respect. British artist Stephen Chambers, who was born in Dubai, paid his tribute using spray-paint and stencils. In the lobby at Rove Downtown Dubai hang pictures of His Highness Sheikh Khalifa, President of the UAE; His Highness Sheikh Mohammed Bin Rashid Al Maktoum, Vice President and Prime Minister of the UAE and Ruler of Dubai; and His Highness Sheikh Hamdan Bin Mohammed Bin Rashid Al Maktoum, Crown Prince of Dubai.
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Toy installation, luggage room
The luggage room’s 57 lockers are kept under the watchful eye of a menagerie of multicoloured inflatable animals. It was designed by Abu Dhabi-based Bahraini artist Nasser Alzayani, who named each cupboard in the space after a city or country.
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Camel rider road sign
Dubai graphic design studio Ape Creative placed a series of pictures across the hotel, using stencils and spray-paint for a street art feel. Guests are invited to embark on a treasure hunt to spot all 22 – De Chaumont says this enable guests to experience “some of the very local elements of Dubai in a very funny and interactive way.”
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Lobby lounge
“The furniture echoes majlis furniture but the seat heights, fabrics and seating arrangements have been revisited to suit the needs of our guests and allow a flexible use of this space. It’s easy to grab a pouffe and sit wherever you want.”
Anne-Cecile de Chaumont, design manager of Rove Hotels
Lobby
“The bicycle on the wall speaks to the young ones looking for an unexpected element that they can photograph. “It also appeals to the local population who are used to seeing these bicycles across the streets of Dubai.” The pendant lights are by Tom Dixon.
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Camel Caravan, lobby
This cute installation was created by Dubai-born artist Stephen Chambers. Representing the age-old relationship between camels and the Arabian Gulf, its vibrant colours stand out against the lobby’s stark white walls.
Welcome sign, entrance
“While designing the hotel, we kept in mind the next generation of travellers who expect storytelling design, social interaction and ‘Instagrammable’ details, but we also focused on embracing the multicultural aspect of Dubai.”
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The Daily café
“Rove Downtown Dubai’s design is contemporary yet inspired by the culture, geography and heritage of the neighbourhood it belongs to,” says De Chaumont. Capsule Arts conceived and designed an installation of colourful, commonplace UAE crockery and cookware. An assortment of 30 cooking pots, 10 pan lids and more than 250 plates are mounted on a wall. Diners are seated on Tolix T14 chairs designed by Patrick Norguet.
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Bedroom
“What counts for us is the story behind Rove Downtown Dubai and the new stories that it will help create,” says De Chaumont. “Someone took a selfie while sitting on the bed, underneath the quote on the wall. They posted it on social media with the caption: ‘This is where we will be next week’. Not only was this a smart play on words, it’s also proof that we surprise our guests and they surprise us in return. “The dialogue was initiated before they’d even arrived.”
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P rod u cts
The great outdoors Take exteriors from drab to fab with these bold yet practical pieces‌
Intermetal
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Dubai-based contractor Intermetal has manufactured and designed outdoor furniture for 28 years. Its comprehensive product line includes tables, chairs, loungers, sofas, umbrellas and gazebos suited to the beach, poolside, restaurants and bars. The flexible line features pieces in aluminium, teakwood and rattan that can easily be mixed and matched to create unique outdoor spaces. Potted plants both real and artificial are also available – a cost-efficient, low-maintenance way to add a splash of greenery to bare corners and balconies. intermetal.com
Design Middle East
Falaknaz – the Warehouse
Based in Dubai, Falaknaz supplies garden and indoor furniture made from leather and handfinished teak. In business since 1996, the firm takes an ethical approach to its operations, crafting its wooden pieces from Grade-A Indonesian teak as opposed to the outlawed Burmese equivalent. Each piece is cut and kiln-dried, with a variety of materials used to give its warm golden-brown colour. Falaknaz also produces gazebos as well as synthetic rattan furniture, a lightweight, easycare choice option that comes with a three-year warranty. www.falaknazthewarehouse.com
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Cities Design, Art & Lifestyle Boutique
Launched in Saudi Arabia, Cities stocks an eclectic selection of pieces sourced from all over the world. Modern, chic brands represented include Forestier, Nayef Francis, Måximo Riera and, lastly, Tom Dixon, the London studio where Cities’ owner, Hazem K Aljesr, started his career. Also available are funky pieces from Nada Debs, Bull & Stein, Onno Candles and Orient 499. citiesdubai.com
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BAUMA CONEXPO INDIA 2016 December 12-15 HUDA Ground, Gurgaon/Delhi
GET YOUR TICKET NOW! www.bcindia.com/register