Identity January 2024

ARCHITECTURE, DESIGN, INTERIORS + PROPERTY

ISSUE 238 / JANUARY 2024

THE SUSTAINABILITY ISSUE DHS 25.00 OR 2.70 BD 2.60 SR 25.00 KD 2.10

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The latest architecture, design + interiors news, now online

@identityae

Home in Lugano, Italy designed by Yana Molodykh Interiors.

Photography by Vigo Jansons

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Contents

Features 20 Artist interiors Waldorf Astoria Doha is a masterfully crafted work of art helmed by Hirsch Bedner Associates (HBA)

26 From the region Tamilla Jazayeri, designer and founder of Dubai-based TAM Studio talks about her studio’s journey – setting up her first office for designing and manufacturing from the region

32 Crafting Elegance Insights from Havelock One’s Senior Project Manager, Mark Hampson on the design challenges and achieving a vision in their new project - Manish Malhotra’s Flagship Store at Dubai Mall

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36 Sustainable showers identity looks at the newly launched sustainable shower system: Alu+ from Ideal Standard

52 Perfecting the trio Stradella Ridge House was designed

by SAOTA alongside architect and developer David Maman and interior designer Dieter Vander Velpen

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Choose from our extensive range of authentic Thesiger photographs.

PERFECT DECORATIONS FOR HOTELS, OFFICES AND HOMES. Framed or unframed prints available exclusively from The Arabian Gallery

[ JANUARY 2024]

Contents Editor-in-Chief Obaid Humaid Al Tayer Managing Partner and Group Editor Ian Fairservice Deputy Editor Suha Sabith Senior Art Director Olga Petroff Junior Designer Charissa Canlas Sub-editor Max Tuttle Chief Commercial Officer Anthony Milne Senior Sales Manager Sharmine Khan Sales Representative - Italy Daniela Prestinoni General Manager - Production Sunil Kumar Production Manager Binu Purandaran Production Supervisor Venita Pinto

Head Office: Media One Tower, PO Box 2331, Dubai, UAE; Tel: +971 4 427 3000, Fax: +971 4 428 2260; E-mail: motivate@motivate.ae Dubai Media City: SD 2-94, 2nd Floor, Building 2, Dubai, UAE; Tel: +971 4 390 3550, Fax: +971 4 390 4845 Abu Dhabi: PO Box 43072, UAE, Tel: +971 2 677 2005, Fax: +971 2 677 0124; E-mail: motivate-adh@motivate.ae Saudi Arabia: Regus Offices No. 455 - 456, 4th Floor, Hamad Tower, King Fahad Road, Al Olaya, Riyadh, Kingdom of Saudi Arabia; Tel: +966 11 834 3595 / +966 11 834 3596; E-mail: motivate@motivate.ae London: Acre House, 11/15 William Road, London NW1 3ER, UK; E-mail: motivateuk@motivate.ae

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Updates Design Focus Library Products #idmostwanted

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Editor’s Note

The start of the year brings with it not just the promise of new beginnings but an opportunity for the architecture and design (A+D) community to champion sustainability and embrace a greener perspective.

In the face of environmental challenges and a growing consciousness about our ecological footprint, accentuated with the hosting of COP28 in the UAE, the regional A+D industry finds itself at the forefront of a pivotal movement. This issue is dedicated to the pioneers, the visionaries, and the architects of change who are steering us toward a more sustainable and environmentally conscious future.

Within the pages of this edition, you will encounter a curated selection of projects that go beyond the conventional, demonstrating a commitment to sustainability in their design ethos. From energy efficient structures to biophilic wonders, these projects serve as examples of inspiration, proving that aesthetics and eco-friendliness can coexist harmoniously.

As we celebrate the strides made in sustainable design, we recognize the collective responsibility we bear. I encourage each reader to consider how, in their own capacities, they can contribute to a greener future. Afterall, every effort counts.

In the spirit of collaboration, we invite our readers to share their own ideas, projects, and initiatives that champion sustainability throughout the year as they will always be fascinating to us. If you have a story to tell or a project that exemplifies the merging of aesthetics and eco-friendliness, our pages are open to your contributions. Let us amplify your voice and collectively propel the A+D industry toward a greener horizon.

As we embark on this journey into a sustainable and design-rich year, may this edition of identity be one of many that showcases design excellence. We are excited to announce our tie-up with the January edition of Maison and Oject, which is celebrating its 30th anniversary in Paris this year. So, if you are visiting or exhibiting at the fair, feel free to reach out and we would love to hear more. identity has a lot more collaborations coming up this year, which we will be announcing on our platforms in the coming days. All in all, it is an exciting year ahead.

Wishing you a year filled with innovation and creativity.

Suha Sabith Deputy Editor identity

On the cover The Alu+ shower systems from Ideal Standard showcase an elegant marriage of form and function

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Tech Meets Nature Maison&Objet announces the theme for the 2024 January edition WORDS – SUHA SABITH

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n 2024, Maison&Objet marks 30 years of Frenchinspired excellence in the home décor, design and lifestyle industry. Marking this occasion, the show will take visitors on a journey to a re-enchanted future, where technology and nature exist in harmony. Challenging the reverse in its title, TECH EDEN, the theme of this anniversary year will be explored throughout 2024 edition of the Paris fair, in the city’s showrooms, and on M.O.M marketplace. The theme will be embodied in the three areas of expression dear to Maison&Objet: interior architecture, retail, and hospitality.

In continuation of last year’s theme “ENJOY!”, TECH EDEN conveys a dream-like optimism through shape and colour, focussing this time on a futuristic biophilia, a new world of well-being. “Maison&Objet is more attentive than ever to its customers and their needs, positioning itself at the heart of key challenges, now and in the future, by connecting creativity, innovation and eco-responsibility,” Mélanie Leroy, Managing Director of Maison&Objet. “Our ambition is to illustrate all the opportunities available to the home décor, design and lifestyle sector, and actively support its development”. “This is reflected in the quality of the programme of events for the upcoming edition: the Designer of the Year’s innovative project, the development of a What’s New? space providing concrete responses to the challenges in retail, and the Hospitality Lab, embodying a unique forward- looking vision of the hybridisation of hospitality venues.”

Maison&Objet’s 2024 theme “TECH EDEN” was devised in collaboration with the creative strategy agency Peclers Paris, which sees it as an opportunity to “highlight the profound evolution in the relationship between science and nature, and project it into a sustainable and desirable future.” Through immersive experiences, TECH EDEN invites professionals to rethink spatial design and layout, augmented by technological innovation, and employing innovative aesthetic and environmental approaches.

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Michel Basbous, Untitled (1961).

Courtesy of the artist and Mark Hachem

Cornelia Baltes Hob (2023). Courtesy of the artist and Andrehn-Schiptjenko

For the Love of Art Art Dubai announces its lineup of key installations and program for the 2024 edition WORDS – SUHA SABITH

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rt Dubai announced the list of participating exhibitors for its 2024 edition, which will take place at Madinat Jumeirah, Dubai from 1-3 March 2024, with previews on Wednesday 28 and Thursday 29 February. Held under the patronage of His Highness Sheikh Mohammed bin Rashid Al Maktoum, Vice President and Prime Minister of the UAE and Ruler of Dubai, Art Dubai is the leading international platform for art and artists from the Middle East and Global South, Art Dubai’s 17th edition will present over 100 exhibitors across four gallery sections: Contemporary, Art Dubai Modern, Bawwaba (meaning Gateway in Arabic) and the third edition of Art

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Dubai Digital, the only dedicated digital section of any major international art fair.

This year’s edition of Art Dubai seeks to expand definitions of the “Global South” beyond traditional geographic and economic boundaries, emphasising the shared histories and distinct narratives of communities worldwide, from Delhi, Tehran and Cairo to Bogotá and Guatemala City, as well as diasporic and migrant histories from global centres like London, Paris and New York. Several galleries will be showing in multiple sections of the fair, reflecting the breadth of collecting tastes in the region, from Modern Arab masters through cutting-edge contemporary and new media and digital art.

“Over nearly two decades, Art Dubai has grown to become the major marketplace and platform for galleries from non-Western art centres,” said Pablo del Val, Art Dubai’s Artistic Director. “Once again, over 60% of our programme is drawn from the Global South, presenting the best galleries and telling the stories of the leading artists from this region – making Art Dubai unique amongst art fairs in the communities it serves. This year’s exhibitor list clearly demonstrates the continued growth of Dubai’s art scene, the importance of commercial platforms for digital and new media art, and our ongoing commitment to scholarship and under-explored art histories. More than an art fair, we are proud to be a meeting place for these communities, to offer pathways for emerging and younger galleries representing a broad geographic spectrum, and to hold up mirror to the myriad communities who are contributing to the continued growth of Dubai as both a global city, and capital of the Global South.”

The participating artists and galleries in Art Dubai Modern 2024 are: Agial: Wahib Beteddini (Lebanon) and Abdul Mannan Shamma (Syria); Afriart: Samuel Kakaire (Uganda); Saskia Fernando: Chandraguptha Thenuwara (Sri Lanka); Mark Hachem: Hamed Abdalla (Egypt), Fatima El Hajj (Lebanon) and Michel Basbous (Lebanon); Leila Heller: Marcos Grigorian (Armenia); Gazelli Art House: Tair Salakhov (Azerbaijan), Ashraf Murad (Azerbaijan) and Farhad Khalilov (Azerbaijan); Hafez: Abdulsattar Al Mussa (KSA) and Hakim Al Akil (Yemen); Meem: Dia Al-Azzawi (Iraq), Ismail Fattah (Iraq), Muhammed Aref, (Iraq) and Mahmoud Sabri, (Iraq); Voloshyn: Fedir Tetianych (Ukraine)

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The North Star The North Star showcases additive manufacturing and recycling technologies in architecture WORDS – SUHA SABITH

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yxo studio recently presented The North Star pavilion, a 3D-printed structure designed as an exhibition space for startup incubator In5 to showcase the work of its companies, and to be used as a meeting space. The pavilion was showcased for the first time at Dubai Design Week 2023 and will serve future events for 2024.

The architecture The four souls of In5 – media, technology, design and science – are represented by an infinite loop, generating four spaces that flow into each other. The loop organises the movements of a series of surfaces that meet and fold together, articulating the opening or enclosure of the spaces. The S-shaped surfaces create fluid flows between the outdoor and the indoor spaces, defining pointed arches as an homage to the ogee arches of Islamic architecture.

The surfaces are characterised by a fluted pattern that emphasises their geometry, interpolating sections of different sizes and shapes.

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The interior side of the walls is differentiated from the exterior by the presence of a series of structural ribs, forming an extension of the pattern in needed moments. These ribs make possible the connections between the different parts.

Additive manufacturing and material cycle The pavilion is an exploration of the potential application of additive manufacturing (AM) and recycling technologies in architecture, showcasing the possibilities of large-scale thermoplastic printing. The pavilion is designed around the principle of repurposing and recycling. The structure is manufactured using a blend of recycled PETG with glass fibre and a UV stabiliser, ideal for long-lasting outdoor use. AM technology allows for the minimisation of waste during production, making it possible to print only the necessary material to make the panels. After its initial use, the pavilion could be recycled and, by reshaping it, it can be repurposed for different functions.

• The pavilion is made from a series of 3D-printed panels using a postindustrial recycled PETG, with 30% glass fibre and UV-stabilised (high stiffness/suitable for outdoors).

•T he panels are stiffened by flutes and a series of 15cm ribs on one side of the panel.

•E ach panel is 4.2 metres tall, and made from two parts, connected in the middle using naval glue and steel plates clamping the ribs from the sides.

•E ach rib is connected to the platform using T-shaped steel connectors.

The connectors are fixed to the wooden platform with screws.

•T he panels are connected at the top.

The connection is made via the ribs that meet at a series of points. The ribs are then fixed with U-shaped steel plates and screws.

•T he wooden platform is a sandwich of laminated plywood and solid wood frames. The solid wood is also placed where the ribs meet the platform.

Engineering consulting: ARUP Dubai Simone Materazzo Giulia Cavallari 3D printing manufacturing: Al Seer Marine

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Inspired by the 18th Century CATARINA exhibition features Miguel Rodrigues’ hyper baroque sculptures in Dubai WORDS – SUHA SABITH

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he sculptor MIGUEL RODRIGUES exhibits CATARINA, an exhibition of new sculptures, inspired by the stucco works of the 18th century Italian artist João Grossi. With these new sculptures, Miguel honours his passion for Baroque, cultivated from a young age in his birthplace Coimbra, Portugal.

The centuries of white stucco and the beauty of gilded carvings inspires Miguel Rodrigues to create his own “Hyperbaroque” universe creating a modern intake that can be seen in the sculptures of the Catarina exhibition at the AWC Gallery, located in Gate Avenue DIFC, it will be open to the public until the end of January 2024, curated by Anne-Floor Bouma Çeliktopuz.

This exhibition comes to Dubai after earlier this year, Miguel Rodrigues installed a monumental 12-meter sculpture at the invitation of the same gallery in the DIFC Sculpture Park in 2023.

This work is now part of the permanent collection of DIFC Dubai, providing visitors with a unique and lasting artistic experience.

This exhibition in Dubai marks the work of an artist who has gained prominence in the Middle East in recent years, being present in private and public art collections in Bahrain, Kuwait, and Saudi Arabia. The exhibition is sponsored by Rose Rayhaan by Rotana.

Exhibition details Opening time: Every day, from 10 am to 10 pm Location: AWC Gallery, Gate Avenue DIFC, DIFC - Gate Avenue: 104 - Dubai / UAE Date: Until the end of January 2024

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Creating Tomorrow The urgency of sustainable design education in shaping our future WORDS – HANI ASFOUR

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he expression ‘sustainable design’ is bandied about to the point that it has lost much of its meaning, rendered into yet another business buzzword like ‘innovation’ or ‘synergy’. And yet, its tired letters carry much weight in the present age.

We are living through the Fourth Industrial Revolution. The first three augmented human labour, enabling us to be creative workers and thinkers while machines did the heavy lifting. This new phase is a significant leap from labour to intelligence – that is, thinking and learning with machines.

In this new phase, employing design to improve the world and multispecies life – not just humans, but all the living beings we share this earth with – is essential and urgent. Our imperative is to embed empathy in innovation and humanize technology, be it machine learning or ethical artificial intelligence. Providing the next generation of designers with tools to define this fluctuating road ahead is critical to shaping the future of our world and tackling the climate crisis. This is how we built our curriculum at the Dubai Institute of Design and Innovation (DIDI), on the principles of collaborative, engaged learning. We recently welcomed the brilliant and world-renowned activist-designer Bruce Mau to host a hands-on workshop at DIDI, where he advocated for creative design-based problemsolving and building a thoughtful, mindful world. His lecture – an interactive dialogue with our students – reinforced design as a critical instrument of change.

As machines and technology influence how we live, work, learn, and experience the future, humans still retain the skills of empathy and context-awareness. For this reason, we empower our students to approach sustainable design thinking by deeply analysing

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the context, pain points, and experiences of the end users: Empathy-driven solutions are more vital and durable than products or profits. Working from the ground up – who will be impacted by the solution and their individuated desired outcomes – maps out more robust solutions that are holistic, inclusive, and desirable, generating value and purpose for their target communities.

This inclusive approach requires multidisciplinary collaboration with designers, scientists, engineers, social scientists, businesspeople, and legislators. Innovation is the result of collective lateral thinking and cutting across boundaries. Design thinking, in this way, is essential to understand the various intentions, impacts, side effects, outcomes and limitations of solutions to the world’s most pressing problems. As Mau so succinctly put it during his talk at DIDI, “Where we fail to design, we design to failure. This is the 21st century: Our project is not the welfare of all mankind. It’s the welfare of all life.”

DIDI’s hybrid curriculum, crafted in collaboration with the Massachusetts Institute of Technology (MIT) and Parsons The New School of Design, breaks down the silos between different disciplines and activates our learners into agents of positive change. Our students approach problem-solving wearing a variety of hats so that they channel their creativity into purpose-driven and comprehensive innovations. Simply put, we need to address the climate crisis urgently and effectively. To do so we must empower the youth to implement multidisciplinary creativity to produce meaningful solutions – there is no other way forward.

Hani Asfour is the Vice President, Innovation and Institutional Partnerships – Dubai Institute of Design and Innovation

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Left – Materials made from local elements such as desert sand, date seeds, palm waste, and more

Regional Innovation Richard Wilson talks about material innovation in UAE WORDS – RICHARD WILSON

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s a nation synonymous with cuttingedge architecture and avant-garde design, it was surprising to know that until 2019, there weren’t any materials being locally produced (at scale) in the UAE. Fast forward to today, and the narrative has evolved. There are currently around five or six commercially viable materials coming from the UAE and with more to follow in the new year. As the founder of Colab, a purpose-driven material library based in Dubai Design District (D3,) I acknowledge the transformative journey, while knowing there is still a wealth of untapped opportunity waiting to be explored.

Testament to the material innovation coming out this region, Colab was invited to participate at several design festivals across the world including the London Design Festival and Dutch Design Week. To represent local and regional talent on a global platform, with materials being made from the likes of desert sand, date seeds, palm waste, and more, it’s a rewarding realization that the UAE is now a platform that the international design community is taking inspiration from, and not the other way round.

The perception of sustainability has also undergone a profound shift. Sustainability isn’t boring, in fact, it is the total opposite. The design community in general are now much more aware of the opportunities out there.

These beautiful materials stretch beyond the possibilities of traditional ones we’ve been using up until this point. It’s an exciting era where sustainability is considered a wellspring of creativity and ingenuity.

Yet, as I revel in the success of the journey so far, the elephant in the room still remains as the price tag. Sustainability should not be a luxury; it should be accessible to all. This is where local material innovators play a pivotal role. By reducing reliance on imported materials and minimizing transportation costs, we can ensure that sustainability becomes not just an aspirational concept but an everyday reality. More importantly, designers equally have a responsibility to study and understand these emerging materials and specify them as this will help the materials become commercially viable.

At Colab, our mission extends beyond supporting local talent; we aspire to inspire and educate the local design community. The journey, however, does not end here. Our recent participation at Dubai Design Week and at COP28 has fueled our optimism for the future.

The global dialogue on climate change and sustainability has gained momentum, and the UAE, with its newfound commitment to material innovation, is poised to be a key player in shaping this narrative.

So, what can we all do to make a difference? Start by simply having conversations.

Throughout our time spent interacting with the design community this year, it’s amazing what we can achieve just through exchanging ideas with one another.

We understand the challenge of specifying materials that are unknown and untested in the region. That being said, we have witnessed an increase in the number of innovative materials being commercially specified in the region and this is testament to the strength of the material and the desire on the part of designers to work with something different and new. To sum up then, material innovation in the UAE has only recently begun, with so much more potential to be explored. The future is definitely looking positive and with the UAE continuing to attract global talent, there is no other choice for us to either innovate or run the risk of getting left behind.

Richard Wilson is the Founder and Creative Director of Colab

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This page (from left) – View of the presidential suite dining room; Details from the lounge area

Representing the Place Kristina Zanic Consultants designs the Ritz Carlton Baku entry with elements of the city WORDS – SUHA SABITH

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nterior design studio Kristina Zanic Consultants recently unveiled the breathtaking transformation of the Ritz Carlton’s inaugural establishment in Azerbaijan. The firm spearheaded the interior styling, FF&E (furniture, fixtures, and equipment) design, and art curation, breathing life into one of Baku’s most iconic towers.

The newly opened hotel and luxury branded residences, nestled within the architectural splendor of a prominent Baku tower, received

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a sophisticated makeover completed in January of this year. Kristina Zanic Consultants infused the previously unveiled hotel interior with local character, vibrant colors, and elevated the specifications to meet the renowned hospitality standards of Ritz Carlton.

Encompassing a sprawling 80,000 sqm, the project covered a range of spaces, including guestrooms, suites, luxury residences, and public areas. The scope extended beyond conventional interior design, encompassing FF&E

design, art consultancy, procurement, and an extensive redesign of key areas like the lobby, pool, spa, and the presidential suite.

The interior remodel pays homage to Baku’s rich cultural tapestry, drawing inspiration from local crafts and weaving the city’s influences into the design narrative. Retaining elements of the original architecture, such as sandstone columns and marble finishes, the enhanced interior features an inspired palette with gold detailing and jewel-toned accents reflecting the Caspian Sea and the fruit associated with the country - pomegranate.

“Our design inspiration stemmed from the rich history of Baku as a cultural crossroads and a mix of modern and traditional, natural and urban,” said Kristina Zanic, CEO of the eponymous studio. “We wanted to create a contemporary setting that has color and zing, that speaks the local design language, while simultaneously delivering the luxury Ritz Carlton experience.”

The meticulously crafted interior showcases clean lines, curved forms, and woven patterns inspired by Azari embroidery crafts.

Notable highlights include teardrop-shaped sculptures in the lobby, created in collabora-

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This page (from top) – Artwork in the lobby of Ritz Carlton Baku; Details from the lounge area

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tion with local haute couture designer Faik Kerim. The public areas boast fabrics from renowned brands such as Casamance, Zoffany, Nobilis, Zimmer + Rohde, and wall coverings from Maya Romanoff, Nobilis, and Rubelli.

The presidential suite, covering an expansive 608 sqm, exudes classical style with Art Deco touches, featuring symmetrical layouts, molded ceilings, and opulent finishes. “It’s always exciting to work on a property with statement architecture, but with that comes a unique set of challenges,” said Annika Broemmer, Design Associate at KZC. “The curved shape of the tower meant that no two rooms were alike, requiring layouts to be meticulously adapted to each floor.”

Navigating the unique challenges posed by the tower’s curved shape, the guestrooms and suites showcase flexibility in layout and meticulous planning. Embroidered fabrics, handmade in local patterns, adorn the rooms, while bathrooms boast boldly veined marble finishes and smart privacy glass.

In the culmination of Kristina Zanic Consultants’ vision, the Ritz Carlton in Azerbaijan stands as a testament to the fusion of modern luxury and cultural heritage.

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DESIGN

Artist Interiors Waldorf Astoria Doha is a masterfully crafted work of art helmed by Hirsch Bedner Associates (HBA) WORDS – SUHA SABITH

Above (from left) – Exterior of the building; The lounge area of Waldrof Astoria Doha; Right page – A distinct 1930s Art Deco style

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fresh, modern expression of Waldorf Astoria New York’s storied past, Waldorf Astoria Doha West Bay brings an aspirational New York state of mind to the region. The design-led, 44-storey landmark property boasts 283 Art Deco-inspired rooms and suites, and 50 luxury apartments, reflecting Waldorf Astoria New York by echoing key design elements, including the striking main entrance and beautiful, curated artwork, all of which have a distinct 1930s Art Deco style. World-renowned hospitality design firm HBA (Hirsch Bedner Associates), the company

behind the project, commented: “The client’s trust in our vision and expertise allowed us to explore a myriad of ideas, principles, geometry and materials to create an inspired interior that is faithful to the Art Deco tradition and a tribute to the legacy of the Waldorf Astoria.”

A standout feature of the design strategy and a work of art itself, a Tiffany & Co. clock greets guests as they enter the hotel. Located in the lobby, this timepiece was crafted from anodised aluminium by the House’s artisans.

Showcased on a bevelled base, the clock features hands and hour markers in the jeweller’s

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DESIGN

Above – A Tiffany & Co. clock greets guests as they enter the hotel

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signature robin’s-egg hue, as well as a diamond motif on the outer ring – both emblematic of Tiffany & Co. The clock stands 1.22 metres high (2.2 metres from the ground), is 1.03 metres long and 21.8 centimetres wide. It weighs approximately 350 kilograms.

A four-sided bench surrounds the clock, upholstered in a delicate pale mohair inspired

by Tiffany’s signature hue. This upholstery is also mirrored in each guest room – cleverly linking the first impression of the hotel back to the guest rooms.

A feature églomisé screen behind the reception references the stylised landscapes by Jean Dunand – one of the Art Deco period’s great craftsmen. Custom hand-painted de Gournay wallpaper, based on an Art Deco leather dreamscape book cover, provides an atmospheric backdrop to the otherwise highly precise, exacting interior architecture.

The hotel’s guest rooms are large, comfortable, light and filled with materials that speak to the Art Deco period, including Aqua Bella marble, Tiffany Blue-inspired mohair, alabaster, cream and pale blue leather, black lacquer, white Birdseye timber veneers and lilac book-matched marble. Embossed shagreen patterned wallpaper adds texture, and mirror polished chrome detailing creates sparkle. The artwork is stylistically in keeping with the Art Deco vernacular of clean lines, layered shapes, rectilinear geometry and aerodynamic curves.

Notable design highlights within the hotel’s outlets include the illustrious Peacock Alley. Steeped in history, the storied jazz club dates back to Waldorf Astoria’s New York’s foundation. This iconic hotel, from which the Waldorf Astoria Doha West Bay takes its stylistic cues, is known for catalysing the very notion of glamour and grandeur as we know it today. Peacock Alley at the Waldorf Astoria New York was the coveted social promenade where the famous and fashionable gathered.

Faithful to the Art Deco period both in materiality and design, the full-height plaster carved wall that bookends Peacock Alley highlights an exotic landscape with palm trees, foliate and hillside motifs – referencing the original Peacock Alley and the work of revered interior designers and craftsmen, ArmandAlbert Rateau and Jean Dunand.

The central catwalk in Peacock Alley is defined by a tonal marble mosaic pattern with a subtle peacock feather motif. The pattern is punctuated by a gradient burst pattern in a pale jade marble, emphasising the light bursting from the large glass rondel pendant lights overhead. The soft furnishings are pale and light in shade, referring back to the original albino peacock that provided the initial inspiration for Peacock Alley.

The Cortland Bar also features Namban de Gournay wallpaper, wrapping around the Art Deco New York City-style Jazz Bar. The gilded

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DESIGN

wallpaper is imagined in tones of polished copper, deep rich, golds and warm platinum. It is panoramic in character and illustrated with patterns of abstract gold, swirling clouds, waves of wind and beams of light. The spirits are displayed in a glowing double-height jewel box, lined in mirror and black lacquer, designed to feel both nostalgic and glamorous. The pendant lights within the antique mirrored coffers provide a sense of infinity and were designed in a celestial burst pattern.

The Rear Ballroom Lobby boasts strong geometry, height and order, in keeping with the Art Deco period, as do the luxurious finishes true to the period that line the walls. At seven metres high, the space emulates the streets of New York City – high, narrow and powerful.

A rhythm of Sputnik-style pendant lights reflects and refracts in the antique mirror, giving the feeling of glamour and infinite space.

Distinctive Amazonite marble clads the reception desk, again subtly linking both guest entrances to create a seamless guest experience.

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The ballrooms exude the glamour of a bygone era. Intricate relief-patterned walls with black and white lacquer frames and antique mirror inserts add shimmer and a timeless opulence as guests enjoy pre-function drinks and entertainment. Geometric patterned églomisé panels in platinum and soft hues of jade green form the backdrop to the cocktail bars. Straw marquetry panels, hand-made by specialists in France, feature subtle burst patterns – greeting guests as they enter the ballroom through these double height doors.

The all-encompassing, four-floor Waldorf Astoria Spa & Health Club is an oasis of tranquillity and a destination in itself. Treatment rooms are lined with pale fluted timber panelling and feature walls capturing a subtle deco burst pattern in timber. The beating heart of the spa experience is the 26-metre indoor pool, which boasts far-reaching views, from the city lights to the desert beyond. The space is a dramatic 7.3 metres high, with a seven-tier stepped architectural ceiling which mirrors the length

Above – The style is also reflected in the rooms of the hotel

of the pool and references the Art Deco vernacular. The swimming pool is paved in glass mosaic tile by Sicis – the linear pattern is comprised of black and shades of jade green mosaic.

The standout feature of the pool area is an elaborate masterpiece of craftsmanship that acts as the central focal point of this magnificent space. The 8.5-metre-long screen is a tribute to designer and architect Eileen Gray, and is not only a sculpture but a movable wall that offers different views based on where the solids and voids are at any one time.

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INTERIORS

MENA Expansion Celine Interior Design to open offices in Dubai and Riyadh in 2024 WORDS – SUHA SABITH

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or almost two decades, Noor Charchafchi has been the Director of the awardwinning Celine Interior Design, based in the UK. As a cross-discipline interior and architecture practice, the firm’s focus is on creating exceptional homes and spaces that truly empower a client’s standard of living. The focus is on timeless, classical design reflecting British traditions and heritage, with contemporary Middle Eastern touches.

“The design company looks to spread its wings further and expand this year with new international offices,” says Noor Charchafchi.

“With my Iraqi heritage, it’s long been a dream of mine to return to the Middle East and support the growth of the region. I want to ensure we

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bring together the most talented individuals, to build extraordinary residential and commercial venues, uniting unique creative visions, and design excellence. We want to invest back into this beautiful region and to hopefully become part of its continued growth and success.”

Due to demand, 2024 will mark the company’s rapid expansion and growth, launching globally into France and the Middle East, with offices opening in Monaco, Dubai, and Riyadh.

Charchafchi’s success reflects the level of dedication to the client and their attitude towards the professionalism of design. Celine Interior Design has worked across high profile residential and commercial property development projects, in the UK and internationally. These

include some of the world’s most desirable addresses, Mayfair, Knightsbridge, Belgravia, Monaco, Cap Ferrat, the Swiss Alps, The Kingdom of Saudi Arabia, United Arab Emirates and many more.

Celine Interior Design’s team are going through the final procedures of officially forming international offices, with the correct licenses and approvals in place. The firm recently launched a private yacht and aviation service and are now designing some of the most unique models in true Celine Interior Design style.

“We look forward to expanding these services along with our core interior design offering, on a truly international scale – we want to cater for all our client’s lifestyle needs.”

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INTERIORS

Designer Profiled Zahir Abdul Latheef, founder and principal of Design Nomad WORDS – SUHA SABITH How long have you been a designer?

Professionally, I’ve dedicated a decade to design, leveraging a strong background in the arts that spans my entire life. This lifetime pursuit of art and design has significantly influenced my approach and style.

Why did you start Design Nomad (DN)?

Design Nomad was born out of my passion for sketching and drawing. The initial impetus came from receiving project inquiries from fitout companies. In 2015, I established a small license in Muscat, learning the trade through hands-on experience. The motivation behind starting Design Nomad was driven by a deep-seated desire for independence and the creation of exceptional art.

How has the company expanded over the years?

Founded in Muscat in 2015, Design Nomad started with a small team, primarily focused on supporting fitout companies with detailed design and technical assistance.

Our initial success came from contributing to

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the burgeoning mall era in Muscat. Over the years, we introduced 3D rendering and expanded our services to include F&B, retail, office and residential design, along with project management and procurement. Our commitment to project delivery sets us apart, seeing projects through from design to completion.

In what countries do you design?

In the current year, our projects have spanned the UAE, Oman, the US, Saudi Arabia and India, with upcoming projects in the Maldives and the UK. Previously, we’ve also undertaken projects in Qatar.

What’s been the stand-out project for you in the last year? What makes it unique? Were there any particular challenges in, or unique methods used for, the design?

A recent stand-out project is Chocoberry, a UK-based pastry and chocolate brand located in Emaar Downtown, Dubai. Its uniqueness lies in the volumetric aspects and the interplay of simplicity and complexity.

The design of the ceilings adds an extra layer of attention to detail.

What are your goals for the company in the coming year?

Our aim is to triple the number of projects in the coming year, building on the success of 2023 where we experienced some serious growth. We plan to invest more in

robust concept design and material development and explore design process automation and project management through R&D. Being a 100% BIM company, we will continue to invest in and explore advancements in that segment.

Do you have any expansion plans? If yes – where, when and why?

We’re doubling our team in 2024 and eyeing a soft expansion into Riyadh. The local ecosystem is becoming conducive, with our industry partners setting up local companies, facilitating our entry into the market.

What projects are DN working on at the moment?

We’re actively involved in strategising the first MLS Butchery in Dubai in Motor City, a partnership with the largest meat supplier in Oman, set to be operational in January 2024. Additionally, we’re engaged in the design of four Filli Cafe outlets in the US, and one each in Dubai and India. We’re also concluding the design for Al Kabeer’s new head office in DAFZA, alongside their Jeddah regional office.

What does an ideal day look like for you?

An ideal day involves a tranquil December day, free from meetings, site visits or calls. It’s a day fully dedicated to design development with the team, perhaps capped with a rare lunch together.

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WORDS – SUHA SABITH

From the Region We spoke to Tamilla Jazayeri, designer and founder of Dubai-based TAM Studio to know more about her studio’s journey – designing and manufacturing from the region

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DESIGN

later stage if the wood has not been air-dried for a long period of time. So, it’s very important for us to work with known and trusted suppliers – and if we are exploring a new material such as natural stones, or a new veneered wood, it’s key to conduct quality checks and make prototypes to test the material and make sure it is suited to its function.

The manufacturing and production of our designs is probably one of the toughest phases of the process as it relies heavily on the level of craftsmanship. We have learned through years of experience in this field to invite more dialogue and open discussions with our inhouse production team, and to offer more time when required, as each piece of furniture is almost handmade and it’s important to give time for trial and error. Whether it’s a piece of furniture or a collection, we have come to understand that no design reaches its final destination from the designer’s perspective; we always feel the need to tweak, improve and make adjustments for a better result. This is why mid-process assembly and prototyping is a crucial part of the manufacturing process, and we are pleased to offer this to our clients.

What are the sustainable aspects of producing locally?

What are some of the ways you look for inspiration when designing a product?

ibility in form and materials, and I believe this is both [the] inspiration and functionality.

There are so many ways to be inspired and, personally speaking, most often the inspiration is not an immediate connection to an object or a place – but perhaps an emotional stimulation from forms and shapes in nature, the tactility of our environment or iconic designs that improve our daily life. I have noticed that I am usually inspired when in a full state of awareness and in the moment – and our latest collection, Organicus, was a result of this. The collection, which was the outcome of a wonderful trip to Mexico’s east coast, is a blend of black accents from Mexico’s ‘black clay’ with neutral tones, creating peaceful, elegant and earthy settings.

Through this collection, we applied our studio’s ‘bespoke and customisation’ identity to our design process, where the collections offer flex-

What are the processes involved in manufacturing products in the region?

What are some of the key materials used for the same?

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The process of manufacturing is very similar to other international practices, with a few variations. The starting line is a conceptualised design which has been developed and drawn out in detail. We use raw materials in our practice most often, and in the UAE this is imported – which requires sourcing and market research if the material is not commonly used. For example, the solid wood used in our Organicus collection requires dry wood material to avoid moist and cracks appearing in the furniture with time; the extreme humidity in our region can cause problem in our work at a

Producing locally of course offers many advantages that contribute to environmental benefits and, at the same time, support the growth of the local economy in the region. The outcome of this should not be a short-term goal but a long-term vision. This process supports small businesses which results in creative growth, innovation and originality, which will not only attract a wider audience to our region but [also] reduce dependency on international markets – which we are already seeing more and more in the UAE. There are also other benefits when we produce locally, as it naturally involves a shorter supply chain, minimal transportation and subsequently a lower emission contribution.

When it comes to furniture and the wide range of architectural styles we see today in villas and apartments here in the UAE, producing locally has directly benefited TAM Studio’s clientele, as we can offer customisation services based on their preferences and involve them in the material and design process – allowing the user to have a design that is made to their individual taste and needs, and at the same time producing more efficiently and reducing the risk of over-production and waste. Moreover, at TAM Studio we are keen on, and in the progress of researching and exploring, cultural practices and new materials – such as date wastage that is suitable for furniture-making – and we are taking steps towards working with

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local artisans to not only produce locally but to also use locally developed materials to preserve cultural heritage and craftsmanship.

Could you expand a little bit more on your Organicus collection that debuted at Dubai Design Week?

Behind the initial concept – which inspired us with the materiality and the use of earthy tones and black accents, as bespoke designers working on furniture customisation very often – we were keen and passionate to offer a flexible range to our client, where they could customise not only the materials and size, but also have the flexibility to play with assorted forms to cre-

ate the perfect composition that matches their home and interior design. With that mission in mind, our clients become the designer and are given the freedom to play and use their creativity and personal style to create a versatile piece of furniture. The materiality of this range also adds another layer to the modular collection.

Made from natural materials such as raw unpolished travertine, stained solid pine wood and metal, there’s a chance to be playful with solid and tactile materials to create an expression.

What are your goals for the region’s design industry and how is Studio Tam working towards those?

To see the growth of TAM Studio in the fast-growing design industry of Dubai, and the UAE, is absolutely exciting for us.

We are also opening our doors for the first time to the public, who can visit our new Design Studio and Furniture Showroom based in Al Quoz 1 (close to Alserkal Avenue), where passionate designers and public can visit and enjoy our latest project: 'SIGNATURES’, a furniture collection ‘made by designers and makers for you’. We are thrilled for this launch and the opening of our showroom, as it marks the very first furniture store in the UAE, showcasing locally made, original pieces.

“The collection [...] is a blend of black accents from Mexico’s ‘black clay’ with neutral tones, creating peaceful, elegant and earthy settings.”

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Crafting Elegance Havelock One completes Manish Malhotra’s flagship store at Dubai Mall

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Insights from Senior Project Manager, Mark Hampson on design challenges and achieving a vision identity.ae

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Partner content

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rom Bollywood icons to global favourites including Jennifer Aniston and Naomi Campbell, Manish Malhotra has dressed them all. Now, his magnificent designs hit the UAE with the opening of his first flagship fashion boutique at Dubai Mall.

Havelock One, a leading interior fit out and custom manufacturing specialist, was enlisted to execute the design development and delivery of Malhotra’s flagship store. Infusing the brand’s timeless designs with modern aesthetics, the newly unveiled 4,500 sq. ft. space aptly named ‘The India Story’ captures the essence of the brand. Originating from the visionary mind of Bollywood royalty, Gauri Khan, the initial store designs were brought to life through the skilled execution of the Havelock One team.

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We spoke to Mark Hampson, Senior Project Manager at Havelock One to know more about the intricacies and challenges associated with the design development and delivery of the company’s latest retail project.

Crafting 3D dreams into real-world wonders The journey began with stunning 3D renders provided by famous Indian interior designer, Gauri Khan of Gauri Khan Studios. Harnessing the power of these visuals, Havelock One transformed these concepts into reality by developing detailed drawings and proposing materials.

Mark Hampson shed light on the initial stages of the design development process, emphasising the hands-on approach of Havelock One’s team

in transforming the client-supplied renders into practical detailed design and shop drawings.

Achieving a vision The incorporation of decorative elements, including ornate plasterwork and white gold leafing, showcased the meticulous attention to detail paid by the team. Mark emphasised how the team adapted to navigate changes brought about by the client, in this case, the esteemed fashion designer Manish Malhotra. In this dynamic collaboration, where continual enhancements were made to actualise Malhotra’s authentic vision, the project’s success hinged not only on Havelock One's operational efficiency but also on the essential input of North 51 Consulting, the project and cost management con-

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terpreting and implementing these regulations comprehensively, ensuring every aspect of the security system meets the specified criteria.

With a track record of successful projects within Emaar properties, Havelock One has developed a strong familiarity with the landlord’s fit-out guidelines and procedures. This profound insight played a pivotal role in ensuring the seamless and swift delivery of this project within a live trading environment. sultancy. At the heart of the project, managing multiple stakeholders, North 51’s expertise and strategic oversight played a pivotal role in ensuring a smooth workflow, and providing effective resolution of challenges, contributing significantly to the overall success of the project.

Challenges in relation to fit out of high-end retail stores Manish Malhotra’s flagship UAE store is home to a bespoke High Jewellery collection, designed only for ‘The India Story’ at Dubai Mall and strictly by appointment only. To safekeep these precious items Havelock One built a private jewellery showroom in compliance with stringent SIRA (Security Industry Regulatory Agency) requirements. The challenge lies in in-

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Global presence and high-end clientele Mark Hampson emphasised how the project aligns with Havelock One’s expertise, having developed partnerships with globally recognised retail brands like Dolce & Gabbana, Charlotte Tilbury , Alo Yoga and Ralph Lauren.

The company’s extensive experience includes the manufacturing of multiple stores for these brands internationally.

Havelock One is dedicated to reshaping the luxury retail experience, and the upcoming year marks a pivotal moment as it extends its influence and geographical presence. The aim is to set new benchmarks through cutting-edge manufacturing technologies and top-tier talent.

About Havelock One Established in 1998, Havelock One is now recognised as one of the leading fit out and manufacturing players in the industry. Based in five countries (Bahrain, KSA, Kuwait, UAE and Qatar), across seven offices, it employs over 1,700 people across the GCC with its main headquarters and 520,000 sq. ft. factory facilities located in Askar, Bahrain. Over the past 25 years, Havelock One has completed more than 8,800 fit out projects, across a range of sectors including hospitality, retail, entertainment, commercial, government, residential, F&B and more.

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COVER STORY – DESIGN

Sustainable Showers Ideal Standard launches its new sustainable shower system: Alu+ WORDS – SUHA SABITH

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COVER STORY – DESIGN

Completely free from chrome, lead and nickel, Alu+ also features water-saving technology.

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n a world increasingly focused on sustainability, the bathroom accessory industry is undergoing an intense shift towards ecofriendly practices. From shower curtains to soap dispensers, manufacturers are recognizing the importance of incorporating sustainable materials and designs into their products.

Moreover, forward-thinking companies are implementing circular economy principles, ensuring that products are recyclable and minimizing single-use plastics in packaging. As consumers seek to reduce their ecological foot-

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print, the demand for stylish yet sustainable bathroom accessories are on the rise, encouraging a positive wave of change in an oftenoverlooked corner of our daily lives.

Ideal Standard is one of the world’s leading manufacturers of high-quality residential, commercial and healthcare bathroom solutions, operating in over 60 countries across Europe, Middle East and Africa. The bathroom manufacturer recently has unveiled an exclusive preview of its latest masterpiece – the Alu+ showering range. This new collection emerges as a beacon of sophistication, blending a modern color palette, practical features, and robust sustainability credentials to deliver a contemporary shower solution tailored for the demands of modern living.

Aesthetically, the Alu+ shower systems showcase an elegant marriage of form and function, with sleek rectangular lines seamlessly complemented by the circular mixer, showerhead, and hand spray. The contemporary design is further elevated with a choice of three low-sheen finishes – Silk Black, Rosé, and Silver. This thoughtful variety empowers customers to explore and express their creativity through color in a fresh and exciting manner.

“Launching sustainable products reflects our commitment to a greener future,” said Frederick Trzcinski, VP of Commercial Middle East & Gulf and Marketing Middle East and Africa, Ideal Standard MENA. “Alu+ collection, crafted from 84% recyclable content, embodies innovation and responsibility. It’s not just about a product; it’s a testament to our pledge to minimize environmental impact while delivering excellence.”

Sustainability takes center stage in the Alu+ range, positioning it as a leader in ecoconscious bathroom solutions. Crafted from high-quality recyclable aluminum boasting an impressive 84% recycled content, Alu+ tran-

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scends traditional manufacturing by being entirely free from chrome, lead, and nickel. What sets it apart further is the incorporation of water-saving technology, seamlessly integrated into the entire range. Flow limiters ensure responsible water consumption, restricting it to just eight liters per minute for the hand spray and 12 liters per minute for the rain shower – all without compromising on performance.

The commitment to sustainability extends to every component of the Alu+ range. All plastic parts are crafted from high-performance,

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drinking water-compliant polymers, guaranteeing that the water remains pure and uncontaminated by harmful plastics. Ideal Standard’s conscientious decisions regarding sustainability permeate the entire product lifecycle, with packaging that is not only completely recyclable but also free from single-use plastics.

Practicality takes center stage in the Alu+ range, ensuring that users not only experience a visual delight but also benefit from a highly functional showering system. The inclusion of storage shelves and matching beauty bars

adds a touch of convenience, with mirrors and other storage solutions available in the same three colors. The hand spray and extra-large rain shower head offer users two distinct spray modes – a normal Rain spray and the indulgent SilkRain mode, promising a premium, spa-like experience with ultra-fine water droplets.

Navigating between these spray modes is a breeze, thanks to the user-friendly design.

An easy-to-adjust lever on the hand spray and Ideal Standard’s innovative EasyDial control knob on the shower head make customization effortless. Moreover, the Alu+ range incorporates EasyClean spray nozzles, ensuring that both the hand spray and shower head are easy to maintain and free from limescale build-up.

The Alu+ range caters to diverse user preferences by offering options in both thermostatic and single lever configurations. Shower rail sets with a handset and shower systems equipped with a diverter provide flexibility, allowing users to seamlessly switch between the hand spray and overhead shower based on their preferences. Ideal Standard’s Singular philosophy further enhances the versatility of the Alu+ range.

The Singular concept is a new approach to specification bringing together the company’s deep product knowledge, sector expertise and design services to enable customers to easily choose from thousands of products to create the right solution for their space. It is a simple, flexible process that means customers only need a single supplier and one dedicated point of contact but will still have access to unlimited inspirational bathroom solutions from a complete range of product categories, including brassware, ceramics, furniture, bathing, showering and accessories.

This thoughtful approach ensures that the shower system effortlessly pairs with matching Cerafine O taps and Idealrain shower accessories, all designed in the same appealing colors and style. The compatibility extends to Ideal Standard’s wider collections, including shower trays, enclosures, ceramics, and furniture, providing consumers with a holistic and coordinated bathroom solution.

Ideal Standard’s Alu+ stands as a testament to innovation and sustainability in the realm of modern bathroom design. Beyond the visual appeal and practical features, Alu+ sets a high standard for eco-conscious manufacturing, offering a showering experience that aligns with the values of contemporary living. This comprehensive and meticulously crafted range promises not only a luxurious shower but also a conscious and responsible choice for consumers seeking a blend of style, functionality, and sustainability in their bathroom experiences.

For more information, go to www.idealstandardgulf.com

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This page – Common area of the upper floor; Right page – Circulation core with planters

Harmonious Living

PHOTOGRAPHY – ANDRE J. FANTHOME WORDS – JENNIFER COPLEY

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In a planned satellite city of Delhi in India, architecture studio Archiopteryx has built the ‘People Tree House.’

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GLOBAL OUTLOOK

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Left page – Front side of the house; This page – Kitchen of the house and roof with brick vault

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estled in Noida, in India, a family home sits among tree-lined urban streets. Solar panels sweep skyward, apertures filter the breeze and a sloping rooftop channels rainwater to greenery planted throughout. This is the ‘People Tree House’ a project that speaks the language of sustainable design by Archiopteryx, an architecture design firm based in India.

The People Tree House was developed to meet the needs of a family of medical entrepreneurs. With a clinic occupying the basement, the home is designed across four floors and divided into zones for work, play and rest. Within this scheme, the importance of biodiversity was central to the development of the project. “With its core theme of ‘harmonious living,’ Archiopteryx endeavours to bring together animals, plants, insects and humans to further wellbeing and sustainability,” explains Akshay Shrinagesh, Founder of the architecture practice.

The design process began with a detailed study of the local flora and fauna. Various discussions took place with the client and consultants such as Ecological Gardener, Kush Sethi.

The site incorporates multiple green zones with fruit-bearing plants including mulberry

and orange jessamine and flowering plants and herbs such as nerium oleander and Indian milkweed. Seasonal greens are grown in the rooftop kitchen garden. This carefully considered planting encourages pollinating insects while perching spaces were created to invite birds to visit. Shrinagesh enthuses, “Flowering vines and creepers of blue pea, and madhumalti planted on the terrace create a bio-fence that hangs over the balconies and allows birds and insects to stopover as they make their way to the flora situated at the rear of the building.”

Nature has been prioritised over the artificial in each aspect of the design process encouraging a harmonious relationship between the building’s residents and the natural world. Minimising the need for artificial light, the building’s apertures, skylights and cutouts filter and direct natural light. Rubble, brick and earthenware pots were locally sourced to provide masonry infills and natural insulation. “The materials used in the People Tree House have been expressed in their natural state, and the colour use is a by-product of this honesty,” explains Shrinagesh. The structure of the building organised around a central ‘trunk,’ also encourages a stronger connection to the external

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GLOBAL OUTLOOK

This page (from left) – Skylight of the house; View from the top of the house Right page– A shot of the living room

world. Various openings frame views of the sky, plants and the built environment. Shrinagash elaborates, “In this age of digital and screen fatigue these openings allow for cross-ventilation and much-needed visual respite.”

Inspired by the rich architectural history of the Indian subcontinent, most specifically the Amber Fort in Rajasthan, Archiopteryx developed a closed loop system to channel and store water collected from the sloping rooftop, open balconies and splash pool overflow. The collected water is released using drip irrigation to plants and vegetation. A bright red pipe runs throughout the house functioning as both a staircase handrail and a means of rainwater collection. Stored rainwater also feeds an en-

try-level pond that provides a cooling area attracting local insects and birds. As Shrinagesh states, “The building generates energy, recycles and irrigates to nurture life.”

People Tree House sits upon land the client has named ‘Ashvattha,’ after the Peepal (fig tree) at the eastern corner of the site. A sacred tree in Hindu scripture, the tree bears inwardgrowing fruit pollinated by a special species of small fig wasps, enabling ripe figs throughout the year that attract various birds and insects.

A symbol of natural self-sustainability, the fig tree could not be a more fitting symbol for People Tree House, a unique home that, in the words of Shrinagesh “invites human and nonhumans as participants in the dance of life.”

TECHNICAL SHEET Structural/Mechanical/Electrical/Civil: Archiopteryx Landscape: Harame: Kush Sethi HVAC: SVL systems Solar Energy: Raema Star Solar Pvt Ltd Openings: Asahi India Sanitary ware/Fittings: Jaquar, Kohler Flooring: Indian White Marble, Jaisalmer Yellow Air Conditioning: Hitachi Lighting: Phillips Paint: Berger PhotoVoltaic Solar Panels: Vikram; Monocrystalline panels Elevator: Kone

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WORDS – SUHA SABITH PHOTOGRAPHY – CURT THEMESSL

Greener Pastures House P by NAJJAR NAJJAR architects is situated in the outskirts of Vienna, in the foothills of the Wienerwald

ARCHITECTURE

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he design concept of House P aims to seamlessly integrate the building into the lush landscape, with particular emphasis on engaging residents with the natural beauty of the surroundings and the idyllic vistas.

The spatial arrangement within the living areas has been carefully crafted to create a sequence of expansive, interconnected zones. The overall experience is further enriched by unobstructed sightlines, allowing inhabitants to perceive the living spaces as a vast panorama.

The ongoing spatial zoning within the interior is mirrored in the design of the outdoor areas. This concept seamlessly integrates the generous terrace and the pool, which is orientated perpendicular to the building axis, with the indoor spaces.

This design coherence creates a fluid transition between the interior and exterior. The terrace and pool become integral components of the living space, affording residents the opportunity to fully embrace the outdoor beauty and tranquillity while maintaining a harmonious connection to the interior of the house. A generously curved, shelllike and cantilevered roof covers the upper level

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living space as well as the garden level, providing unobstructed views of the city. The roof has been intentionally designed to maximise passive solar gains and is equipped with solar panels.

The building is supplied by a geothermal system featuring a heat pump installation, and benefits from passive cooling as well as earth ducts for sustainable climate control.

This page – Unobstructed sightlines, providing ample view of the surroundings; Right page– Building is supplied by a geothermal system

TECHNICAL SHEET Structural engineer: Werkraum Ingenieure ZT Wien Building physics: Kaltenegger und Partner Architekten ZT GmbH HVAC engineer: Ökoplan Energiedienstleistungen GmbH Energy design: teamgmi Ingenieurbüro GmbH Österreich Lighting consultant: LITEstudio Wien Construction supervision: Rames Najjar, Wilfred Pleyer Year: 2023 Area: 8,600 sq.ft

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ARCHITECTURE

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Perfecting the Trio WORDS – SUHA SABITH

PHOTOGRAPHY – MIKE KELLEY

Floor-to-ceiling glass walls connect indoor and outdoor spaces

Stradella Ridge House in the USA was designed by SAOTA alongside US architect and developer David Maman and Belgian interior designer Dieter Vander Velpen

GLOBAL OUTLOOK

Left – The exterior has white aluminium vertical screens; Below (from left)– Architectural lines reinforcing the expansive views; Clean contemporary interiors; Right page – The design balances solidity and lightness

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ape Town’s SAOTA, alongside US architect developer David Maman and Belgian interior designer Dieter Vander Velpen, designed this Bel Air residence, which is perched on a steep, triangular site with striking canyon views extending from Century City to the ocean.

Inspired by the site’s geometry and orientation, the exterior has a robust angular form.

The upper floor is enclosed in white aluminium vertical screens – a pristine, clean element that floats above a monolithic concrete base. This mass element, which gives the building’s primary street character, is interrupted by a single undulation in its otherwise uniform surface, its lightness contrasting with the solid, tactile concrete it hovers over. Entering the property,

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GLOBAL OUTLOOK

This page (from left) – A simple palette of stone, timber and bronze; Architecturally crafted minimal spaces; Right page – Living spaces to lounge

the architectural character changes. Clean lines persist but are now fragmented, with angled mass walls guiding visitors towards the entrance, and the materiality shifts from metal and concrete to earthy travertine surfaces.

The contrast between the containment of the street entrance and the release into the living space, with its architectural lines reinforcing the expansive views over the pool terrace and down the canyon’s flanks, is powerful.

A memorably large living space is focused on the view.

Floor-to-ceiling glass walls seamlessly connect indoor and outdoor spaces, merging the main living areas with the pool terrace. The architecture shapes the views, providing privacy where necessary while drawing the landscape’s calmness and serenity into the home’s heart.

Inside, fluid, curved forms and a simple palette of stone, timber and bronze create a unified, sculptural quality. Natural materials and organic shapes infuse warmth and wellbeing, from the kitchen island to the circular marble bath, which is carved from a single piece of marble.

Architecturally, the design balances solidity and lightness, angularity and curvature, street presence and scenic views, resulting in a powerful architectural statement and a cocooning nurturing environment.

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TECHNICAL SHEET Lead designers: SAOTA & David Maman SAOTA project team: Mark Bullivant, Kerian Robertson, Arthur Lehloenya Architect of record: David Maman Interior architecture & designer: Dieter Vander Velpen Architects Development manager: PLUS Development Contractor: JAL Construction Inc Civil & structural engineer: Structural Design Plus, Inc. Electrical engineer: CEG Landscaping: Landscape by Diane Lighting design: Moon Lighting

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A Moment of Zen

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Right – Eighty per cent of the furniture was custom-made on site by local contract carpenters

WORDS – SUHA SABITH PHOTOGRAPHY – DINESH MEHTA

Zen Spaces was designed by Sanjay Puri Architects as a biophilic space with volume and light identity.ae

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GLOBAL OUTLOOK

This page (from left) – All walls made in fly ash bricks; Solid and perforated volumes; Right page – Naturally ventilated living room

S

anjay Puri Architects presents Zen Spaces, a four-level, 27,000-square foot home located in Jaipur, Rajasthan, India. Blurring the lines between inside and outside, Zen Spaces integrates with the existing landscape, screening and allowing filtered light to enter each space in different ways, infusing volumes with light and shadows to transform them in different ways at different times. The property is situated on a relatively large plot, with an existing house on the southern side, and the clients wanted a new house since the family had grown larger. Most of the existing garden has been retained as a common space for both houses, and the new home is built on the extreme northern end, with roads on

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three sides. All existing trees on the site were retained, with the new house ensconced in the clear space between them. The house is a composition of cuboid volumes punctuated with an open courtyard, built on four levels to accommodate three generations living together.

A subterranean level, lit naturally by a sunken courtyard, houses a large lounge, a gym and service areas. The ground floor and the first floor have living and dining spaces, with three bedrooms and a small lounge located on each level. The second floor features a multipurpose room that opens onto a large north-facing terrace.

The circulation spine within the house skirts the courtyard, allowing a visual connection to the landscaped spaces wherever anyone is within the house. Each part of the house is naturally lit, with diffused indirect sunlight permeating the inner volumes. Jaipur city has eight months of summer where temperatures can be in excess of 35°C, and four months of winter with temperatures averaging between 12 and 21°C. The house is punctuated by a winter deck on the southern side facing the large garden, and a linear summer deck fronting the main living and dining spaces on the northern end.

The two decks provide sheltered outdoor seating, usable throughout the year and ideal for family gatherings. In addition, each room opens onto its own private outdoor deck, balco-

ny or terrace, providing individual open spaces for everyone in the house. These outdoor decks provide shelter from the excessive heat of the summer months, while keeping the inner spaces cooler. The summer decks look out towards the large garden, and the winter deck looks out towards large trees, with each of the individual room decks opening out onto a mix of bamboo and other trees. To reduce the heat gain of the summer months, and to simultaneously provide privacy and reduce noise from the arterial road the house fronts, a series of GFRC screens sheath the east, west and south sides, with the north side more open. These screens allude to the stone screens of traditional architecture of Jaipur city, and of Rajasthan.

The house has a simple RCC structure frame, with all walls made in fly ash bricks, and incorporates water recycling, rainwater harvesting and a solar water heating system.

The house was built by local contract labour

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TECHNICAL SHEET Project name: Zen Spaces Location: Jaipur, Rajasthan, India Start date: May 2020 Completion date: November 2023 Gross floor area: 27,000 sq.ft Cost: US$ 1,801,500 Architect: Sanjay Puri Architects Lead architect: Arch. Sanjay Puri Associate architects: Arch.Madhavi Belsare, Arch.Ishveen Bhasin Design team: Arjun Gupta, Vibha Alat

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from the vicinity, and most materials used in its construction were procured within a 100-kilometre radius. Every part of the house is naturally ventilated, with the courtyard contributing to passive cooling. The interior palette is predominantly neutral in shades of grey, with accents in the form of art and furniture. Eighty per cent of the furniture was custom-made on site by local contract carpenters, and is constructed of Indowud, a rice husk eco-friendly wood substitute. Lime plaster from local craftsman is used on all of the walls, reducing cement usage to a minimum.

In most areas of the house, the ceiling is left as exposed concrete. A small prayer room forms a focal point along the circulation spine.

This room, called a ‘pooja room’, is a small temple within the house, and a quintessential part of most Indian homes. As all Hindu temples have a bell at the entrance, the prayer room in the house is adorned with a series of

small bells in concentric circles of diminishing height, forming a dome shape, echoing the traditional temple.

There are varying degrees of transparency throughout the inner spaces, with each of the living, lounge, dining, outdoor and circulation spaces seamlessly integrated. Spaces are visible to an extent, allowing for a more spatial experience, and yet simultaneously private. At night, the house lights up in parts, displaying its solid and perforated volumes, juxtaposed together in a sculptural way.

The design of the house, with its courtyard, screens, indirect natural light and complete natural ventilation, makes it extremely energy efficient. Contextual to the site location and the climate of the region, Zen Spaces is a home offering different experiences in each of its parts, seamlessly interspersed with nature.

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Let There Be Light WORDS – SUHA SABITH

All the world’s a stage: Lightemotion’s personification of inanimate objects infuses life into an urban public square

DESIGN FOCUS – LIGHTINGS

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ightemotion, a global lighting design consultancy “creating pathways to enhanced human experiences”, proudly presents its enlightenment of Square Viger, a neglected public space bridging Montreal’s contemporary downtown core with the preserved history of Old Montreal. Forming part of an eight-year contemporary overhaul to restore the space as a green and accessible public square, the project is anchored by the preservation of an existing historic monument, and the revival of pergolas originally designed by Quebec artist Charles Daudelin.

“In the 1950s and ‘60s, Square Viger was an iconic space in the style of a New York City park,” explains François Roupinian, President and Design Director of Lightemotion. “But then a highway through the downtown core was constructed underneath it, and it was restored in more of a Brutalist style in the 1970s.”

This page – Lightemotion’s design in Square Viger; Right page – Lighted pathway

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Heeding the call In addition to restoring elements of Square Viger’s past, the project envisioned the infusion of fresh new life to carry the public space beyond the present and into the future. On a macro level, that vision unfolded through the addition of abundant perennial plants able to withstand the challenging elements of Montreal’s four seasons, as well as through the addition of more than 50 new trees. In approaching the task at hand, the project’s landscape architect, NIPPAYSAGE, brought Lightemotion in from the very beginning to bring it all to life.

With the are in the shadow of a recently built hospital complex, Lightemotion wanted to approach the project from an angle that is 180 degrees removed from what a traditional park experience calls for. In assessing the contents of the newly designed square, the firm devised a masterplan to create a sensory experience for its future users. “The user experience is at the heart of everything we do, and we take great pride in thinking outside of the box and its perceived perimeters,” says Roupinian. “We are a multifaceted design firm, and our core focus is on the delivery of sensory experiences.” In addition to the preserved historic monument paying tribute to Jean-Olivier

Chénier, and the concrete arches of Daudelin’s work, Lightemotion had two beautiful new fountains to work with. In assessing all its various elements, the company formed a view of Square Viger as a metaphorical stage of stages, with tiers of actors including the art, the monument, the fountains and the surrounding landscape of trees and vegetation. Determined to steer clear of a solution comprising a flat field of light, the firm embarked on the design of a moody environment to bring Square Viger’s actors to life.

A vibrant scenography The illumination of Lightemotion’s stage began with a focus on Daudelin’s art, creating individual lighting for each concrete slab. In the context of art gallery lighting, the firm infused it with movement to create a sense of strolling through a meandering canyon. At night, the resulting lighting scheme brings it all to life, injecting breath into otherwise inanimate objects. “Daudelin’s installations are the breathing lungs of the square, defined by the fading in and slow fading out of light,” describes Roupinian. “If you take the time to sit and enjoy the space for 30 minutes, the lighting evolves significantly over that period of time.”

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DESIGN FOCUS – LIGHTINGS

Reflections of life While Square Viger’s two new fountains were illuminated by the builders, Lightemotion added a euphoric blue light presentation that metaphorically represents the water they contain.

“When the fountains are inactive, the waters calm to a mirror-like surface,” says Roupinian.

“The blue light adds a very delicate background to that mirrored surface and actually captures and frames reflections of Daudelin’s work.”

In continuing the focus on bringing all its actors to life, Lightemotion set the stage for the illumination of Square Viger’s vegetation.

With greenery spread across their stage, the firm created a series of highlights and projected shadows that vary through a four-season lifecycle. As a result, the actors evolve with animation and beauty throughout the year, from the full blooms of summer to the bare branches of winter. Lightemotion’s design of dynamic uplighting at the base of the trees subtly changes in intensity throughout the evening, creating shadows that move in and out of the living, breathing space.

Next, the company brought the legacy of Jean-Olivier Chénier to life with bright and powerful sidelight illumination, providing the actor with a prominent presence worthy of his stature. “We believe that a beautiful lighting scheme should comprise an abundance of small light sources, creating different layers of light that change as you move through a space,” explains Roupinian. “With Square Viger, we infused what is sometimes referred to in architecture as the ‘millefeuilles effect’, where

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we endeavoured to create something sensual through lighting layers that provide a gentle caress to the leaves and shadows.”

Backstage technology Every lighting element of Square Viger is like a paint brush with a variety of hues, brought to life with time loops that are synchronised to evolve throughout the night under the control of dimmers on a DMX system. Subtle changes occur throughout the evening, as if breathing, intensifying and then softening.

“A key aspect of designing dynamic lighting schemes is to clearly understand the subjects and their materiality,” says Roupinian.

“Technically, when you light up elements like this, a tree, a circulation path and a work of art, [they] each require different colour temperatures and intensities.”

Among the innovative technical elements powering Lightemotion’s lighting schemes, tall-standing needle poles project very precise beams of light through small apertures of varying degrees. The tighter beams create accents on each of the targeted elements, emitting light sources that create minimum glare and disturbance to ensure that what is projected and absorbed is the emotion of the light, and not the apparatus. That theme of concealed apparati extends to the Daudelin pieces, with a wall wash of light generated by small fixtures concealed in their concrete grooves.

Delicate uplighting illuminates the trees from embedded positions in the ground that are not overly present, but which provide each of

the actors with presence and dynamism. The same concept applies to the square’s vegetation pods, with their smooth rock borders designed to provide users with inviting seating opportunities. In addition to modulating light designed to set a comforting mood, Lightemotion’s scheme creates enhanced wayfinding within the public realm.

A beacon of rejuvenation With the collective lighting of Square Viger also providing surrounding buildings with a soothing aerial presentation, Lightemotion has succeeded in creating a beautiful visual signature in an area that has long been devoid of such elements. From the ground level, the firm’s innovative schemes entice and welcome visitors with their plays of light and shadows, viewed by users through a variety of perspectives from the square’s different entry angles.

Square Viger is now a prominent new presence in Montreal’s night sky, infusing life and love into a peaceful public space where people can gather and reflect within a timeless design that will be relevant for many years to come.

“People tend to think of lighting as a very technical thing, but what ‘drives the bus’ for Lightemotion is how our lighting schemes make people feel within the spaces we illuminate for them,” concludes François Roupinian.

“We are honoured that NIPPAYSAGE entrusted us to deliver something outstanding for the client, and for the future users of Square Viger, and we hope that our dynamic presentation will leave its mark on the City of Montreal.”

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DESIGN FOCUS – LIGHTINGS

Above – Dimmed effects of light; Right page – Top view of the space

About Lightemotion Lightemotion’s wide range of work, both in Canada and internationally, focuses on the creation of specific emotions, no matter how challenging and limiting constraints may be.

From the early stages of design, the Lightemotion team occupies an important seat at the table, working closely with clients to bring their visions to life in reinvented retail and hospitality spaces. Lightemotion’s experience and expertise helps transform retail and hospitality spaces into multisensory experiences, where viewing merchandise in a brick-and-mortar store, eating food in a dining hall, or visiting a museum with friends become irresistible and memorable moments. In October 2023, Lightemotion was awarded a Platinum distinction in the Landscape + Lighting special prize category at the 16th edition of the GRANDS PRIX DU DESIGN gala in Montreal.

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TECHNICAL SHEET Landscape architect, urban design, project manager and lead designer: NIPPAYSAGE Square pavilion: Provencher_Roy, in teamwork, for the overall plan and integration of artistic heritage Lighting design: Lightemotion Interactive fountain: François Ménard Engineers: FNX-INNOV Collaborators: Nadeau Foresterie Urbaine Inc., Brodeur consultants, Hydralis, GMV3D, Atelier Dédale, Akufen

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LIBRARY

Underneath the Design Galerie Patrick Seguin presents a monographic publication in a two-volume boxed set on the work and life of designer Jean Prouvé WORDS – SUHA SABITH

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oday, the oeuvre of French architect and designer Jean Prouvé is considered essential to the history of twentieth century design. Prouvé’s furniture designs were determined by the interior spaces the pieces would inhabit and were developed in tandem with Modernist principles of the ‘art of living’ and ‘harmonious habitat’ that were so characteristic of the time. This comprehensive volume was put together

by Paris’ Galerie Patrick Seguin, and is a new and enriched version of the original monograph, published in 2007 to fill a hole in the previously exist-

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ing scholarship, most of which focused on Prouvé’s architecture. It includes a collection of interviews with collectors and design professionals, a detailed biography of Prouvé by his daughter, Catherine Prouvé, and essays by design historian Raymond Guidot and architecture historian Catherine Coley.

Despite its similar format, this new monograph is more extensive (750 pages) and has newly designed graphics, as well as a new cover. This two-volume boxed set is entirely published by Galerie Patrick Seguin, who has also published a series of monographic books that accompany the exhibitions.

Above – Visiteur Métropole FV 12 armchairs. Guéridon bas; Right page – Direction No. 352 office chair, Fauteuil Bridge FB11

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LIBRARY

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PRODUCTS

C

éramique is the new collection of lights designed by Ronan Bouroullec for Flos, comprising three table models realised in ceramics which feature a lead-free crystalline lacquered finish that highlights the entirely handcrafted manufacturing.

The collection stems from the long experience the designer has of developing on this material, which is appreciated for its strong expressive value and clear craftsmanship connotations.

The three models that make up the collection, each composed of a single ceramic piece that forms a base, a stem and a cap, are distinguished exclusively by the different direction of the diffuser, which is fixed and non-adjustable, and how it responds to three precise light functions: the Down version creates a focused light, making it a practical reading and table lamp; the Side version projects the light perpendicularly and is designed to illuminate a wall or a corner; and the Up version defines a comfortable and soft light and can be positioned on any horizontal surface to create indirect ambient lighting. Materiality is the outstanding feature that distinguishes these lighting creations with their strong craftsmanship. With Céramique, Ronan Bouroullec projects manufacturing into a contemporary and essential dimension, consistent with the inspiration of his design.

Céramique is available in a sophisticated colour palette of Moss Green, Navy Blue and Rust Red.

Designed for sustainability

Lighting the Way Designed by Ronan Bouroullec, Céramique is a family of lamps that puts the spotlight onto quality of workmanship and exceptional materials WORDS – SUHA SABITH

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Céramique’s sustainable aspects are expressed through its outstanding design and excellent manufacturing techniques.

The unique ceramic body of the lamp features a lead-free crystalline lacquered finish that highlights its entirely handcrafted surface. Ceramic is an inert material which, although not recyclable, can be reused in many sustainable ways, for example as filling material in construction, reducing its environmental impact.

The retrofit LED bulb of the lamp can be simply replaced and upgraded over time, in order to continuously improve the energy efficiency of the product whenever new sources are available on the market.

The lamp packaging does not include any plastic, and the internal protection is made of recyclable straw shred fill.

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Decòrative Collection Linea Light Group presents the novelties 2023 of the Decòrative collection WORDS – SUHA SABITH

Poe

The Decòrative collection from Linea Light features cutting-edge lighting systems, which offer maximum flexibility for ever smarter spaces.

Camping

Yo-Yo

Camping is a table lamp that is portable and rechargeable, and inspired by old transportable oil lamps with a handle. Camping is characterised by a modernised silhouette, with a specific focus on technology, portability and quality. The lamp plate and handle can be positioned at different heights, influencing the surrounding light emission.

Dubcolor Dubcolor is an elegant and colourful table lamp, available in six different colours, perfect for adapting to a variety of styles. The lamp is rechargeable via a Type C USB cable and charger, both included in the package.

Alba Camping

Alba is a wall lamp suitable for indoor and outdoor use. It is extremely versatile, thanks to a double installation surface that enables the user to orient the lamp to suit their needs, choosing to have more light directed downwards or upwards. Moreover, by rotating it 180° the user will have two further types of positioning and light previous ones.

The body and the frame come in painted white aluminium or wrinkled black (indoor), dark brown or wrinkled grey (outdoor IP65) and clear glass diffuser.

Yo-Yo

Perla

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Available in both pendant and wallmounted versions, Yo-Yo is a lamp distinguished by its asymmetrical shape, reminiscent of the unforgettable and timeless

yo-yo. It is composed of two equal, slightly oblique parts that enclose a radial-emitting LED source. The wall-mounted Yo-Yo offers optimal glare control and a more pronounced emission of light, depending on the chosen direction.

Miguel When you add a touch of colour to the industrial style, the result is Miguel: a metal pendant that combines rigorous and essential lines with a selection of colours designed for contemporary environments. The shade is white on the inside and reflects the light by directing it to the surface below. Externally, the Miguel family allows the user to indulge in a choice of favourite colours: black, grey, red, blue and green.

Perla Perla is an unmistakable name for something refined, unique and with precious finishes like the pendant of Linea Light Group.

It is available in two versions: the first has a total of nine arms (one section of six and one of three) that can be combined in two different configurations; the second has a total of 12 arms (one section of six and two of three) that can be combined in three different configurations.

Poe Poe is a family of wall, floor and pendant solutions. It comprises a vertical stem lamp, very slim and minimalist, with indirect lighting. The light is delivered only where it is needed, punctual and precise. Essentiality it is perfect in any living space or for illuminating tables. The frame is in white or black embossed painted metal or copper; the diffuser in polymethylmethacrylate.

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PRODUCTS

Women-led UQAM’s Centre de Design’s Textile Design Now exhibition showcases the work of female textile designers and artists WORDS – SUHA SABITH

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extile Design Now showcases 23 works by female textile artists and designers from fourteen countries: Austria, Canada, France, Germany, Japan, Kazakhstan, Mexico, the Netherlands, Norway, Senegal, Singapore, Sweden, Taiwan and the United States.

This unique gathering will provide an

opportunity to discover several previously unseen pieces. Representing the cutting edge of textile design, these creators engage in varied and unexpected practices including weaving, 3D printing, sound-generating, solar textiles and bacterial dyeing, as well as the creation of replacement organs woven by silkworms.

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[LEFT]

[ABOVE]

SUNTEX by Pauline van Dongen

A Baby, A Beast by Mari Koppanen

Textile, incorporating Suntex textile: aluminium frames, organic thin-film photovoltaics, recycled PET – installation: wire, printed fabric, metal rods.

A Baby, A Beast explores tactility through fungal and bacterial matter and investigates the line between living and nonliving. All samples are dyed with natural pigments from plants and fungi only.

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[LEFT]

La Cordée

by Estelle Bourdet Cotton, linen and climbing ropes, natural pigments.

[RIGHT]

Growing Patterns.

Living Pigments by Julia Moser Textile samples (various bacteria-dyed natural and synthetic fibres).

[RIGHT BELOW]

Processus de production de Softspace by Marie Schumann Textile Jacquard weaving process, made in Switzerland with Trevira CS, Elirex.

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ID MOST WANTED

The Lightwood Collection by MARUNI Lightwood is a versatile collection designed by Jasper Morrison for MARUNI. It is composed of chairs, stools and tables that seamlessly complement various furniture styles and find a perfect place in diverse settings, both in residential and commercial spaces.

Both seats and tables are available in a range of wood types and can be customized with various finishes and solutions. Two new additions were made to the collection at last year’s Salone del Mobile.Milano: a desk and a chair with a paper cord seat.

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Elevate your content strategy mmgsocial.com

Made in Italy Entrances Designed by You

Oikos Atelier Dubai

The Opus, Tower A, office 1205 Al A’amal St, Business Bay - Dubai T +971 4 589 3332 | M + 971 52 556 7376 atelierdubai@oikos.it | oikos.it

26-29 February 2024 Stand No-1D51