< PreviousDesign news commercialinteriordesign.com March 2022 10 K.art Group installations to leave d3 for Palm Jumeirah Two much-loved installations are moving from Dubai Design District to a new home. The Leader and Connectivity were created by K.art Group for the 2020 and 2021 Dubai Design Weeks respectively. Now the emirate's master property developer Nakheel has invited them to relocate to its world famous project, the Palm Jumeirah. Soon visitors and residents to the man- made archipelago can see K.art Group's duo of art works. The Leader pays homage to Dubai's Ruler, His Highness Sheikh Mohammed bin Rashid Al Maktoum, while Connectivity refers to the ebb and fl ow of energy that embraces Dubai. The former's new location is TBC, while the latter is going next to Koko Bay restaurant in West Palm Beach. Mustafa Khamash, founder of K.art Group, is thrilled that his works are on the move and will "continue to represent the hopes and visions of the country through extraordinary installations," he adds. Presenting the Commercial Interior Design Power Panels Plug into power with our new Power Panels event taking place in March 2022. The conference will see top industry figures debating key issues for the sector across a half-day on 31 March this year. After a call-out for white paper headlines, we are now announcing a schedule of keynote speakers and panel members, drawn from the recently published Commercial Interior Design Power 50 for 2021, plus other industry thought leaders. At the time of writing, we've already confirmed CID Designer of the Year 2021 Paul Bishop of Bishop Design, DZ Design's Dina Murali; Kathryn Athreya, Roar MD; Kristina Zanic, head of Kristina Zanic Consultants; Vera Dieckmann, founder of XO Atelier, RSP's director Ralf Steinhauer, and Carla Conte, the founder and creative director of Brand Creative. Keep checking the CID website for more speaker announcements and to confirm how you can obtain tickets. Sponsorship opportunities are available via Rebecca Lockwood on +971 55 484 8301 or rebecca.lockwood@itp.com Connectivity was based at d3 (Dubai Design District) Photo credit: ShutterstockAdvertorial 11 March 2022 commercialinteriordesign.com D N A HEALTH & WELLNESS NEW BRANCH BY VERVE INTERIOR DESIGN D elivering a timeless quality aesthetic carrying DNA Health & Wellness' vision, Verve Space + Design (Verve) has brought to life a remarkable healing space for its client's integrative medicine practice in Al Serkal Avenue. Collaborating with Dubai-based AndNow Concept Creation's contemporary design methodology, Verve delivered the structure in January 2022. NATURAL ELEMENTS As wellness enthusiasts arrive at the clinic, they are greeted by a remarkable space with a serene material palette enriched with freeing organic elements, creating a warm and welcoming entrance lounge. The lucid interiors and fi t-outs along with peculiar details in consultation and healing rooms also play an integral role in transporting clients into a surreal healing environment. Echoing warm tones and natural light, Verve has carefully articulated the interior's clean lines and transitions, revealing exposed concrete walls and fl owing raw vertical wooden patterns on walls. In contrast, the walls are also encompassed by engravings and illuminated murals, enlightening the experience with subtly yet standout details. With each space having its unique experience, individual rooms at the DNA Health & Wellness centre are able to effortlessly manifest their functions through their design elements. As a result, Verve has been impressively able to transform a bare warehouse into a pristine high-end clinic with understated luxury. VERVE IN DETAIL Established in 2017, Verve has a history of leaving its mark on turn-key projects in a A reception area welcomes guests wide array of industries. To name a few, these include the Sharjah Airport Transit Hotel, Accenture, Transworld, Sitecore, Airbus, HP, Teledyne FLIR, Redington, Dubai Racing Club and Consensys. Focusing on a multi-industry infl uential client base, Verve's comprehensive services include conception, design, project management, fi t-outs, and furniture supply. With an added benefi t of embracing their client's journey, the interior design and fi t-out company, located in Business Bay in Dubai, is dedicated to expanding its horizons in terms of reach and diversity. There are engravings and murals on the wallsFirst look commercialinteriordesign.com March 2022 12 Images: Alex Jeffries NEW BLUFirst look 13 March 2022commercialinteriordesign.com REFURBISHED INTERIORS OF RADISSON BLU DUBAI DEIRA CREEK BY LULIE FISHER DESIGN STUDIOFirst look commercialinteriordesign.com March 2022 14 R adisson Blu Hotel Dubai Deira Creek opened in the 1970s as the fi rst fi ve-star hotel in Dubai. While the city has crept out from its beating heart of trade and transport, the hotel has remained steadfast, albeit with a renovation of its 288 rooms in 2018. Now, Lulie Fisher Design Studio is tasked with the further modernisation of the historic hotel as it approached its Jubilee celebrations. The studio was appointed by Radisson to refurbish the public areas including entrance gallery, fountain court, reception, lobby lounge and cafe, Boulvar all day dining, the Boulevard café, spa, pool, bridal suites, and fi ve further F&B venues, including much-loved venues such as the Fish Market, the China House and Minato Japanese restaurant. The renovation process included retaining the existing natural elements whilst adding contemporary décor to accentuate the modern outlook of the whole establishment. Maintaining its history Instead of completely removing the existing décor, the brief looked to retain the heritage of the hotel by retaining the historic and unique backdrop of timber marquetry, brass inlaid water jet-cut marbles and timber coffered ceilings. These elements were sensitively layered with contemporary joinery, furniture pieces, carpets, artwork and accessories to modernise and contrast and to update the hotel for today's discerning guest. Deep Indian green marble accents from the original palette were used to inspire a new fresh palette of materials and colours comprising green terrazzo, soft bluish/green carpets, tundra grey marble, and bush hammered black granite and black stained timber which have been seamlessly integrated into the existing design of the hotel. The entrance gallery, which was previously lined with Arabic ornamentation, has been updated with backlit black timber herringbone screens, providing a fl uid geometric transition to the hexagonal fountain court. Made out of bush hammered black granite, the central water feature is accentuated with artwork, stylish soft seating and ceramics from the family run Rometti Ceramiche. Illuminating the interior With the help of Studio Mark, the fi rm brightened up the design by reimagining the lighting and by highlighting the warm fi nishes and the cosy and relaxed ambience of the public areas. Pops of colour were added to the lighting structures to bring playfulness to the décor without losing its contemporary feel. Sleek grey marble reception and concierge desks are crowned with colourful and quirky orange and black conical oversized lighting pendants to invigorate the refurbished lobby. The playful décor provides a beautiful contrast against the backdrop of the original ornate marquetry wall panelling and coffered ceilings. Furniture and lighting designed by well-known designers such as Verner Panton, Space Copenhagen, Arne Jacobsen, Muuto, Mia Hamborg and Wastberg, combine the décor and helps in keeping with the hotel's heritage and the Scandinavian origins of the brand. Pearl inspired table lamps sit on the reception desks, a nod to the history of Dubai and its humble origins. A greener outlook The lounge areas provide a relaxing haven away from the hustle and bustle of the nearby gold and spice souks and the busy Creekside. Glazed architectural niches, which formed part of the original façade design, have been reimagined into mirrored and carpeted seating nooks with Architectural nooks have been reimagined Grey colour tones accentuate the existing elements First look 15 March 2022 commercialinteriordesign.com greenery installed in planters outside each niche. The lush décor provides a green screen in contrast to the highly urban setting of the hotel. A café was added to the design concept to provide respite to visitors. Green terrazzo jewellery box style cake displays were integrated with the design of the café to stand out against the original polished wall panelling. The design of the Boulvar ADD restaurant, which forms part of the next phase of the works and will be fi nished later this year, was conceived as a green house or conservatory with black and white patterned tile fl ooring, white marble and oak servery counters, hanging planters, pendants and garden inspired furniture. The original woven palm wall coverings are retained to carry forward the theme of the restaurant. Greenery encases the café Green terrazzo cake displays Quirky colour pendant lighting Need to know Client INVESTMENT CORPORATION DUBAI / RADISSON Interior designer LULIE FISHER DESIGN STUDIO Lighting designer STUDIO MARK Project manager and QS APEX COST MANAGEMENT CONSULTANTS Fit-out contractor MNK INTERIORS Cover feature commercialinteriordesign.com March 2022 16 W hen women thrive, humanity thrives. The Women's Pavilion Majlis at Expo 2020 Dubai has explored the contribu- tion of women in design and architec- ture have made to the sustainable design movement. As Expo draws to a close in March 2022, we look at the achievements and legacy of the Pavilion and also contribution of women architects and designers from the MENA to the charge on climate change. Now is most apposite do so, as International Women's Day (IWD) falls on 8 March with the theme: 'Gender equality today for a sustainable tomorrow.' While this is a new topic for IWD, it's a debate that's been running in the interiors and architecture industry for some years. 'Women in Green: Voices of Sustainable Design' was published in 2007 to celebrate women's contributions to sustainable design. In it, co-authors Kira Gould and Lance Hosey explore the connections between diversity, ecology, and innovation and started a dialogue about how diversity can promote greater progress toward sustainability. It inspired or infl uenced the formation of various 'Women in Green' leadership groups and events across the US and beyond. Nearly 15 years later, Commercial Interior Design revisits dialogues from 'Women in Green' and presents them to professional women in the Middle East, also framing them in the context of Expo 2020 Dubai, a signifi cant architectural event with strongly defi ned themes of both womanhood and sustainability. We ask, is there a greener gender? Does sustainable design have special appeal for women, and do they in turn offer something unique and gender-specifi c to the fi eld? CID speaks to women thought leaders from the region to fi nd out the implications for the interior design industry. Outside of gender defi nition, they tell us the key challenges that designers are facing regarding sustainability in commercial interior design and the biggest changes, or improvements they've seen during their time in the design sector. We also interviewed the women architects of the Expo 2020 country pavilions and hear the role of the Women's Pavilion in championing the belief that gender equality is critical for sustainability success. THE GREENER GENDER Are women more sustainable architects and designers? ITP Media Group and UN Women are proud to work together to promote gender equality and women’s empowerment in the Arab States. #IWD2022 @unwomenarabicCover feature 17 March 2022 commercialinteriordesign.com Sophie Kaila Co-founder and creative director, TWO Art Consultants Is there a greener gender? A growing body of social science research suggests yes. As women, we generally rank values such as personal responsibility and empathy higher than men and these values can strongly be linked to environmental concern. What are the implications for the design industry? Everything from the design to the production process has an effect on our carbon footprint, and there is an increased onus on us to design and produce sustainable artworks that bring low-impact luxury to contemporary spaces. Designers, manufacturers, architects, developers, and the end-client all need to take responsibility for what they make, use and consume – while we're seeing plenty of positive action the life cycle of any product depends on everyone being committed to the consequences of our individual and collective actions. Does sustainable design have special appeal for women, and do they in turn offer something unique to the fi eld? Progress using environmentally friendly and sustainable solutions is not just smart for business, but necessary for our future. Sustainable practices are a clear mandate for humanity and, as both business owner and mother of two, I have to take that responsibility seriously - how we act today really does infl uence what our world looks like tomorrow. At TWO, we are consciously collaborating with more artists that incorporate sustainability into their work. Working across different mediums and practices, these artists and makers have long pioneered eco- conscious methods as a core principle to their work and creatively transform humble materials into spectacularly refi ned artworks. Our own direct practices are also important; from making sure all our own artwork packing materials are plastic free to ensuring all business activities minimise our carbon footprint – like sourcing locally! Outside of gender defi nition, what are the key challenges that designers are facing re sustainability in commercial interior design? With sustainability now a global movement, the need for low-impact design solutions has never been greater. Individuals and businesses alike want innovative new concepts that have less impact on the environment, without compromising on luxury. As specialist art consultants with a heavy footprint in hospitality, commercial and residential developments, the sheer scale of these projects poses obstacles. Sustainable artworks can bridge the gap between creating a stunning aesthetic experience and promoting sustainable design, however if every room features artworks as well as the lobby, stairwells, restaurants, and public areas, irresponsible sourcing and using even small amounts of unsustainable materials can quickly add up. What have been the biggest changes, or improvements, during your time in the design sector? Bespoke artworks and objects have long been at the height of luxury and in the pursuit of the one-off, clients have championed low-volume craftsmanship to pay for artworks to be hand-made especially for their projects. In recent years, technology has advanced so much that similar visual effects can be achieved with faux metals, resins and plastics. Clients often fall into a material culture of man-made products that are cost- and time-effective to produce versus artworks created by hand – the slower and manual way of working is inherently more sustainable but it comes at a cost. Everything has a carbon footprint...Cover feature commercialinteriordesign.com March 2022 18 Dina Murali Design director at DZ Design Due to their caretaking roles, women have traditionally been considered more green than men. In our adult lives we manage the fi nances and schedules for our families, but even as girls we are often conditioned to assume greater responsibility than males are. As a mother of two girls, I fi nd myself instilling sustainable, reuse, recycle, and upcycling values into my children at an early age. Indians are also accustomed to prolonging the life of items, such as school bags or plastic bags. Instead of ending up in the trash, they transform. When my kids were younger, I taught them how to make small reusable grocery bags out of old T-shirts. In our household, I doubt that my husband would have a similar outlook, but I must give men credit, for they could in turn, lead a simple life, minimalistic and with fewer possessions than a woman would have. This industry has only recently been introduced to the concept of mindfulness. As a region, we lack the infrastructure to fully recycle the waste we produce, unlike our counterparts in Europe and America. Even so, thoughtful steps are being taken in this direction, for instance, in our projects – especially hospitality and residential projects – we seek to repurpose and upcycle joinery pieces, as well as conceptualise our designs with this new perspective in mind. Similarly, we strive to source responsibly and sustainably for our work. While we have both fantastic male and female designers who are champions of sustainability, the empathetic qualities a woman possesses always work in favour of seeing a new dimension to a product or a space. This creates a unique perspective to the design intent and has the potential to change the narrative. In Brigham Young's words, "educate a man, and you educate an individual, educate a woman, and you educate a generation." Most renovations are time bound and budget bound. Budgets can be managed effi ciently, but managing time expectations in a tourist destination like Dubai is much more diffi cult. All hospitality projects are a race against time, which can only be managed by experience and a clear vision of deliverables. We are known for achieving both of these goals because of our dedicated team and process. Boutique fi rms are pushing the boundaries of design in unique ways. This has made design more approachable and less elitist. The myth of the large fi rm churning out designs and drawings is slowly fading away. Meanwhile, the emergence of social media has led to boutique design fi rms becoming more visible to clients looking for an individual solution that requires quality, desirability and sustainability. We seek to repurpose and recycle...Cover feature 19 March 2022 commercialinteriordesign.com Pallavi Dean Founder of Roar Is there a greener gender? My fi rst thought is: no, I don't think so! Either you are an environmentally conscious human or not. But market research does indicate a clear eco-gender gap where women typically spearhead environmentally conscious living in the domestic realm. Women are biologically different to men – it's science. Women are nurturers, this notion of nurturing is true across the entire animal kingdom for the female species. In terms of design, we are great listeners and work with empathy to understand what our clients want and need before producing design solutions. I can't speak for all women – it would be unfair to stereotype – but for me, my design process is intuitive and based on deep empathy, my approach is collaborative and not ego driven, which, I personally believe, are traits related to my gender. When it comes to designing with the environment in mind I bring this same level of careful thought to specifi cations and detailing. Budget is always the big challenge [facing commercial interior designers]. Green products or accreditation comes with a 10-20% price uplift. In general it would be great to see government and regulation initiatives that make green standards mandatory across the board – not giving clients a choice to opt out. Often clients don't take into account the life cycle cost of eco-friendly material specifi cations – in the long run this cost uplift pays for itself while creating better indoor air quality for items like, for example, paint or carpet. Development in sensor control for MEP systems and lighting has been a game changer – making us less energy reliant and more conscious of consumption. I also love water saving aerator faucets and showers that don't compromise on your experience but consume signifi cantly less water. As for involvement in Expo 2020 Dubai, Roar has designed pop-up outposts of some of Dubai's most beloved homegrown restaurants at 4.38 sq km site. The homegrown design studio applied its vision to seven household names from the F&B world. These include Pakistani restaurant Ravi; Yemeni cuisine Maraheb and Al Reef Lebanese Bakery.Next >