< PreviousIn the studio commercialinteriordesign.com January 2021 10 IN THE STUDIO WITH... Refi k Anadol, whose Wind In Dubai piece was showcased at Dubai Design Week and is on display at Hotel Indigo Dubai Downtown Please introduce yourself… Hello, I am Refi k Anadol and my fi rm is Refi k Anadol Studio in Los Angeles. I'm originally from Turkey, but I've been working in the US since 2012. I have been a media artist and director since 2010. Describe your studio… Refi k Anadol Studio is located in a converted industrial factory in the artist enclave Frogtown in Los Angeles, right next to the LA River. It is a large space with many computers, and machines learning how to see, and humans training AI. What's it like working at your studio? I am still working at my studio. My studio is my almost like my home, I feel so peaceful here and it's where I'm most creative. How does your day at work start? Since I'm working in multiple international time zones, the start of my day really depends on which part of the world wants to connect. So, the world decides how it starts, and the world also decides how it ends. We are a 24/7 studio. I am addicted to coffee, I guess… There is no day without coffee. And, there's a lot of nerding on any scale, any topic – it doesn't matter. It can be neuroscience, it can be AI, quantum mechanics, a camera, data, a book or anything that connects with the work we are doing. EDM is playingIn the studio 11 January 2021 commercialinteriordesign.com Refi k at work in Frogtown What are you working on right now? We are working on a piece called Quantum Memories. We are trying to speculate on the 'many world' theory, which is a very well known theory in quantum mechanics. We are collaborating with the Google AI Quantum team for the NGV Triennale. We are training our AI on 200 million photos of nature, and that's our current challenge. What are the high points and challenges of the day? The challenges are meetings. There are a lot of meetings. And each meeting most likely comes with a true deep challenge of something. It can be technical, or conceptual, or research, but something that is always challenging comes up. The high point is fi nding a beautiful AI that makes meaning from some kind of a data. It's serendipity when the machine gives something fresh to humanity. How and where do you seek inspiration? I seek inspiration from the near future. It's all about near future. I don't like the past too much, unless it is necessary to learn something. I get inspired by science fi ction specifi cally. And nature, of course. What's on your desk? I'm a very minimal mind in the studio, so I try to make it as clean as possible: A pen. A notebook. And just computer parts. Nothing else. I love the minimal world because there are so many complex things in life, so why not at least have some things that are minimal? What are you listening to? I am a very big fan of Ryuichi Sakamoto and his collaboration with Alva Noto. I'm very much into minimal EDM with classical combinations. But, also, I'm super into the solo piano – Philip Glass, Steve Reich, or Arvo Pärt. Those are current, idol-mode minimalists. No words, pure music. Tell us three bookmarks on your browser Wikipedia, Github, Google. Tell us three must-follows on design industry social media Zaha Hadid, Dieter Rams, Apple, Nowness Tell us what you love most about your offi ce space... It's large and diverse. You can do 3D printing with a large robot. You can see some next level audio visual experiences. You can step into an Infi nity Room. You can print super high-quality prints. You can do some simple physical interaction design. It's very diverse, which is pretty cool. If you could change one thing, what would it be? I wish it was more minimal. Fewer cables. When does your day end? Technically, the day ends when the brain ends. I don't assign the day end to any one thing. I decide it based on the reaction of the items in the world. It can be studio or personal items, life things. But, the day ends really when I want it to end, not based on any rules or agenda. What's the last thing you do before you leave the offi ce? Most likely, check the AI. What it looks like, what it learned.Opinion commercialinteriordesign.com January 2021 12 Caption here This really is the big screen Our concept pre-dates the pandemic pressures on cinema, but is perfectly placed to give the industry a socially- distanced rethink. The Õma Cinema design places the audience on a series of fl oating platforms, more akin to opera boxes, making greater use of the full height of the screen and space at the back wall of the auditorium than traditional tiered seating. Each pod can be laid out to suit bespoke requirements – from sofas for a VIP experience, or a set of seats more suited to single families. Each balcony has its own entrance, removing the need to fi le past others to get to your seat. The inspiration driving the idea came from a few different sources. Firstly, cinemas themselves. When people go to the cinema, they usually choose the movie fi rst and go to the nearest location because they think that their experience will be more or less the same regardless of the venue. Indeed, the architecture of movie theaters hasn't seen real innovation since the development of stadium seating and wall-to-wall screens, and that was back in the 1970's. Most cinema auditoria built in the last 50 years look alike, reproducing the same seating arrangements for the spectators. The second observation and inspiration for our design concerns recent developments and changes in the way people watch fi lms. Numbers of young people who go to the cinema keep declining in so-called mature markets, such as the UK, US and France, despite A new view Nicolas Chican, co-founder of Õma Cinema, on the next big thing in cinema design A passion for the cinema across the Middle Eastern region is tangible. In the UAE alone, there are 72 cinema locations and over 20,334,000 cinema admissions making per capita cinema visits, per person, the highest in the region – and these numbers are increasing. Saudi Arabia is also enjoying a booming appetite for the silver screen – one which looks set to continue once COVID concerns have eased and people return en masse to cinemas. Still, the debate continues about cinemas responses to the pandemic. Concern about distancing will linger, and the traditional manner of organising cinema auditoriums in straight lines of tiered seating limits how people can safely or easily group in a straightforward way. We argue that a rethink of how cinemas are laid out is long overdue – and necessary to build a successful future for the industry in a post-pandemic world. Opinion 13 January 2021 commercialinteriordesign.com Rethinking the cinema space means audiences are more immersed A more intimate take on cinema Viewers sit in 'fl oating' platforms initiatives such as monthly subscriptions which make prices more attractive. Older spectators are now making up for this loss. How can we attract younger audiences back into the cinema space? The answer is to change the experience they receive, and the space itself is an integral part of that. This patented approach is possible by building around a steel frame, featuring a crossways lattice tower at the rear, facilitating access to the platforms from the back. Then, a primary beam is cantilevered from the pylons carrying the seating areas and a secondary structure forms the support for the access galleries and seating areas. Because the design is so fl exible, it can suit a refurbishment of existing sites as well as completely new builds. There are no limits when it comes to minimum or maximum screen size. It has been conceptualised to be completely fl exible to cinema operator needs. Rethinking the cinema space also means audiences can be more immersed in the fi lm experience. Instead of seating in blocks that stagger away from the screen, balconies can be placed closer to the action so that each pod gets an unhindered view, and audiences sit much closer to the movie. This concept means that the projector can also run unimpeded; it sits closer to the screen too, nestled between the balconies, rather than over the audiences' heads. The result is a more intimate take on cinema which sees spectators receive a much more individual experience of the fi lm up close – while also enjoying entertainment with a large group, always been a unique element in the appeal of going to the big screen. Most importantly, this is precisely the kind of bold and breath-taking architectural approach that the MENA region actively pursues. Standout and unique cinema space could easily lend themselves to premium or even premiere events, further elevating the sector in the region and making attending screenings more of a hot ticket. Dubai's recent additions of drive-in cinemas to the mix demonstrates that the region is open to fresh thinking on the movie demands of audiences. With recent investment from UAE and Israeli fi lm bodies into planning a regional fi lm festival, this demand won't abate any time soon. Given everything which the industry and the region has survived this year, to give the silver screen treatment to cinema, the space itself needs to be rethought to allow it to shine. Trending commercialinteriordesign.com January 2021 14 PROFESSIONALS How Art Painting Lab helps create healthy offi ces HUE Trending 15 January 2021 commercialinteriordesign.com Im ag es : A rt P ai n ti n g L ab When UAE-based water brand Masafi needed to refresh its innovation hub, the team there turned to another homegrown talent. "They came to us in search of something inviting and fresh... To inspire their team and to align with their brand," says Courtenay O'Neil, business development manager at custom art provider, Dubai's Art Painting Lab. "We wanted to create a concept for them not only visually-rich and mentally stimulating; but a conversation piece that would initiate motivation, positivity and optimism amongst staff. By creating a vibrant and warm space experience, they would feel themselves looking forward to their usual day-to-day routine of going to the offi ce, proud to bring clients in for meetings, driven to want to creatively expand their ideas and thoughts as a result of exposure to the colourful, innovative walls surrounding them daily." Art Painting Lab and its team of artists created a 20 metre x 7m massively impactful and show-stopping mural featuring two joyful and vibrant portraits; one shows a woman smiling amongst sunfl ower petals and nature, united together with the other portrait through fl owing waves of water, gradients of colour and a hand making the symbol for peace and happiness. According to Shubhomita Bose, writer for Small Business Trends, when asked why they like offi ce art, 77 percent of professionals said it makes them feel happy. Nearly three quarters said offi ce Art is an incredibly powerful means of therapy...Trending commercialinteriordesign.com January 2021 16 art inspires them (74 percent) and makes them feel creative (73 percent). Masafi 's mission was to also refl ect company values through the artwork, so Art Painting Lab summarised the values into the word 'spirit' and painted it into clouds, paint drips and hands. More than 36 percent of workers can't recite their company's values and 39 percent don't know their mission statement either. Bold and colourful offi ce art infused with company mottos can provide a creative solution to improving employees' recall. The chairman of Masafi , who is a big fan of legendary athlete Muhammad Ali, chose to have an inspirational quote from the boxing legend in the entrance of the Innovation Hub to help symbolise health, dreams and a winning attitude, to unite the company's core values with the employee's own goals and motivations. "We don't always recognize that the walls and space surrounding us can be refl ected in what we are producing in our work. That's why art is important in the workplace – to subconsciously help shape our thoughts. If you are sitting in an environment full of interior design and art that you love, it's likely that those positive feelings are going to translate and bloom into the work you are producing," says Sam Saliba, founder of Art Painting Lab. "Art is an incredibly powerful means of therapy and stress relief," adds Courtenay. "It's role in interior design is to help elevate the design concept, supporting the mood of the room. The right artwork can quickly turn something from cold to warm and inviting. That's the beauty of design – you can create an oasis for yourself that you'll look forward to going into.” Artwork from Masafi 's HQ Peace outTrending 17 January 2021 commercialinteriordesign.com Wise words The works of Monet, Van Gogh, Da Vinci became well known and admired all over the world not only due to their highly developed skills, but also because their art engages us deeply on an emotional level. It speaks without words; it opens up a whole universe of feelings and impressions that can take you to a different place and time within a moment just by the power of its visual representation and imagination. Why do people decorate their homes and offi ces with artwork? Because it feels good to be surrounded by beauty, and for the energy that the artwork brings to the space in which it is presented. Whether it is a picture of a starlit night or a vase of red poppies, we are likely to have the same emotional response while looking at it as if we were to experience it for real. As we physically return to offi ces, many of us need to deal with possible anxiety and panic. Having artwork that radiates calm and safe vibes is one of the steps that we can make in taking charge of our environment to promote our well-being and mental health. Knowing the power that our surroundings have on our mood and emotional state, it's recommended to create space that promotes positive emotional responses. Also, research suggests, art representing nature helps reduce blood pressure and pain as well as support overall wellbeing. Psychologist Dr Ola Pykhtina: Art has always held a special place in the history of humanity Sam saliba founder of Art Painting Lab, a Dubai-based art consultancy Meet the experts Courtenay O'Neil business development manager of Art Painting Lab Dr ola Pykhtina art and play therapist at Thrive Wellbeing CentreCover feature commercialinteriordesign.com January 2021 18Cover feature 19 January 2021 commercialinteriordesign.com Paul Bishop of Bishop Design on working, winning and what’s coming up for Commercial Interior Design's Designer of the Year 2020 NEXT MOVE Paul Bishop bounds up on stage at the 14th annual Commercial Interior Design Awards. He's just been named Interior Designer of the Year for 2020 and the room erupts into cheers. After letting the celebrations die down for a couple of weeks, CID sits down with him for a socially distant chat. Except we don't sit down. Paul has just returned from a site visit in Marrakesh and despite returning a negative COVID-19 test, for safety's sake, we're catching up in an outdoor urban setting. It's the day after his fi rm's annual festive party and there's talk of having sparred with a boxing punchbag during the course of the evening. With someone else, the previous night's festivities might make for less exuberant interviewee but, Paul being Paul, energy levels are still high. He's happy to recreate some jabs and uppercuts for our photographer and even manages a more than passable leap ("held together with pins," he cheerfully notes). Paul says he didn't expect to be named Designer of the Year again, having already won it twice before. He marks awards with a tattoo, he tells us. How much ink does a trifecta of top gongs deserve, we wonder? He might also want to add some body art recognising that Bishop Design by Paul Bishop was also highly commended in the Interior Design Firm of the Year category, and shortlisted seven times more in categories for F&B, concept and public sector designs. Among the nominations were two cinemas, a restaurant, a hotel and a vibrant eatery, all with that signature Bishop Design pop of colour, bold motifs and tongue-in-cheek acknowledgement of a social media-savvy audience. It's perhaps surprising then, that owner and founder Paul Bishop dresses almost exclusively in black, says he doesn't have social media accounts and "has to be" in the studio to work, where his preference is using a pencil and paper We start by asking him how it feels to be CID's Designer of the Year for 2020? "Amazing. [Expletive] amazing," he laughs before giving us the PC version. "It's incredible and very unexpected. I've won it three times now." Third time's a charm, they say, but 2020 was a very different ceremony to previous years. Paul bounded on stage to meet a sponsor observing social distancing, was watched by his peers accessorising elegant outfi ts with masks, sitting at tables fl anked by plastic dividers. On the night you could feel the relief that the CID Awards were happening at all. The night is usually awash with on-table dancing and more, but, in the interests of health and safety, it wasn't possible this year. Paul is quick to share his praise for the efforts taken in making it happen: "The event, you put something incredible together, in the circumstances. "It was probably one of the fi rst social gatherings that we had as an industry this year [in 2020]. It was incredible to get together with everyone from the industry and have a bit of fun and it went down amazingly well." The same can't be said for the year as a whole. Not for everyone, anyway, but the Next >