C O M M E R C I A L
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Interiordesign
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The essential guide for Middle East i nterior design professionals
J a n u a r y 2 0 1 0 V o l . 6 I s s u e 1
An ITP Business Publication
Jan Vol.6 Issue 1
ROSS LOVEGROVE Catching up with wi th t he champion champion of intelligent, organic design
BEST OF BAHRAIN Exploring market opportunities on the isl and of Bahrain Bahrain
T h e e s s e n t i a l g u i d e f o r M i d d l e E a s t i n t e r i o r d e s i g n p r o f e s s i o n a l s
ALLEYESONYOU A n I T P B u s i n e s s P u b l i c a t i o n
Art and crystal ccryst crys rystal t al coll ollii de in i n a brand br and new ret re retai retail t aill conc once ept by Swa Swarov rovski ski
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CONTENTS
January 2010 06 09
DESI SIGN GNUPDATE Sporti ng success. success. INDUSTRYSPEAK
Leading designers outl outl ine thei r projections for the coming year.
12
DESI SIGN GNFORENSI SIC CS
Why the Rivington Grill is an example of great design.
15
17
WHITEPAPER WHITE Exclusive extracts ext racts from fr om Kenneth Laidl La idl er’s paper on the continual assess ass essment ment of interi or designers.
12
17
27
DESI SIGNE GNER Q&A CID gets up close and personal
with t he champion champion of organic design, Ross Lovegrove.
22
CASESTUDY
Swarovski unveils a new retail concept in the heart of Vienna.
27
DESTI STINATI NATION ON FOCUS
closer look at CID takes a closer
the
Bahraini Ba hraini marke market. t. SUPPLIER ERS YOU SHOULD KNOW 31 SUPPLI
A handful of ooring suppliers that you can’t can’t afford to i gnore.
35 38
PRODUCTS A showcase showcase of new prod ucts. CLASSI LASSIFI FIE EDS CID’s own directory of suppliers
and manufacturers.
39
CONTRACTS Your monthly month ly guide gui de to contract
tenders in the region, provided by Ventures Ventures Mid dle East, East, i n conjunction with CID .
40
OPINION Modar Al Mekdad of Gulf Extrusions outlines the merits of extruded aluminium.
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22
Commercial Interior Design January 2010
1
COMMENT
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BATTLING OBESITY
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t’ s probably safe to say that no one’s sorry t o see the back of 2009. It was a year brimming wit h uncertainty, i nstabilit y, caution and contradiction. For the region’s interior design industry, it was a year steeped in setbacks. Overheads remained steady while design fees plummeted. Cli ents became more demanding, but less likely to commit – or pay on time. ‘Value engineering’ became an unavoidable and inextricable part of the design lexicon. Unsightly squabbling over contractual small print grew increasingly commonplace. And a summer exodus combined with Ramadan to wipe out the best part of a quarter. All in all , not t he best of years. But when we spoke to some of the region’s leading interior design rms for th is month’ s Industry Speak (page 9 ), we sensed an inkl ing of condence creeping back on to the market. Nothi ng dramati c, of course, but denitely the feeling that 2010 might br ing some stabil it y in it s wake. The past year has forced companies (the smart ones, anyway), t o reassess who they are, what t hey do, and how they do it . Any interior design rm worth its salt has spent the last year taking a long hard look in the mirror. Maybe that’s the great lesson of 2009: know yourself, celebrate your strengt hs, do not shy from your weaknesses. As an upshot of all thi s introspection, many rms have come int0 2010 smarter, l eaner and far more agil e. And maybe, just maybe, t he industr y is better of f as a result – no matter what t he balance sheets say. After all , as t he straight -talking Ross Lovegrove pointed out in an exclusive interview wit h CID (page 17 ): “ Things needed to b ecome more ef cient. They were terribl y obese” .
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Cover image: Japanese Stilthouse by Arne Quinze
Jan Vol.6 Issu e
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Commercial Interior Design January 2010 3
DESIGN UPDATE
Sporting success In light of last month’s Emirates Airline Dubai Rugby Sevens, CID speaks to John Rabone of R&R Design about the challenges of designing a world-class stadium from scratch UAE: Convert ing a patch of desert into a multi-purpose stadium capable of hosting a world-class sporti ng event – over a period of only 18 months – i s no straightforward task. When R&R Design was brought on board to prepare visuals for Emirates Airlines’ IRB World Cup 7s bid, t he intention was to stage the event at the existing ‘Exiles’ site. This would be extended to include two new pi tches, a back-to-back
6
stand with 15,000 seats, a multistorey car park and a medical/ press block, all in time for the IRB World Cup in March 2008. In terms of a ti me frame, they were already cutting it thin. Soon after, and somewhat out of the blue, it transpired that the existing Exiles site was in fact going to be demolished to make room for the impressive Meydan development. For all i nvolved, this presented a whole new set of issues.
Commercial Interior Design January 2010
“ We now had 18 months, no site and one of Dubai’s bi ggest global annual events to stage,” noted John Rabone, managing director of R&R Design, and lead designer on the proj ect. “ By the end of June 2006 a site on the Al Ain road had been located and a new brief had been dened by Emirates. Initially we needed to get t wo pit ches ready by February 2007 for the local rugby teams to use, as the Exil es ground was due
to close in December 2006,” he explained. “ By the end of July, we had the draft masterplan and ini tial concept sketches of the main buildi ngs complete. “ The Al Ain road site was now a vast area of desert wit h no power or water available, and the development was to consist of six rugby pitches, a clubhouse for local teams, incl uding 12 changing rooms, a bar and banquet hall, a grandstand to seat 15,000 and
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DESIGN UPDATE
contain t en world-class changing rooms, and VIP facilities, including executi ve boxes,” Rabone said. The aim was to create a facility that would lend itself to most major sports. It had to be able to comfortably host intimate ‘local’ events, as well as large-scale, international sporting extravaganzas. “ The design, whil st being a functi onal day-to-day venue for local rugby, netball and football, which caters for around 2,000 people some nights, also had to be designed around the running of the Sevens and be able to cater for 50,000+ spectators.” Emirates wanted t he new site to retain the feel of the old Exiles 7’s venue, whilst simultaneously
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representing a ‘step up’. The clubhouse, for example, blends ‘old rugby club charm’ with contemporary chic. Warm, vibrant colours are combined with high-end nishings and xtures. A members club was put on hol d until February this year and will consist of a gymnasium, sports hall, four squash courts, a restaurant, a health spa, ki d’s gym, crèche, dance studios, a 50m lap pool, outdoor pool and bar, jacuzzi and four tennis courts. The extremely condensed timeli ne had a signicant impact on how the project unfolded. “ A timeli ne like thi s means there’s no real review time. It’s discuss the problem, make the change and
build i t. I’d be a liar if I said there weren’t mistakes but t his is t he inevitable fact given the speed of the project,” Rabone said. “ The main change in t he design was, aft er the costs were found to be unrealisti c, we decided to only construct t he lower tier of the grandstand, with the option to build t he upper tiers in the future,” he noted. One of the most striki ng features of the overall design, according to Rabone, is a central, grass bank that anks pitch two. “ When we looked at the master plan, we wanted to create a family feel to the area between pitch one and two, where you can relax, meet friends and just escape the
grandstands for an hour or so. “ When looking at t he concept I’d j ust returned from the cricket World Cup and had seen the successful grass bank in Antigua where they’d even incorporated a small pool for fans to cool off,” Rabone revealed. “ This was a big i nuence when we created the banking around pitch two where fans could sit and enjoy the games in an informal atmosphere. Its incorporation would also allow the pit ch to be used for concerts,” he conti nued. “ Seeing t he response at the Sevens and World Cup to this area was really pleasing – and for once I new exactly where to nd my 14 year olds when it was time to leave!”
Commercial Interior Design January 2010 7
INDUSTRYSPEAK
Looking forward Leading interior designers talk to CID about the lessons they learned in 2009, and cautiously outline their expectations for the coming year Consistency and stability are the two thi ngs most businesses need in order to perform effectively – and 2009 was noticeably lacking in bot h. An inabilit y to differentiate fact from ction compounded the problem, and made for truly murky market conditi ons. “ The key challenge was reading the market and sifting genuine facts from speculation,” noted Ben Corrigan, managing partner, Bluehaus. “ Consistency is key to the success of a business and the turbulence of 2009 made it difcult to make fundamental decisions.” In practical terms, the economic climate translated into a series of everyday dif culties, hi ghlighted Ellen Bishop, owner, Bishop Design Associates. For one, overheads stayed t he same while design fees spiralled downwards, resulting in slashed prot margins. Projects were terminated midway through, and clients became skitt ish about committing and, more crucially, paying. “ Also, clients started going directl y to contractors and not appreciating the value of professional design services. Interi or design is viewed as a luxury service and people, in general, are looking at cutti ng costs by going directly to t he architects or contractors,” Bishop said. To make matters worse, the summer slowdown was more pronounced than ever. A veritable exodus combined with Ramadan and unstable market conditi ons to create t he ‘perfect storm’, rendering the best part of a quarter essentially obsolete. This catastrophic combo was parti cularly damaging when it came to developing and securing new business, Corrigan not ed.
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The key challenge was reading the market and sifting genuine facts from speculation. Consistency is key to the success of a business; the turbulence made it dif cult to make decisions “
”
Fortunately, the nal quarter of the year brought some respite. A slight pick up injected an inkling of stabil ity back into t he market and has left i nterior design rms marginally more upbeat as they move int o the New Year. “ Quarter four was optimistic, and we saw an increase in enqui ries and new business. Existi ng client s were also making decisions that were previously on hold. We anticipate that 2010 will bring much the same as quarter three and four of 2009. The summer months will be down, but the year ahead in general should be much more consistent than 2009,” said Corrigan. “ We are more condent, but very cautious at the same time. 2009 was incredibly unpredictable, and we seem to be returning to a (albeit still difcult) more consistent level of business heading into 2010,” he projected. The rst half of t he year will be crucial , warned John Rabone, managing director, R&R Design. The challenges experienced by design rms will have to work their way through – and out – of t he market. “ Survival will be the word for everyone! I think the rst six months will be criti cal for t he industry
in Dubai. 2009 has been especiall y quiet compared to previous years for all design and architecture practices, and this will have a knock on effect for the contractors who foll ow behind the design companies, so tend to suffer in the second wave. “ It f eels much the same as the UK in 1989/ 90 when the government nally realised t here was a recession on and the construction i ndustry ground t o a halt overnight. Certainly there will be problems for the contractors and shoptt ers who concentrate on t he Dubai market, and you can see this already with rates becoming difcult to predict. “ All this wil l l ead to some companies faili ng, so it will be survival of the ttest – which Dubai needed to return to some degree of sanity,” Rabone detailed. If there is a silver lining t o be found in the struggles of 2009, it i s this ‘maturing’ of the market. “ I see last year as being a good thing for Dubai as the market needed to be shaken and some of the deadwood removed,” said Rabone. This ongoi ng cleansing process will leave stronger, more competitive rms in good st ead, Corrigan agreed. “ We believe that this recession will mature
Commercial Interior Design January 2010 9
INDUSTRYSPEAK
1
1. Ellen Bishop.
2. Ben Corrigan.
3. Chuck Wood.
the consultancy market, and ultimately improve the quality of organisations in the region,” he said. “ The organisations with a genuine, long-term commitment to the region ‘should’ survive, and come out stronger and better equipped. The less professional, ‘quick-buck’ organisations will be pushed out. Long-term, this will mean that consultancy businesses will need to look i nwards at who they are, what their market is and what makes them different or better.” This process of introspection is the key to survival, i nsisted Chuck Wood, managing director, Rockwell Group Middle East. “ I feel that rms need to take a hard look at how they deliver services and at the quality of what they offer, as there is a real need for an overall improvement in both areas. “ Firms that have an abilit y, and a real interest, i n deeply understanding their clients’ needs, and that are able to deliver great i deas and design that serves their clients’ needs, will succeed. Those that can’t, won’t,” he warned. Design rms will have to be agile, nimble, will ing to adapt and quick to react. Intelligent diversicati on is the order of the day, and companies that remain committ ed to uncovering new opportunities will nd 2010 far easier to bear than those that are resistant to change. “ During the current climate, diversication has become more of a priority t han growth, as we feel this i s a much more stable business model and
10 Commercial Interior Design January 2010
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something whi ch excites us,” said Corrigan. “ We have just completed a joint venture with a reputable residential organisation, as Bluehaus’ strength has always been commercial, leisure and retail. We feel that with the right part ner, Bluehaus can add genuine value to t he residential market. We are also looking at opening furt her regional ofces in unexpected markets.” Rockwell Middl e East is also broadening i ts geographical scope, Wood explained. “ We are focusing on regional markets that have strong economies and sound development models. We are also looki ng at ways that we can strategically partner with other design rms where what we do best complements what they do best, and where we can offer clients a more compelling overall solution for their needs. Finally, we are looking t o broaden our reach more deeply into healthcare and transport, where we believe our uni que approach can add a lot of value,” he revealed. Bishop Design Associates, meanwhile, will be exploring ways of offering more holist ic design soluti ons. “We will implement a strategy to offer full turnkey solutions,” said Bishop, who anticipates that “ clients will be more focused on budget and will want full turnkey solutions, so there will denitely be a stronger relationship between interior designers and contractors, as they will start t eaming up to offer a ‘one stop shop’.” The consensus? Compani es that were able to evolve and adapt t o the
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uncertain, unstable market conditions of 2009 should be cautiously con dent coming into the New Year. After a year of questioning their business models, processes and practices, t hey are stronger than ever – even if their pro t margins suggest ot herwise. “ I would say that we are more condent coming in t o 2010 than we were going into 2009 because we have a better understanding of what is happening with the economy and what we can do to adapt,” said Wood. “ We also have a year under our belt s of re-evaluating how we work and of making adjustments so t hat we can deliver projects more ef ciently and competitively, whil e at the same ti me remaining true to our DNA as a rm. I think that it i s important t o keep in mind that recessions create opportuniti es, for both our clients and for us as designers.” The market has changed, probably forever. For many, thi s is bot h scary and exciting in equal measure. After all, it is often in ti mes of turmoil t hat largescale, lasti ng change comes about. “ Obviously, clients are less li kely to experiment now, but will want longevity of nishes, so this put s a bigger emphasis on b eing cost eff ective and using more sustainable products, which really needed to happen,” Rabone maintained. “ I stil l thi nk you’ll see plenty of gol d and marble, as it i s a time-consuming exercise to change peoples’ tastes, but th ere’s no bett er taste dener than budget!”
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DESIGNFORENSICS
When Interior Design Works: The Rivington Grill, Souk Al Bahar If there is one thing that most of us have in common, it is that we’ve all been present somewhere when someone has made an inappropri ate speech. Weddings are fabulous places for thi s, although I once stood at a funeral where the vicar began by lamenting that the promise of youth and vigorous manhood had been so untimely plucked by our Lord, only to be tol d his schedule was wrong, and the deceased had, in fact, been eighty-six. And female. But weddings are still the most fertil e ground when it comes to uncomfortable silences, shocked gasps, muted rage and, invariabl y, tears from Aunty Meg. And all t his rst-class entertainment is the result of giving a microphone to somebody with unpracticed communication skills, who ne-tunes those skills by shouting at the dog, complaining down the pub, or mumbling at the television. Most of us have had to gi ve a speech at some point, and we know how much time we spend making sure that
Gavin Mackenzie and Justin Penketh are the managing partner and senior design manager of Outcast, a Dubaibased company that boasts over 100 years of collective design experience in Europe, south-east Asia, the US and Caribbean, and t he UAE. If you are interested in nominating a space ‘Where Interi or Design Works’, or in contri buting t o thi s secti on, pl ease contact Seli na Denman at
[email protected].
12 Commercial Interior Design January 2010
there’s something for everyone, that we mention all t he right people, in t he right order, and remember to thank the sponsors, or the vicar, or Uncle Sid for the loan of his lawn-mower. If we translate this practice into business parlance, what we are really t rying to do i s to make sure that we are ‘On Message’. Even with a wedding speech, we are taking our language to market, where it will be j udged on it s appropriateness, suitabilit y, integrity, and how well i t reects the occasion. It matt ers, and it matters a great deal. There’s no comfort i n being told ‘ Great speech, mate’, when half t he audience are asleep, and the other half want you railroaded out of town. It can be a very unforgiving experience. It is the language that you choose to use that denes you. And it’ s exactl y the same with int erior design. It’s difcult not to wax pretentious at this stage, but the fact is that design is very much a language in its own right. And being a language, it is subject to misinterpretation. The clarity wit h which a designer can successfully communicate an idea is often where an interior space either l ives or dies. The struggle to be “ On Message” is sti ll t he same. The language of int eriors can be every bit as elegant, or witty, or dull and dreary, as the spoken word. It can be as inappropriate and offensive as any tired and emotional father-in-law. Or it can charm, seduce, and enchant. Just li ke the spoken word, it can appall and repel us, but it can also awe and inspire us. When you design a restaurant, you are inviting your clients, and customers, to l ive with what you create. There is no room for apologies if it doesn’t work. Get it wrong, you won’t get a second chance. Get i t ri ght, and it can be the most rewarding, satisfying, and (let’ s not beat about) protable thi ng you can do.
At its best, the interior design of a restaurant acts in seamless harmony with both the operation and the brand, and nowhere in Dubai is thi s better demonstrated t han in t he Rivingt on Grill at Souk Al Bahar. Owned by the Caprice Holdings group in the UK, the restaurant is shamelessly British in its approach. But this is not exactly Ye Olde English Pub. Nor does it celebrate 400 years of colonial plagiarism, and it couldn’t be further from the fussy Victorian styling that we have come to associate with off-the-shelf, off-shore ‘typically British’ interiors. On the contrary, this is the unfussy, unclutt ered and no nonsense interior of smart-city Britain. Apparently, being educated in the UK at t he moment is all rather ‘tut-tut , haven’t the Brits been naughty boys over t he years’. Celebrati ng Briti sh-ness is very much frowned upon, and the apologist s are very much to t he fore. Not these guys, though. They have clearly decided NOT to t hrow the baby out wit h the bathwater. This restaurant seems to look you squarely in t he eye and challenge that most t itt ered at of oxymoron’s: British Cuisine. And so i t is. Roast beef and Yorkshire pudding salad. Barnsley lamb chop with bubble and squeak. Game faggots (excuse me?). Sticky toff ee pudding. And you know what? It’ s fabulous. This is not a foodie review, but I really could go on. This hi ghly refreshing ‘hold-the-li ne’ British approach to the menu is equally reected in the service offering. Walking in shortl y after 6pm, three busy kitchen staff l ooked up at us and said “ Evening, mate” , and I couldn’t help feeling that I was experiencing something of the restaurants Cit y of London, Shoreditch roots. And that is very much the impression t hat you get. There are no fawning waiters or subservient staff. Quality service has dispensed with any need
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DESIGN FORENSICS
for servility. This is good honest people serving good honest grub to good honest people. There’s a sense of equili brium among staff and diners and it f eels, to be honest, good. And here’s a question; how much can you learn about a restaurant from a three panel, collapsibl e screen? Well, perhaps more than you might think. Most designers in the Middle East are familiar wit h the concept of ‘localising’ their designs to be in keeping with the region. Again, The Rivingt on has stood by its guns and resisted the temptation to be drawn into t his. So even the screens, which would have been ever so easy to convert into an arabesque tribute, are resolutely plain and understated. I suppose that is what appeals about this i nterior. It’ s sleek, contemporary and uncomplicated. The layout works, with the kit chen protrudi ng condently i nto the space. It’s a diner’s restaurant, and you get the feeling i t’s about the diner. In a region where we have all become almost immune to being overwhelmed by spectacular and awe-inspiring interiors, it is really nice not to be bulli ed by the int erior designer. This i nterior is clean, comfortable, and welcoming, and you get t he impression that it’ s more about ‘you’, and less about ‘them’.
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And it works. Not just as an int erior space, but as part of the overall Rivingt on Grill experience. The design i s absolutely in sync with the service. The service is absolutely in sync wit h the menu. The menu is absolutely in sync with the interior. It’s on message, on brand, and it simply works. But there is more to this than meets the eye. You can’t help but notice, as you approach the restaurant t hrough the di mly li t passages of the Souk Al
There, you see, they have a strong YBA (Young British Arti st) clientele. It’s chic, trendy, and very, very cool. And their neon sign reads Lu tuaeb Gnikcuf, which is meaningless, of course. Even with a mirror on t he opposite wall. So, a subtle echo of the original? A little in-joke, aimed exclusively at people ‘in the know’. I can almost hear Monty Python’ s Eric Idl e saying “ Nodnod, wink-wink, say no more, say no more”. How wonderfull y Briti sh!
It is really nice not to be bullied by the interior designer Bahar, that there is somethi ng rather weird, red, and glowing at the end of the corridor. On getti ng closer, you nd yourself reading a sign that says “ never let me go” i n cursive neon strip li ghting. What? It’s the same inside, where two equally inexpli cable signs read “ I love to boo hoo” and “ fast fast slow fast” . They are so at odds with the rest of the interior that you’re left wondering what on earth is going on. But you need to know somethi ng about the original Rivington in Shoreditch to understand what t his is about.
To get back to the issue of the l anguage of interior design, what The Rivington’s interior tells you is exactly what they want you to know. It is concise, classic, appropriate, unfussy, ‘on brand’ and ‘on message’. If thi s interi or was a speech, it would probably be something li ke the Gettysburg address. A mere 268 words. But my, my, what words they were. The diff erence would be that behind the lectern, Lincoln would be wearing Union-Jack board short s. By Justin Penketh
Commercial Interior Design January 2010 13
LIGHTING and CONTRACT FURNITURE
Showrooms in Jeddah and Riyadh
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[email protected]
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)
WHITEPAPER
The continual assessment of professional designers CID i s publishing exclusive extracts from former APID president Ken
Laidler’s paper on the need to constantly assess interior designers COMPETENCEINSPECIFICATION
The evolut ion of a quali ed designer int o a fully conversant, materials-selection adviser has in recent years given birth to the FF&E designer. The selection of furniture, ttings and equipment must be initiated from the design concept stage by, or in conjunction with, the concept designer. However, in most cases the FF&E designer should themselves be capable of intuit ive, creative design, as in t he same manner that we can no longer have a draughtsman, we cannot accept a materials selection clerk. The FF&E designer requires a full knowledge of historical and period design, as well as geographical relevance, to ensure that the materials they are selecting and proposing are in harmony with the design concept or theme. Perhaps one of the most i mportant roles of the FF&E designer is to know the technical speci cation of the materials that they are selecting, from weights, pile height and tufts/ m² in carpets to absorption rates of li quid i nto natural materials such as stone and granite. Given the huge and ever i ncreasing list of materials available for int erior speci cation, the FF&E designer must be constantly researching, cataloging and li ng information for instant retrieval. The FF&E designer is the interior design consultant’s face to the world of suppli ers and manufactures and, as such, must have excellent communication
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skills wit h both outside bodies and the team involved in the project. Furthermore, the FF&E designer must appreciate the nancial impli cations of his or her selections, from the cost of supply, shipping, xing and delivery. ADMINISTRATIVEEXPERTISE
Whil e it is clearly understood that most designers disli ke administrative duti es, because of t he complex contractual nature of i nterior design, a company needs to formulate an effective administration system. Failure to do so will undoubtedly lead to contractual problems with clients, contractors and suppliers. All levels of personnel wit hin t he design team need to understand the design process and how their deli verables t into the overall mix. However, it is important that one person co-ordinates these matters and ensures that t he chain of communication is understood, unbroken and, most importantly, monitored and up-to-date. A design manager or administrator’s responsibil ity i s to follow t he project through from receipt of ini tial enquiry to handover of project, by monitoring lett ers, t ransmittals and all other communication. CONSTRUCTIONAL EXPERTISE
Naturall y, everybody involved in the design process must have a high l evel of expertise in construction issues at the stage of design implementation.
Traditionally, in architecture, a clerk of works or contract manager in the employ of the architect would supervise on-site works. In recent times, project mangers tend to be the main point of contact for contractors, consultants and cli ents. As interior design implementation becomes a more complex issue, requiring co-ordi nation of MEP services, audio visual and room management systems, to mention only a few, it foll ows that the speciali sation of site supervision becomes increasingly important . To this end, a design construction manager – who is disti nct from the project manager – has become an integral part of the design team. Note that this is a specialist service which may not be included within the normal scope of design services. The int erior design contract manager is required to fully comprehend the design concept, and know the logic of the selection of all materials and furnishi ngs. He or she must be involved in total co-ordination, delivery procedures, completion deadlines, contractor’s payments, architectural parameters, technical speci cations and xing methods of all nishes and ttings. It is clear that the role of the contract manager is pivotal to t he successful completion of a project. Next month, Laidler wil l highl ight t he importance of cli ent awareness and cul- tural comprehension, and reiterate the need for continuous examination.
Commercial Interior Design January 2010 15
For further details please contact: MALLY CLARKE GEZE Middle East FZE P.O. Box 17903 Tel: +9714 8833112, Fax: +9714 8833240 Mob: +97150 6540632 www.geze.com
DESIGNER Q&A
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Dodging irrelevance Ross Lovegrove tells Selina Denman why it’s easy to be ‘different and stupid’, but extremely dif cult to be ‘different and intelligent’
R
oss Lovegrove is feeling condent. Having championed organic, environmentallyintelligent design for most of hi s career, he feels like his message may nally be ‘topical’. With people increasingly seeing innovation as a way out of the current economic crisis, Lovegrove’s philosophy of harnessing modern technologies to promote intuitive, sensitive, sustainable design, is resonating strongly. The Lovegrove trademarks: using resources wisely, humanising design, and reaching, unapologetically, for a more viable future, are striking a chord.
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“ It’s the feeling that if I can stick wit h it, now is a good time,” he explained recently in an exclusive interview with Commercial Interior Design . In Dubai to speak at the IFI Design Congress, Lovegrove sat down with CID to discuss the potentially positi ve repercussions of t he economic crisis, and explain why the Middle East should be a region of rsts. What are you worki ng on right now? I’m doi ng Calvin Klein’s new perfume bott le and I’m working on a new yacht in Italy. From an interiors point of view,
I’m working a lot wit h Artemide and with Yamagiwa i n Japan, on new l ight ing. I just nished Issey Miyake’s new watch and I’m working on new projects with Moroso. There are also new bathrooms – t he work I do with Vitra in Istanbul is very important; and I’m working on some architectural projects. That’s i ncredible breadth. Is th ere anything t hat you haven’t designed yet but would l ike to? I thi nk perhaps I’d l ike to design an incredible house, out of brand new materials, l ike carbon bre or something,
1.RossLovegrove.
Commercial Interior Design January 2010 17
DESIGNER Q&A
4 5
6
8 7
2 3
2. Cosmic Leaf for Artemide.
3&4. Cosmic Angel.
5. Aqua Cil .
6&8. Droplet.
7. Lovegrove also works closely with Vitra, in Turkey.
where I could express the beautiful changes that could come about as a consequence of a material. Just the idea that I could take my organic design out int o a private space, where I would be given absolute carte blanche to express myself creatively, that is very interesting. I’m not bullish, t hough. I’m not someone who has this incredible determination or aggressively goes for somethi ng. I mean, I’ve never called a client i n my life, and I work with amazing companies. And although in a way I am a bit passive like th at – I just see what comes to me – maybe that helps guide my life, rather than me guiding my li fe and being disappointed when it doesn’t happen as I expected.
18 Commercial Interior Design January 2010
What were the highs of 2009 for you? It was an unusual year and not just because of what happened in t he global economy. I would say, on a positi ve note, what’s been good for me is that people are stil l interested in innovation, and they see innovati on maybe as a way out. With all of t he work that I do environmentally, with the solar and the wind, nally there’s a wonderful synergy between organic design, t he natural environment, and the technology needed to make things happen – harnessing energy, sustainably, for free, for example – which is something t hat I’ve been talki ng about for a l ong long ti me. I’m not a designer that has just jumped onto that i dea. I have been doing it since I was very young.
It’s not a specic high point, but it’ s the feeling that if I can stick with it, now is a good ti me. It’s a good time for everything that I’ve been talking about. Maybe this is my window. I didn’ t even take a holiday last year. I didn’ t take a day off all year. I haven’t stopped travelling – I do two or three countries a week. I just want to keep my head down at the moment. Just keep doing what I do, and see how the future unfolds. There’s a lot of irrel evance in the world whi ch doesn’t t urn me on, and which I don’t crave to be a part of. Do you think that irrelevance is particularly prevalent i n the design world? There’s so much. And everybody thi nks it’s easy these days. It might be easy to
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DESIGNER Q&A
be different and stupid, but i t’s really dif cult to be different and intelli gent. That’s not t o say that we shouldn’t have joy in i t. The thing i s that one has to keep a very broad perspective. It’ s interesting that you see a potentially posit ive outcome from this crisis. Well, there has to be. Things need to become more efcient. They were terribly obese and we need a level of tness. Dubai, for example, is an environment where I see incredible materials being used – materials that are rare. They are so rare and yet they are thrown around so easily. I don’t see the point, really. I have a deep respect for how we use materials. I thi nk design has become a trend within itself. It’ s not a bad thing because it means there are more people who are aestheti cally tuned, so maybe they have a better understanding of beautiful things. That’s not a bad t hing. It’ s just that people that go into design think it ’s really easy. They only really see the glamorous side of it. There must easily be a mil li on designers out there. And if you are in the top ve or ten, it’s a pretty signi cant t hing. It’s signi cant in that you have to stay vital and you have to stay relevant, and
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you have to push forward with i deas. You have to lead from t he front. And the unfortunate thing, often, is that people don’t do that. They nd a formula and they keep churning it out. Well, that’s ne but, personally, it doesn’t do much for me. I nd that qui te vacant. So, how are you evolving? That’s a good questi on. I’ve kept pace with the potential of how you create, meaning that I’ m somebody who was taught geometry wit h a compass and then I did all my ink drawings; I draw beautifully and I can illustrate and visualise – I can do all of that. And now that’s all gone through and we’re embracing the age of the computer, with amazing programmes and things to visualise with. That’s the feat that everybody was faced with. And your average kid from Vladivostok with a computer can do that now. So, what is it that you are offering that nobody else can offer? I thi nk it’ s a philosophy. I’ve been around long enough, I think, to try and establish a very strong and relevant philosophy, and to know how to work wit h companies. I am somebody who can, in a mature way, be solidl y behind certain ideas. I like to work with people and feel as if
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I’m not a one-night stand and they’re not a one-night stand. You’ve got to develop with people – and everyone benets. That was the old model. The new model seems to be that you can pick up anybody and pay them nothing and get them to design for you. And that’s ne but you wouldn’t want to buy art that way, would you? Do you think that the design industry i s suffering as a result ? Well, there’s a bit too much of everythi ng these days. But everything happens naturall y, so if there is too much design, there is a reason for it . So many more people are buying more design, so maybe there’s a need for t hat. There’s certainly been a massive transformation in the way people live and in the quali ty of thi ngs around us. What are your thought s on design in Dubai? I haven’t seen much of it, t o be honest. Everything is new so it’s a little bizarre. It can feel really soull ess. It sometimes doesn’t feel natural t o me. I’m interested in contributi ng to countries, as a kind of cultural translator. Often when I go to new places, I
9&10. Lovegrove has a longstanding relationship with Artemide.
11. He designed Freedom for Vitra.
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Commercial Interior Design January 2010 19
DESIGNER Q&A
12
12. Mercury for Artemide.
think: ‘What could I bring, what could I do?’ And I’m not particularly interested in designi ng a skyscraper. I could do it, but just because it’s big, it doesn’t mean it’s important. Maybe because there is an enlightened wealth here, I know people have come to these places as creatives to do things that they couldn’t possibly do in ot her places, because the nancial support is t here. They can be extreme – and I l ike the idea of being extreme. Like I was talki ng about buil ding this i ncredible bubble, or this amazing organic villa, out of carbon
20 Commercial Interior Design January 2010
or something. You could do it here if there was somebody wealt hy enough to say, ‘Why not?’. That doesn’t happen in other parts of the world. I don’t mean to sound so direct but that’s the way it is. You need the patronage. To do extraordinary things, you need extraordinary people and extraordinary belief. So, the thi ng is, if you take this region, it should be a region of rsts. Because they have the nancial power, they should be accessing really incredibl e, vital ideas. The solar trees that I designed for Artemide, for example, they should be everywhere.
They are a symbol of modernity and the environment and giving something back to people, as well as functioning in a reall y import ant way. These are the thi ngs you should see. You should see incredible vehicles that respond to the heat. We have a global conditi on where the world is heating up, and they should use this as a test bed. This is a place in the world t hat is ghting against nature to survive – and it’s taking incredible resources to do that. So this i s a time to use the resources wisely and to prototype new ideas for living.
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CASESTUDYSWAROVSKI WIEN
All that glitters Swarovski Wien is an alluring testament to the diverse nature of the Swarovski brand
1. The new Eclectic Panthers collection is being showcased at Swarovski Wien.
22 Commercial Interior Design January 2010
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CASESTUDYSWAROVSKI WIEN
P
erched nonchalantl y on Vienna’s Kaertner Strasse 24, Swarovski Wien is a dazzli ng celebration of the Swarovski brand. Trademark gurines brush shoulders with elaborate chandeliers by world-class designers. Jewell ery of all colours, shapes and sizes mingles with mind-boggli ng works of art by Belgian arti st, Arne Quinze. A collection of multi-coloured crystal panthers skulk in a hidden alcove. And a shimmering i nstallation by Japanese designer, Tokuji n Yoshioka, towers overhead. MORETHANASTORE
When he meets with j ournalist s to mark the of cial launch of Swarovski Wien, Markus Langes-Swarovski, great grandson of the company’s founder, and a member of the executive board, is reluctant to refer to it as a store. “ It is a store – but not really a store. Yes you can interact wit h products nancially but we have really tried to show Swarovski’s various facets. People normally associate Swarovski with jewellery and gurines and, in some cases, architecture as well , in a more businessto-business context. “ Here, we have really tri ed to link Swarovski with t he world of art and architecture, which is why we have, for the rst time, introduced our architectural element for t he exterior, t he Honeycomb façade, which you can use as a more formal architectural element, rather than just a decorative element.” Swarovski i s keen to highli ght that it is more than just a ‘company of technical i nvention’ – and the new ‘store’ is a physical manifestation of that mindset. This is a space where people can learn about the brand, interact with its various product lines, and appreciate its
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diversit y. “ We have one over-arching goal and t hat is to create amazement and inspiration i n people. We are tryi ng to show that we are more than just great jewellers or great producers of crystal. For us, it ’s very important to emphasise the poetr y, and the amazement. Any kind of touch point with Swarovski should be enchanting and, therefore, inspi ring,” said Langes-Swarovski. The company called on Innsbruckbased architects Hanno Schloegl and Daniel Suess to transform the ground, mezzanine and basement oors of a 19th century industrial buildi ng into an awe-inspiring, crystalline playground. The buil ding, whi ch is set on one of Vienna’s busiest t horoughfares, is also home to a hotel. BOXEDOFF
The architects opted f or a radical transformation of the 1,000m² space, rather than a run-of-the-mill renovation. “ A traditional renovation wouldn’t have been spectacular enough,” noted Daniel Suess. “So we have built a bui ldi ng within a building.” The original interior was ripped out and replaced with a giant cube structure. The structure, which is covered with an outer glass skin, sits snugly within t he boundaries of the building’s original columns, creating an interesting int erplay between the old and the new. The exterior of the cube is enveloped in the Honeycomb, a sparkling surface consisting of cut crystal and thousands of LED light points which can be controlled to create a variety of effects – from glowing lava to glit tering ice. “ The inner cube is dissolved by light and crystal. This is a novel type of façade,” Schloegl said. Meanwhil e, a series of smaller, i rregularly-placed cubes extend out through
Commercial Interior Design January 2010 23
CASESTUDYSWAROVSKI WIEN
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CID SPOKE TO MARKUS LANGESSWAROVSKI ABOUT THE COMPANY’S NEW RETAIL CONCEPT
Is this a concept that you will be rolling out to other markets? Not necessarily. We chose Vienna because of its historical relevance for our company. The founder of the company, my great grandfather, Daniel Swarovski, came to Vienna as a young boy – he used to live i n Bohemia, which was the epicentre of glass cutting, and he came to Vienna in 1883 to be exposed to the first electric exhibition. This is where he got the inspiration to build the machines that were able to create crystals, which were basically the foundation of our company. We also wanted to place it in Vienna because today Swarovski is very much inspired b y the cultural mindset of Vienna at the end of the 19th century, where, for the first time, they tried to combine different creative disciplines – fashion, design, architecture, furniture products etc. This is something that we’ve tried to permanently infuse into Swarovski. Obviously, if the concept works well, we will try and find new and strategic locations for it, but it would always be very specific to the city. Are we going to see you moving more and more into architecture? Well, we are taking our first steps here, with the Honeycomb façade concept. We wanted to create an architectural element rather than something purely for décor. A lot of visionary architects have played with the principal of crystal in architecture, and we have never leveraged on the principle of crystal, as opposed to the properties. The Honeycomb is a first step, using LED technology to create something that is beyond décor. We are trying to move there slowly. Lighting and architecture are very important fields that we really want to engage in more in the future. Are you looking to extend the brand into hotels and restaurants, or anything like that? Well, we had a concept ready for Swarovski Hotels but we said for the time being that we are going to hold back. We’re working on different kinds of entertainment formats right now. One potential is hospitality and hotels, but we are also looking at other formats. We would like to take crystal to a more experiential level, rather than just a decorative level. We had a hotel planned and ready – it was designed by Ron Arad and it was beautiful – but it hasn’t been built yet. It might be built one day.
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CASESTUDYSWAROVSKI WIEN
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the façade, breaking down the barrier between inside and out. Set at various levels, these clear glass cubes jut haphazardly into t he streetscape, teasing passers-by with their curious contents. “ The cube is a stage where artists can present their work and showcase their installati ons,” Suess explained. These oating stages are currently home to installations by Belgian artist Arne Quinze. His ‘Japanese Sti lt houses’ combine recycled materials wit h crystal to create a poignant commentary on the pace of human development. “ Much of my work is related to human beings,” Quinze explained. “ My stilthouses are like humans. They stand on their l ong legs and they look very fragil e, but they are very strong and they will survive, just as we humans have survived. They are full of contradi ctions and that is so very human. “ Then you have the eyes. I didn’t want it to look l ike a human eye; it was important that you couldn’t tell whether it was human or animal. Today, we are living i n thi s Big Brother planet, and everybody is watching everyone, and everyone is competing, and the streets are lled
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with cameras,” he said. “ For me, it was important to create the impression of Big Brother watching you from the top of this stil thouse. “ Then you have the crystals that are reecting and absorbing l ight . Together, all t hese things make it very human. That is how I see my installations.” Quinze was also responsible for ‘Bidonvill e Wall’ , a one-off piece of artwork that greets visit ors as they step through the main entrance of the store. The ery red installation makes a striking rst impression and reiterates some of the themes introduced by the stilthouses. Apart from this i niti al, intense splash of colour, the interi ors of Swarovski Wien are characterised by a decidedly muted tone. Dark greys dominate, wit h a white oor chosen for obvious contrast. Lighting has been carefull y selected and positioned to ensure that the crystals are presented in t heir full glory. “ The inside is more muted so that the focus falls on the products themselves. The cube glitters on the outside but is darker on the i nside,” explained Schloegl. Tokujin Yoshioka’s Lake of Shimmer forms an arresting centerpiece, and is
a unifyi ng element that extends across all three oors. The 88m² wall i s made up of 16,000 small, independent mirrors to form a sil very, shimmery surface reminiscent of a lake. Each mirror can be individually controlled to create a variety of moti fs and patterns of movement. The overall result is what LangesSwarovski refers to as a ‘multi -level’ experience. This i s li teral, of course, considering the three-storey space, but also metaphori cal, referencing Swarovski’s dri ve to ‘democratise luxury’. “ Swarovski is not technically a luxury brand but, at the same time, it i s a luxury brand. We have created a very speci c deniti on of luxury, which we call a ‘modern luxury’ approach. It becomes more and more important, even in times of recession, this understanding of l uxury, because luxury is not only dened by exclusivi ty or scarcity or price,” Langes-Swarovski detailed. “ For us, luxury i s more about love of detail; of being inclusive rather than exclusive; of trying to offer the best possible qualit y with each and every product that we create; while not excluding the elit e,” he concluded.
2. The new Honeycomb facade.
3. Bidonville Wall by Arne Quinze.
4. The interior i s more muted.
Commercial Interior Design January 2010 25
DESTINATION FOCUS BAHRAIN
Best of Bahrain Bahrain ahrain is forging ahead with a number of large-scale projects
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hile Bahrain’s construction industry has experienced an inevitable slowdown, a handful of large-scale, high-prole projects are moving ahead – preventing condence levels from dipping too dramatically. One such project is a $4.7 billi on expansion of Bahrain International Airport, which will include two new terminals, new aprons, separate pi ers, a people mover system, car parking, road works and related infrastructure. There will also be an adjacent ‘airport city’ with hotels, conference centres, and retail and recreational facilities. The design contract for t he two new terminals is due to go to tender in the rst quarter of 2010. The rst phase of the expansion will increase the airport’s annual passenger capacity from seven milli on people to 12 mill ion. Durrat al Bahrain, which includes 20km² of reclaimed islands at the southern tip of Bahrain, i s also moving forward, with Atkins having recently been selected to undertake the archit ecture and infrastructure design of the thi rd phase of the project. Atkins will design and document the infrastructure works, landscaping and architectural engineering of villas and facili ty buildi ngs for four of the 13
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islands. Construction work is expected to commence this year. The $2.5 bi llion Bahrain Bay megaproject is also proceeding, albeit slower than pl anned. The project i s located off the north eastern coast of Manama and will consist of more than 40 buildings and towers designed by leading architecture rms. Two of the anchor developments, Four Seasons Hotel and Rafes City Bahrain, have both suffered signi cant delays, but the third anchor development, the $150 mill ion headquarters for Arcapita Bank, i s expected to be nished by the end of 2010. Meanwhil e, Dubai developer Ishraq recentl y announced that i t had broken ground at the site of the 22-storey Holi day Inn Express hotel in Manama. The 279-room hotel is due to open it s doors in t he thi rd quarter of 2011and marks the Holi day Inn Express brand’s rst GCCventure outsi de of Dubai. “ We are very excited about our entry into Bahrain and the opportuniti es its hospitalit y sector holds,” said Sami Al Ansari, CEO, Ishraq Gulf Real Estate. Dubai-headquartered Purity, a supplier of leading Itali an brands, reit erated the growing attraction of the Bahraini market. “ Bahrain has some int eresting developments at present and it seems
to be growing at a great pace,” noted Laurence Dehlen, sales manager, Purity. “ There is also a lot of design work taking pl ace there for proj ects in Saudi Arabia and Qatar, since it is strategically located between these two l arger countries. We have noti ced that many of the design rms present in Dubai have been opening up ofces in Bahrain over the past few months, and there seems to be great yearning for design and knowledge about luxury brands in this small kingdom,” he said. In response, Purit y will spend the next three months refurbishing i ts gallery in Bahrain, i n order to off er a larger space that features all of the brands currently offered in Dubai. According to Afaf Ebrahim, director of Bahrain-based Inoui Designs, the standard of i nterior design in the kingdom is particularly high. “ There is great competit ion i n the Bahraini market when it comes to design. Most designers are equipped wit h great talent and the latest technologies and techniques, which result in unique and mature design solut ions. To enter the Bahraini market you need to be aware of certain challenges, and of the nature of the market, in order to compete with these extremely talented companies.”
1. Bahrain.
Commercial Interior Design January 2010 27
DESTINATION FOCUS BAHRAIN
Club class The he C Capital apital Club Club Bahrain offers luxuryin all its different guises
A
s a general rule, if you can get people waxing lyrical about the bathrooms, it’ s fair to say that your interior design scheme has made an impression. And, clad in black marble, with unending views of the skyline and koi sh adorning the walls and ceilings, the whimsical bathrooms at the Capital Club Bahrain are the talk of the t own. They round off a proj ect that promotes luxury in all its different guises. The company behind the i nteriors, Design Worldwide Partnershi p (DWP) was brought on board to create a facility that was extremely high-end but still radiated a comfortable, homely feel.
“ The brief was to create a club wit h a residential feel, to meet the demands of those from the top echelons of business, nance and government, who are powering the cit y’s growth and turning Bahrain into the i nternational business hub of t he Middle East,” said Kristi na Zanic, founding part ner, DWP. The 1,500m² facilit y is set over two oors, and encompasses a bar, t wo dining rooms, private meeting facili ties, a lounge and a library. DWP wanted to create a series of highly individual spaces that promoted a strong sense of character. “ It was critical to give people variety so the club di dn’t feel the same
1. The Jade room promotes a Chinese design l anguage.
28 Commercial Interior Design January 2010
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DESTINATION FOCUS BAHRAIN
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in all the various rooms,” Zanic said. “ The client, Russell Matcham, executi ve director of Signature Clubs Int ernational, was open to this idea, so we have rooms that are very light and luxurious, and others that are dark and intense. There is personality i n each of the areas.” In the lounge, shades of cream and taupe dominate, wit h splashes of aquamarine and burnt orange for contrast. The Members Bar, meanwhile, is highly intimate. Ceili ngs and walls are clad in a dark walnut nish and enhanced with tan leathers. The bar is clad in a whisky coloured onyx, and low seating is mixed with high stools to break up the space. The library is home to a more traditional design style. Art sourced from Thailand and the US is coupled wi th rugs from Istanbul to create a cosy retreat. “ The library is very eclectic and I guess it ’s more my style,” said Zanic. “ The art al so makes a statement as there is a bl end of modern and classical touches, wit h contemporary classical furniture. I t hink the eclectic direction of the design is very inviti ng,” she added. The Signature Gril l Dining is bri mming with dark wood and black textured leather panels that line the walls. The
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ceiling is part smoked bronze mirror and part tan-coloured suede fabric. The carpet is jet black, with a curved pattern to give it a softer edge. Booths are lined in red leather and a velvet curtain detail. The design comes to a climax in the Anan and Jade rooms. The Jade room is shaped by an overridi ngly Chinese design language. “ In t he Jade room we used shades of green and gave this a very oriental and Chinese feel. Beautiful green onyx was used for the oors and table tops, and there are rich carpets in chocolate brown with Chinese patterns in a deep green shade, which were all custom-designed,” Zanic said. “ Silk green curtains were speci ed, as well as Chinese lat ti ce screens, to give the room an overall oriental touch. We decorated the room wit h amber candle holders and Jade pieces. There was also a special Chinese seating area with anti que furniture which was all in a rich dark ti mber. The intensity of the room is perfect and i t gives a true sense of luxury,” she continued. The Anan room promotes a far more regional f eel. In stark contrast t o it s Asian-inspired counterpart, the Arabic themed space is almost enti rely decked
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out in shades of taupe and off-white. Mashrabiya-patterned stone wall panels divide the space and are brought into focus by light tti ngs from Istanbul. “ I also spent ti me going t o Damascus and designed several pieces of mother of pearl furniture, which really helped to create a feeling of authenticity. The ceiling i s an interesting series of tri angular shapes in a 3D effect,” Zanic said. “ Shades of off-white and chocolate brown simpl y gave the room a serene contrast. The views are also very special and I always say that the inspiration of the room was to feel l ike you were a part of Bahrain, as you simply blend in with the city and its archit ecture.” The only challenge was sourcing the necessary materials to create such sumptuousness, Zanic maintained. “ Getti ng the materials was a challenge as these were all imported. “ Working with the contractor t o achieve the quality and details was a task in itself. I guess with perseverance we got through it. Not everything comes out how you expect it and someti mes you have to compromise – but overall we achieved a new standard for Bahrain in t erms of design.”
2,3&4. Each space has it s own unique character.
5. Bathrooms are ‘the talk of the town’.
6. The library is more eclectic.
Commercial Interior Design January 2010 29
SUPPLIERSYOUSHOULDKNOW
Flooring suppliers you should know T
he ooring industry has long been at the forefront of t he sustainability movement, and ecologically-sound business principles continue t o guide it s evoluti on. The major players have placed sustainability at the very top of their agenda and continue t o focus on developi ng ecofriendly products and practices. Int erfaceFLOR, for exampl e, has pledged to take its environmental footprint down to zero by 2020. ‘Mission Zero’ is currently impacting every creative, manufacturing and business decision that t he company makes.
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Al Aqili Furnishi ngs has announced that it will be making a point of promoting it s eco-friendly product l ines this year. This i ncludes cradle-to-cradle carpets and carpet til es from Shaw Contract Group, another leader in the sustainability stakes. Reiterating the trend is Instep, a local supplier of hi ghquality timber ooring, which is pushing its LEED-certi ed wood oors. The other key trend impacting the ooring industry is increasing demand for choice and variety. Interior designers are demanding height ened levels of freedom when it comes to their
ooring choices, and manufacturers are
responding accordingly. For example, Ege off ers it s popular Highline design bank, which incorporates hundreds of designs. This enables designers to experiment with countless colours and combinat ions. The company has also launched its Modular Shuf e collection, whi ch is interesting i n that there is no recurrence in the pattern. Each tile is unique, making for entirely original ooring solutions. We talk to some of t he key players in the ooring industry to nd out more about what t hey have been up to.
Commercial Interior Design January 2010 31
SUPPLIERSYOUSHOULDKNOW
Ana Seixas, marketi ng director, MEA, on InterfaceFLOR’s eco-credentials. Tell us about InterfaceFLOR. InterfaceFLORis a worl dwide leader in the production of innovative, environmentally-responsible modular oor coverings. The company invented the concept of t he carpet t il e nearly 50 years ago and has been systematically developing it ever since. Today the company offers a wide range of commercial modular ooring, combining style, innovation and practicality to suit all kinds of buil dings. What sets you apart ? We have a passion f or design, innovation and sustainabili ty, and we love to set trends. We were the rst carpet til e manufacturer to incorporate t he concept of biomimicry into our designs and, through our Convert range (the only in the industry with post-consumer recycled nylon content) we can offer a total recycled content as high as 73%. What are your bestselling products? Wit h hundreds of t housands of square metres sold, Straightforward, an unusual micro-tufted carpet ti le, and
Instep
32 Commercial Interior Design January 2010
recipient of the Red Dot Award in 2008, has to be one of the favourites of the design community in the Middle East. But, the Convert range – the rst to be manufactured with a full colour spectrum of post-consumer recycled yarn – has also been received wit h great enthusiasm; its variety of patterns and colours is amazing and its sustainability credentials have made it a favourite for green bui lding projects. Any recent developments? We are very excited about our new showroom on Sheikh Zayed Road. We have designed it as per LEED Gold standards and are looking forward to receiving designers and architects and showing t hem the latest t rends in sustainable modular ooring. We have also reserved each rst Thursday of the month for what we call “ Awarehouse Tours” , an open day for universit y students, in which we will highli ght the sustainable attributes of the space and address sustainabili ty t opics through different workshops and presentations. How do we contact you? Tel: +971 (0)504568436. Email: ana. seixas@interfaceor.eu
InterfaceFLOR
S.V. Vanitha, business development manager, gives us the lowdown.
like borders, medalli ons, and inlays to make your oors more distinctive.
Tell us about Instep. For disti nguished and superior-quali ty timber oors, take a step to Instep. Instep Trading Co. br ings you exceptional wood ooring sourced from around the globe. We offer all kinds of wood ooring, for internal and external use. By offering the nest service, with genuine-quality wood ooring, for t he past sixteen years, Instep has earned a reputation for being a specialist in t his eld. This is also thanks to the impeccable knowledge and experti se of the owner of Instep, the man who turned his passion and inspiration into one of the nest wood ooring companies. Instep’s core competencies and services range right from design to installati on, and also renovation of hardwood oorings. We also design and bring to lif e beautiful nishing touches
What sets you apart ? All our wood oors are manufactured i n various countries around the world. We do our best to meet the requirements of our valued clients. What are your bestselling products? Our bestsell ers are specially t reated wood oors which are completely resistant to moisture and water. Have there been any recent developments at your company? We aim to serve the environment by off ering LEED-certi ed wood oors and have also introduced Ekotile, which is made of coconut shells. Where do we nd you? Warehouse #3, Al Hathboor Warehouse, Marrakech St, Umm Ramool, Dubai. www.instep-oors.com.
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SUPPLIERSYOUSHOULDKNOW
CID speaks to Rashid Youssif Al Aqili, operations director. Tell us about Al Aqil i. The Floori ng Division of Al Aqil i Furnishings is the premium oor covering products and services provider in the retail, corporate and distribution sectors. We offer the nest design speci cations and quality standards, and are backed by 18 of the biggest brands in the industry. Our division services all scales of residential, corporate and hospitalit y projects, offering the full range of luxurious wall-to-wall carpeting, rugs and hard oor materials in laminate, wooden parquet and vinyl. What sets you apart? We have under our brand umbr ella 18 of t he most exclusive ooring suppliers, includi ng Shaw Industri es, Dixie Group, Nourison f rom t he USA and Boen, Fischer Parkett and Beauli ue from Europe. The group also possesses a strong t eam of over 500 trained l ayers and instal lers, and an enormous warehousing facility.
What are your bestselling products? Due to the quality of the brands we stock, all our products retail very well. For the coming year, however, we are trying t o promote our eco-friendly products and hope to become a commit ted player in the region’s move toward environmentally-viable products. Our major focus in thi s group will be on the cradle-to-cradle certi ed carpets and carpet til es from Shaw Contract Group.
Al Aqili Furnishings
Any recent developments? In the last few years, the Al Aqili Flooring Division has witnessed major growth, both vertically and horizontally. We have expanded the range of our offering and have moved ahead in our regional expansion plan by launching operations in Kuwait, Qatar and Bahrain. In addition, we will soon enter Oman. Where do we nd you? We are based in the Pyramid Center, Oud Metha, Dubai. Tel: +971 (0)4 337 7717; Abu Dhabi : +971 2 677 7800 ; Qatar: +974 421 7938; and Kuwait: +965 2 482 2767.
Michael Bøgsted, director, Ege Middle East, promotes freedom of design. Tell us about Ege. Ege is a leading European supplier of unique carpet solut ions. We provide our clients with a multitude of carpet concepts, f ocusing on qual it y and freedom in design. We do not limi t our clients; we provide possibilities. By means of advanced production technology, only the imagination li mits what is possible. This means that we are able to create the best-suited ooring solution for each individual client.
Ege www.constructionweekonline.com
What sets you apart? The shortest delivery time in the business and total freedom of design. We own the world’s most advanced plant for colouring of textil e oorings and can deliver within four weeks – also special orders down to 20m². What are your bestselling products? The Highline concept from Ege is an exceptional carpet concept bringing
special attention t o the i mportance of quality and freedom of design. Wall-to-wall carpets, tiles, borders and matching corridors, for both large and small projects, the Highline collecti on meets all demands. The comprehensive Highl ine design bank consists of hundreds of designs. It is possible to experiment with colour shades and combinations t o create an expression matching t he individual project. Any recent developments? The unique ti le collecti on, Cit yscapes from Modular Shufe. The special thing about Modular Shufe is that t here is no recurrence in the pattern. Each ti le is unique and when mixed together and randomly installed, unprecedented and varying oor designs are created. How do we contact you? Ege Carpet Middle East, Saba Tower 1, Ofce # 1006, P.O. Box 346017, Jumeirah Lakes Towers, Dubai. Tel: +971 (0)43756490, Fax: +971 (0)44270306. E-mail: middl eeast@ egecarpet.com.
Commercial Interior Design January 2010 33
PRODUCTS
New on the market
FEONICFSERIES DRIVES MINDCo Middle East has launched an innovative new audio product, FeONIC F Series Drives, in the Middle East. The audio drives are produced by the UK’s FeONIC Technology and can transform a range of surfaces, from tables, walls, ceilings and oors, to doors and even batht ubs, into speakers. The drives are small in size and can be easily i ntegrated. They have the capabili ty t o convert commonly-used, resonant buil ding materials such as MDF, glass panels, plasterboard, plywood, metal sheet and structures, plastics, laminates, honeycomb panels, acrylic, breglass panels, wooden structures and so on, into speakers that provide superior quality audio while making the source of audio output completely hidden from view. Importantly, FeONICTechnology also minimises noise pollut ion, of fering near perfect distribut ion of sound wit h no reverberation, bounce or echo. MINDCo Middle East +971 (0)50 554 8958 www.feonic.com
MÓZ DESIGNS Móz Designs, a specialist in decorati ve metal surfaces, has launched a dramati c new colour pal ette characterised by earthy, burnished hues. The trendy new tones include shades of copper, gold, champagne, goldenrod, chocolate and cabernet. They are part of an exclusive Móz colour collection that includes more than 30 jewel-rich tones. Móz decorative metals are uti lised in a range of architectural environments. Popular applications include wall treatments, suspended ceilings, entry canopies, column covers, counter front s and bar di es. Double-sided Móz metals can also be speci ed for use as room dividers and interior decorative elements. Móz Designs +971 (0)4 364 3936 www.MozDesigns.com
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Commercial Interior Design January 2010 35
PRODUCTS
VILLEROY&BOCH
Villeroy & Boch has completely revised the design of its whirlpools, and is presenting the second generation of its successful Whisper system. Side jets are now 70% more powerful, making the massage feature more effecti ve and the overall system more energy ef cient. The system sets new standards wit h a noise l evel that is no louder than the rustling of leaves. The new ush-tted side jets, which lend the Whisper a special aesthetic look, are a further highlight. The company’s Ultimate Fitness system, designed to provide the ideal prevention and regeneration massage after sport, has also been enhanced. With t he Ult imate Fit ness system, Villeroy & Boch can now offer the rst completely i nvisible whirl pool system with base and side ‘Invisi ble Jets’. Villeroy & Boch Middle East +971 (0)4 3642613 www.villeroy-boch.com
MUKULGOYAL
New Delhi -based Mukul Goyal is t he designer of a range of objects for t he home, i ncluding furnit ure, lighting and accessories. His designs blend traditional materials with contemporary expression, and his chosen medium i s metal wit h chromed brass. Some it ems are complemented or embellished wit h bl ack aluminum, stainless steel and even granit e. Mukul Goyal’ s signature range of products is now available in Dubai and Oman with plans afoot to expand t o other citi es in the GCC. Dubai Gifts – Synergy Enterpri ses +971 (0)50 7706247 www.mukulgoyal.com
PAYDAY
J+J/ Invision has introduced Payday, the newest addit ion t o it s existing Lucky Break Collection. Payday, an all-loop t exture, was designed based on the popularit y of its sister products, Jackpot and Windfall. It has a somewhat woven and grid-like quality which offers structure to the collection’s product assortment. Payday is created with several tonal and subtle multi-coloured space dyes, combined with Encore SD Ult ima nylon. It i s available in bot h broadloom and eKo PVC-free modular backing. “ In designing this collecti on, we wanted to create something that offers both dealers and designers a set of coordinating products with a budget f riendly price but that also has personali ty that can be creati vely designed around,” said Sarah Mil ler, senior product designer, J+J/ Invision. BSH Wall s and Floors +971 (0)4 887 2664 www.jj-invision.com
36 Commercial Interior Design January 2010
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PRODUCTS
MOREAMORÉ Perennials Fabrics has combined the classic elegance of 15th century Florence with a modern freshness in it s new More Amoré collection. The colours and textures of the collection are reminiscent of t he walls of a Florentine basil ica. The jacquard-woven surface of ‘Tried & True’, f or example, creates the impression of an ancient stucco wall, whi le Sea Salt harkens to images of Mediterranean sunlight shimmering on the water. Other colourways include Pumice, Pecan, Citrus, Dove, Patina and Medici Gold. In addition to romantic colours and textures, the new collection boasts sumptuous over-printed patterns. Perennials Fabrics +1 888 322 4773 www.perennialsfabrics.com
JIZARO A specialist in ne, handmade designs in lighting and silverware, Jizaro has extended its range of li ghts t o include ve new products. The company is renowned for providing stunni ng set pieces and exclusive, one-off designs. Each piece is individually craft ed, using high-quality materials and techniques that are thousands of years old. The new, exclusive collection, which includes the KT10, HH10, DES10, PTN20 and TT200, is handmade by an awardwinning designer and master craft sman. The lights are made from 100% solid brass, which means that they won’t rust or pit, and are luxuriously coated i n chrome. The collection is also off ered in ni ckel, silver or gold, with a complete bespoke service available for one-off designs. Jizaro +44 (0)8456 806786 www.jizaro.com
OPALE Itali an design studio, Sand & Birch has l aunched the Opale wine cellar. Created f or Ell emme Canti ne, thi s is a foll ow up to t he recently-launched Winebag. Opale is a high-end refrigerated wine cellar, designed to mimic a precious black stone wedged into a smooth white base. The wine cellar is 2m high and has a capacit y of 100 bott les. It i s built in metal and hard polyurethane, while the door is made of insulating glass, which guarantees different levels of thermal and light insulation. Sand & Birch Luxury Design +39 (0 )773 1762584 www.sandbirch.com
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Commercial Interior Design January 2010 37
Gu REA
38 Commercial Interior Design January 2010
WOODFLOOR
LLC
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CONTRACTS
PROJECT FOCUS Commercial Interior Design is committed to helping its readers grow their businesses, so we have teamed up with Ventures Middle East to bring you the latest tenders from around the region on a monthly basis.
KUWAIT PROJECTS DATABASE - Building Projects Focus PROJECTTITLE
CLIENT
C ONSULTANT
MAINC ONTRACTOR
VALUE/ VALUE RANGE(US$. MN)
PROJECT STATUS
PROJECTTYPE
Center f or Research & Studi es at Sharq
Ministry of Public Works
Gulf Consult
Al Jaraih Contracting
12
project under construction
Commercial Buildings
Coll ege of Technologi cal Studi es at Shuwaikh
Publi c Authori ty for Appli ed Education & Training
Al Dowailah Engineering Consultant s
Not Appointed
16 - 30
award awaited for the main contract
Educational Facilit ies
Vocational Traini ng Instit ute in Jahra
The Public Authority for Appli ed Educati on & Traini ng
In House
Not Appointed
31 - 100
award awaited for the main contract
Educational Facilit ies
Injassat Tower
Injassat Real Estate
Projacs/KEO International
Ahmadiah Tradi ng & Contracting
20
project under construction
Commercial Buildings
Al Aqeelah Tower
Al Aqeelah Finance Leasing & I nvestment Co;
Al Mousawi Engineerin g Consul tant
Khara National
16 - 30
project under construction
Residential Buil dings
Administration Building at Kuwait International Airport
Directorate General of Civi l Aviati on (DGCA)
Dar Al Handasah/ Jassi m Qabazard
Not Appointed
101 - 250
award awaited for the main contract
Commercial Buildings
Heal th Cent er at Bayan Pal ace
Mi ni st ry of Publ ic Wor ks
In House
Al ami ah Bui ldi ng Compan y
53
project under construction
Hospital
Immigration Headquarters at Farwani ya
Ministry of Public Works
Kuwait Technical Consul tant
Not Appointed
2.5 - 15
bidding underway for the main contract
Commercial Buildings
Ideal High School at Aqaila
Ministry of Public Works/ Mini stry of Education
Al Zamami Consultant
Bader Al Mull a & Brothers Company
17
project under construction
Educational Facilit ies
Kuwait Busi ness Town at Al Mir qab Area - Zone 3
Kuwait Business Town Holdin g Company
Projacs/Pace/Fentress Bradburn
First United General Tradi ng & Contracting
96
project under construction
Mixed Use
Al Hamra Tower
Ajial Real Estate Company
Al Jazeera Consultants
Ahmadiah Tradi ng & Contracting
241
project under construction
Mixed Use
Hotel at Salmiya
Mr. Fahad Al Maiylem
Al Aliyan Consulting
Not Appointed
31 - 100
project under design
Hotel
Neighborh ood Centr e at East of Al Ahmadi
Ministry of Public Works
Kuwait Technical Consul tant
Not Appointed
40
award awaited for the main contract
Mixed Use
Special Forces Training Facility
Ministry of Public Works/ Ministry of Interior
Dar Al Handasah
Alamiah Building Compan y
204
project under construction
Educational Facilit ies
Ku wai t In st i tu te of Ju st i ce
M in ist ry of Pu bl i c Wor ks/ Minist ry of Justice
Al Zamami Consultant
Not Appointed
31 - 100
bidding underway for the main contract
Educational Facilit ies
Kuwait Busi ness Town at Al Mir qab Area - Zone 1
Kuwait Business Town Holdin g Company
Projacs/KEO Int 'l / Gensler Associat es
First United General Tradi ng & Contracting
108
project under construction
Mixed Use
Immigration Headquarters at Farwani ya
Ministry of Public Works
Kuwait Technical Consul tant
Not Appointed
2.5 - 15
bidding underway for the main contract
Commercial Buildings
Avenue Shopping Mall Expansion - Phase 3
Mabanee Company
PACE/ Gensler
Not Appointed
908
project under design
Shopping Centr e
Medical Village in Mahaboola
The Commercial Real Est ate Company
SSH/ Bernard Khoury Architect
Not Appointed
220
project under design
Mixed Use
Note : The above informat ion i s the sole property of Ventures Middle East LLCand cannot be pu bli shed wit hout t he expressed permission of Ventures Middle East LLC, Abu Dhabi, UAE
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Commercial Interior Design January 2010
39
OPINION
Moulding thefuture By Modar Al Mekdad
In an age where structures are taking on more complex forms, and iconic buildi ngs with sophisti cated blueprints continue to be considered a status symbol among developing economies, construction professionals and interior designers are conti nuously in search of methods that will allow them to create innovative designs, while offering innumerable options, without compromising on aestheti cs, strength and purpose. Given these factors, extruded aluminium is gaining widespread popularity. ALUMINIUM IN THEMIDDLEEAST
Aluminium is a key industry in t he Gulf because of its close af liation with both construction and real estate. This sector has managed to remain productive despite the recent nancial crisis, due to ongoing construction work across the region. Several far-sighted developers are taking advantage of an estimated 40% drop in construction costs since the last quarter of 2008 to push projects during the slowdown; this has had a positi ve domino effect on t he materials segment. There have been a number of noticeable developments as aluminium has assumed a greater role as an integral component in the init ial and nishing phases of constructi on. For one, t he material is increasingly being used in the external parts of buildings, such as gates, gardens and arches, in order t o lend a more aesthetic look. Another t rend is t he heavy investments being made by governments across the Gulf to expand their aluminium i ndustries, both upstream and
40 Commercial Interior Design January 2010
downstream. There is a growing consensus on the need to buil d an integrated regional industry to gain a bigger share of global pri mary aluminium production, which the Gulf currently hol ds 5.3% of. ALUMINIUM EXTRUSION
The process of extrudi ng aluminium involves a bill et of aluminium being pushed by a ram through a die land that is the desired product shape. It is the preferred method to manufacture continuous complex prole shapes for interior design purposes and to be used in several important industries, including construction, aeronautics and automotive. Known for its excellent fabricating properties, extruded aluminium is widely used in modern structures to improve the appearance of a product. BENEFITS
The advantages of extruded alumini um take effect even before it i s used in designing the interi ors of a structure. For one, it can be produced in large quantities in a short period of ti me, which will ensure that companies will break even at a faster pace. Further bene ts that can be derived from using extruded aluminium from an int erior design perspective are detail ed below: Malleability: Extruded aluminium is easy to mould i nto shape, and can be bent or moulded to very tight radii without the use of any special tooling or machinery. The very nature of the material means it is easy to dril l and x. The extra accuracy of the extrusions process makes the joining of two identical parts very ef cient.
Corrosion free, great conductivity: As far as anti-corrosion properties, extruded aluminium is resistant to corrosion due to its extra layer of oxide lm. Aluminium is also a great conductor of electricity – far better than the heavier copper – and can even be used as a heat conductor or as a heat reector in heat shields. Accurate and cost effective: Extrusion produces a very accurate match across the entire length of the extrusion and any extra pieces, with litt le wastage, adding to the cost ef ciency of the process. Light but strong: Aluminium is known for being lightweight, particularly in relation to other popul ar metals such as steel and copper, which are over twice as heavy. However, its weight does not take away from its inherent strength. Alumi nium is a preferred material among contractors and designers due to i ts various advantageous properties, such as its abili ty to resist high moisture, sound and heat, as well as its natural air conduction, whi ch lessens the need for air conditioning. Aluminium also has a signi cant edge in terms of production and distribut ion. Production is very cost-ef cient due to the availability of cheap natural gas feedstock and the accompanying low-pri ced labour. The Middle East also has excellent port faciliti es for exporting, and aluminium is easy and convenient to ship. These factors are fostering the continuous growth of extruded alumini um in the interior design market, among other sectors. Modar Al Mekdad is general manager of Gulf Extrusions.
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