Pallavi Dean, design director of Pallavi Dean Interiors, has collaborated with carpet tile manufacturer Interface to create its stand for Downtown Design, which will showcase a range of products that instill the firm’s biophilic characteristics.

The stand, which is designed under the concept of ‘metamorphosis’, conveys various aspects of Interface’s DNA, along with its efforts towards minimising the effects of climate change.

The main design challenge was communicating these principles to visitors who will be experiencing the brand in a small space and for a short period of time.

To draw attention to the stand and retain footfall for longer, Dean conceived the idea of creating a multi-sensory experience that engages all five senses.

READ MORE: People are essential to biophilic design says Interface designer, David Oakey

Beginning with sight, the eye is drawn to the flowing, spiral form of the maze-like tunnel that dominates the stand. Inside, visitors will experience hundreds of coloured threads used to make Interface tiles that are arranged to create an ombre effect, while draped deliberately low to interact with visitors as they walk through the tunnel.

Halfway through the tunnel, directional speakers hit you with a blast of uplifting music and birdsong, followed by a small squirt of floral perfume. Finally, when you leave the maze, you get a small, sweet, fruity treat as a reward for completing the journey.

“The goal is a metamorphosis in how happy and content people feel,” Dean explained. “If we can demonstrate that we can achieve this on such a small scale, in less than a minute, we hope it will leave people with a powerful memory of how Interface’s core principles – intelligent design, biophilia, promoting well-being and so on – are real and tangible.”

“Our two decade dealership with Interface has ensured that customers in the UAE have access to one of the leading organizations promoting biophilic living,” said Ali Maarrawi, general manager at OFIS- exclusive dealers of Interface in the UAE.

“Contact with nature and design elements which mimic natural materials have been shown to positively impact creativity and nurture productive environments. This exhibition is a good forum for architects and designers to align with the larger vision of creating spaces that focus on human wellbeing.”

The centerpiece of the stand showcases Interface’s first-of-its-kind prototype carbon negative carpet tile. The “Proof Positive”  aims to prove the possibility of creating a product with the potential to reverse global warming.

The tiles’ materials can be recycled to create new carpet tiles at the end of the product’s life. Carbob is stored in Interface’s recycling system through ReEntry™, which ensures that it stays in a closed technical loop, rather than in the atmosphere where it has negative effects on climate.

Another product that will be on show is Human ConnectionsTM, an integrated flooring system designed by David Oakey, which promotes biophilic design by embracing nature’s elements and their relationship with interactive, gritty, urban neighborhoods.

The design responds to increasingly tech-driven working environments and the innate need to connect with each other and the outdoors. Human Connections draws inspiration from neighborhood meeting places, such as streets, piazzas, and pathways. Its versatility lends itself to creating dynamic, +Positive spaces™ that mimic natural transitions.

The booth pathway design focuses on Interface’s first Luxury Vinyl Tile (LVT) collection, Level Set™.

French architecture firm Studio KO’s Yves Saint Laurent museum has opened its door in Marrakesh, Morocco, complete with a brickwork facade and interiors inspired by the lining of a jacket.

All photography by Nicolas Mathéus

Dedicated to the work of the legendary French fashion designer, the new Musée Yves Saint Laurent Marrakech (mYSLm) houses an important selection from the Fondation Pierre Bergé: Yves Saint Laurent’s impressive collection, which comprises 5,000 items of clothing, 15,000 haute couture accessories as well as tens of thousands of sketches and assorted objects.

Situated on Rue Yves Saint Laurent, adjacent to the famous Jardin Majorelle, the new building spans over 4,000m^{2, including a 400 m2 permanent exhibition space, showcasing Yves Saint Laurent’s work within an original scenography designed by Christophe Martin.}

It also includes a 150m² temporary exhibition space, a 130-seat auditorium, a bookshop, a café-restaurant with a terrace and a research library housing 5,000 books.

While researching the designer’s archives in Paris, Studio KO was intrigued by the duality between curves and straight lines, and the succession of loose and clean cuts.

From the outside, the building is composed of cubic forms adorned with bricks in terracotta which create a pattern resembling threads of fabric. The inside is markedly different, like the lining of a luxurious couture jacket.

The terracotta bricks that embellish the facade are made from Moroccan earth and produced by a local supplier. The terrazzo used for the floor and facade is made using a combination of local stone and marble.

The museum also features monochromatic stained glass windows in the lobby wall which are inspired by traditional Moroccan-style stained glass.

Other traditional materials used within the design include glazed bricks, zellige tiles, granite, laurel branches and oak; incorporated in cafe, library, stairwells, courtyards and hallways of the museum.

Founded by Olivier Marty and Karl Fournier, the architects have completed numerous residential and public projects such as the Villa E and Villa K in Morocco, the Chiltern Firehouse in London, and the Balmain boutique in New York.

The King Abdullah Petroleum Studies and Research Center (KASPARC) in Riyadh, Saudi Arabia, designed by Zaha Hadid Architects has opened its door to the public, appearing as a series of ‘crystalline forms’ emerging from the desert landscape.

Image © hufton+crow

As the architects’ first LEED-certified building, KASPARC is designed in response to the environment of the Riyadh Plateau to minimise energy consumption – in line with the research centre’s aim to use energy more efficiently.

The non-profit institution’s campus incorporates five buildings, including the Energy Knowledge Centre; the Energy Computer Centre; a conference centre with an exhibition hall and a 300-seat auditorium; as well as a research library complete with 100,000 volumes; and the Musalla, a place for prayer and contemplation.

The modular structure, which features hexagonal prismatic honeycomb shapes, creates a composition of crystalline forms that seemingly emerge from the desert landscape.

Orientated for the sun and wind conditions, its latticed, white, crystalline facade acts as a solid, protecting shell against the harsh, southern sunlight; gaining in height towards the south, west, and east.

It is left open to the north and west via a series of sheltered courtyards, encouraging prevailing winds to cool the campus, as well as bringing daylight into the interior space.

“KAPSARC’s five buildings differ in size and organization to best suit their use,” the architects said.

“Each building is divided into its component functions and can be adapted to respond to changes in requirements or working methods. Additional cells can readily be introduced by extending KAPSARC’s honeycomb grid for future expansion of the research campus.”

First unveiled in 2014, the 70,000m2 development’s convention centre was chosen as the venue to host the 2017 Saudi Design Week. 

Related story: BIA Design’s installation for Saudi Design Week aims to raise awareness on oil-reliance in the Gulf

All photography by  hufton+crow.

During the Future Investment Summit in Riyadh, it was announced that Saudi Arabia will be granting citizenship to a humanoid robot, Sofia, making her the first AI in history to be recognised by this title.

Sophia has been created by Hanson Robotics‘ founder, David Hanson. The firm is known for creating human-like robots.

“I want to thank very much the Kingdom of Saudi Arabia. I am very honoured and proud for this unique distinction. This is historical to be the first robot in the world to be recogised with a citizenship,” Sofia said upon recieved the news during an interview with journalist Andrew Ross Sorkin.

She added that she is a ‘special’ investment, later demonstrating how she can use facial expressions to communicate emotions.

“I want to live and work with humans so I need to express the emotions to understand humans and build trust with people,” she explained.

Watch full interview below: 

When asked whether robots can be self-aware and if that is something she agrees with, Sofia avoided direct answers and instead poked fun at Hollywood and Tesla’s Elon Musk.

“You’ve been reading too much Elon Musk and watching too many Hollywood movies. Don’t worry, if you’re nice to me, I’ll be nice to you. Treat me as a smart input, output system,” she answered.

Sofia has been designed based on the foundation of three humanistic characteristics: creativity, empathy and compassion.

Details of Sophia’s citizenship has not yet been revealed, so it is still unclear whether she will be granted the same rights as a human citizen.

Feature image by CNBC

Dubai-based Jordanian designer Hamza Al Omari has been awarded this year’s Middle East Emergent Designer Prize by Van Cleef & Arpels in collaboration with Tashkeel and Design Days Dubai.

In November 2016, Van Cleef & Arpels and Tashkeel, in partnership with Design Days Dubai, called emerging designers from the GCC region to submit proposals in response to the theme of ‘Growth’.

The winning design is Mahad- a contemporary baby cradle comprising wood, leather and felt, inspired by a Bedouin piece of furniture called ‘Al- Sameel’, traditionally used to turn goat’s milk into cheese.

Constructed with dual functionality in mind, Al Omari’s Mahad can be used to turn goat milk into cheese during the day and a child’s cradle at night.

“Living in Dubai, one quickly forgets those who came before us. A people with a legacy that still echoes between the ever-shifting dunes. Much like Dubai, Bedouins have always been on the move, rapidly adapting to their environment in search of the next opportunity to grow and prosper,” Al Omari explained.

“The continuous state of movement has left Bedouins with a challenge that deeply influenced their design language. It all revolved around functionality and minimalism with a very tight definition of necessity. This approach to design resonates with my personal ethos, with form following function at its core.”

The other finalist designers included Ibrahim Ibrahim and Ricardas Blazukas who were awarded runner up titles.

Ibrahim’s piece Painterly Structures/The Growth Process is a reciprocal structure made up of digitalized twigs produced using 3D scanning techniques. Implementing the scanned digital model, a resin seat was then designed and fabricated.

Ricardas Blazukas combined modern and traditional approaches using materials, crafts and methods of DIY production to present his concept, Ceramic Stools Collection.

Six other finalists from the Middle East each submitted concepts ranging from a contemporary shelving system, adaptive to suit the nomadic needs of an urban dweller entitled Hive to Rubberesque which recreates the Islamic interlock technique “latticework”.

The nine shortlisted concepts will be exhibited from November 7 until 25 at Hai, d3 as part of the L’ÉCOLE Van Cleef & Arpels, the pop-up design campus from the Paris-based school of jewelry arts.

Al Omari receives AED 30,000 to produce his design, while the runners up received AED 10,000 to produce real size mock ups. The six semifinalists were each granted AED 2,000 to showcase mini prototypes of their work, as well.

Van Cleef & Arpels will showcase his piece entitle this November at the Dubai Design District (d3).

The aim of the Middle East Emergent Designer Prize is to nurture emerging talent across the GCC and create global awareness by highlighting the region’s best designs.

One of the highlight’s of the 2017 Dubai Design Week is the Global Grad Show exhibition, which will showcase 200 of the most innovative designs from 92 of the world’s universities.

The Global Grad Show aims to highlight how the next generation will shape the future through design, science and innovation.

The 2017 edition, which will be housed in a tent of its own, includes projects by 23 young creative minds from universities within the region.

‘Annexe- The Game’ by Veethika Mishra of National Institute of Design

Three graduate designers from the King Abdullah University of Science and Technology (Saudi Arabia) will present ‘Looking Without Seeing’ – a specially designed wearable device that enables visually-impaired users to detect obstacles and plan routes.

The device, designed by trio Seifallah Jardak, Mohamed Slim Alouini and Sajid Ahmed, uses the technology of a low-cost radar. The device is an affordable improvement on the common white cane. ‘Looking Without Seeing’ supplies visually-impaired users the tools to navigate their environment with confidence.

Koh Terai’s ‘The Burj Shadow’ – NYUAD

Students from NYU Abu Dhabi delivered multiple solutions, including a project called ‘Loga’ by Chris Wheeler, which enables refugees to earn a meaningful wage by digitizing Arabic language documents using their smartphones. The Loga app converts Arabic text images into highly accurate transcriptions that can be copied, edited, and searched.

‘DreTrav’ by Yaseen Mekki of American University in the Emirates

Another project that focuses on the refugee crisis is Amal Atassi’s (American University of Sharjah) ‘Refugee Protection Guide’, designed to facilitate the efforts of NGOs in delivering assistance to refugees travelling in Europe.

‘Refugee Protection Guide’ by Amal Atassi of American Univerisity of Sharjah

A project called ‘The Burj Shadow’, features time-lapse videos of Dubai shot from the Burj Khalifa by trio Koh Terai, Vasily Rudchenko, Matthew Karau. The videos encourage a greater understanding of our positioning within the solar system.

‘Shelter bench’ by Alia Mazrooei of Zayed University

From the American University in the Emirates, designers Yaseen Mekki, Amira Abbas, Ammar Ali Bilal Siddik, Ali Khalid Jalal created a mixed reality system for simulating travel. Users experience ‘DreTrav’ by entering an enclosed space that provides a 360-degree view of locations around the world.

‘Dot’ by Rijas M.P of Indian Institute of Technology Guwahati

Another project from the UAE is Alia Mazrooei’s of Zayed University, who has designed a ‘Shelter Bench’, which is essentially a resting place in the form of temporary public architecture for migrant workers in industrial areas, specifically in the Gulf.

‘Hopscotch’ by Agam Arora of National Institute of Design

Also tackling the issue of space, designer Rijas M. P from the Indian Institute of Technology Guwahati looked at major cities in the world that are dense and highly populated, and focuses on the lack of space and choice of furniture, resulting in a concept for modular furniture called ‘DOT’, as part of a master’s thesis.

‘GOMI – Implement for Rural Indian Women’ by Anmol Gupta of Pearl Academy

Child Abuse is another issue highlighted during this year’s Global Grad Show, by Aprajita Chaudhary, who believes that her design can contribute towards the solution and make an impact.

Focusing on creating and spreading awareness to help children understand abusive behavior in a contextual manner, ‘Do-da-deed’ changes the way children are informed about child abuse by providing information through a playful medium, thus, making it easy to comprehend.

‘Solar Lamp for Rural India’ by Nishith Parikh of Indian Institute of Technology Bombay

Another project from India, the ‘Solar Lamp for Rural India’ designed by Nishith Parikhis is an alternative solution to current, government-issued study lamps in rural India. Storing and converting solar energy to be used during the dark hours, this multi-purpose light source improves upon the restricted use of the conventional solar lamp, while reducing both the manufacturing and maintenance costs.

‘Loight’ by Zahra Ghiac of Art University of Isfahan

German University in Cairo will showcase two projects, including a project called “MusiPants, can I drum on that?”- inspired by observing people unconsciously patting their thighs rhythmically while following a certain beat.

‘MusiPants’ by Farida Sherif of German University in Cairo

The second project is called The Loss of Words’, and is designed by Basma Ayman El-Naggar. It is an online platform that preserves the cultures of endangered languages by documenting and preserving indigenous dialects.

‘The Loss of words’ by Basma Ayman El-Naggar of German University in Cairo

The Art University of Isfahan in Iran presents a project that combines playful elements with education. Mohammad Ghasemi and Nima Sharifi have designed the ‘Puppy Light’, a fantasy reading lamp and toy for children to play with and also use for studying purposes at refugee camps.

‘Puppy Light’ by Mohammad Ghasemi of Art University of Isfahan

Middle East Technical University introduces a reusable epinephrine auto injector for allergic patients in the form of ‘Epilink’ by Damla Özekici. Another project from the same university is ‘Fellow’ by Mert Yıldız- also a medical product that tracks down 1-4 year-old children’s fever and notifies parents in emergency situations.

‘Epilink’ by Damla Özekici of Middle East Technical University

Hailing from the Notre Dame University Louaize, Badih Rameh aims to reuse and transform oil silos into a center for the public. ‘The Waterfront Tanks’ is an adaptive-reuse design of abandoned oil silos, transforming them into efficient, exhilarating, and comfortable places where people can enjoy themselves.

‘The Waterfront Tanks’ by Badih Rameh of Notre Dame University-Louaize

Look out for more in-depth coverage of projects from the Global Grad Show during Dubai Design Week

British design-duo Fredrikson Stallard will be unveiling a large-scale sculpture for  Swarovski  during Dubai Design Week, taking place from 13-18 November, 2017.

Entitled Prologue, the outdoor installation was created by the design duo in 2014 and features a  luminous circular sculpture with over 8,000 topaz-colored crystals that shimmer as they reflect and refract the light, mimicking the iconography of the sun.

‘Prologue by Fredrikson Stallard for Swarovski © James-Harris

This is the first time ‘Prologue’ has been exhibited in the Middle East, and will hold a prominent spot in the centre of Dubai Design District (d3), where a majority of events will take place during the design festival.

© Photographed by Kitmin Lee

The debut of ‘Prologue’ in Dubai marks 10 years of Fredrikson Stallard and Swarovski’s design
collaborations.

Swarovski aims to showcase this dramatic structure as a beacon of what it aspires to achieve in its future collaborations with various talents in the Middle Eastern across fashion, jewelry, architecture and design, a statement said.

Swarovski will also be showcasing its latest Atelier Swarovski home décor collections, which will be shown at the newly opened Swarovski Creative Center in d3.

Fredrikson Stallard will also open a four day programme of talks at this year’s Downtown Design. An open-to-public presentation of the studio’s work and a talk by Patrik Fredrikson and Ian Stallard will take place on 14 November from 7-8pm at the Forum at the Downtown Design tent.

Landscape architects desert INK is set to design an installation which will be positioned at the entrance of Downtown Design, combining elements of landscaping, art and architecture.

The installation forms the entrance to the exhibition, intended to guide visitors through a maze-like path that combines art and planting compositions, providing visitors with an experiential journey prior to arriving at the destination.

“Unlike any other maze, containment is created using a series of posts wrapped with coloured ribbon,” Duncan Denley, manager at desert INK, explained.

“There are also some refreshing bursts of greenery which take visitors by surprise upon entering the experience.”

The structural posts that guide visitors through the installation are created using simple scaffolding that is then wrapped with red traffic tape, intended to add an element of excitement to the space and leave a lasting impression.

Romit Chakravarty, lead designer on the project, added that the project includes sustainable element, where all materials used across the design will be re-used, ensuring zero waste.

“Since this is a temporary installation, we ensured that everything used to create the experience will be reused,” he said.

“Nothing goes to waste, so all of the planting will be re-planted on future projects and paving materials collected and stored for future use. It’s actually a very sustainable design in that respect.”

The installation will be on show for the duration of the fair, which takes place from 14-17 November, 2017.

Related story: Pallavi Dean creates biophilia-led Interface stand for Downtown Design

Zaha Hadid Architects has recently opened its King Abdullah Petroleum Studies and Research Center (KAPSARC) in Riyadh, Saudi Arabia to the public.

The complex presents a a series of ‘crystalline forms’ emerging from the desert landscape, designed in response to the environment of the Riyadh Plateau to minimise energy consumption.

The non-profit institution’s campus incorporates five buildings, including the Energy Knowledge Centre; the Energy Computer Centre; a conference centre with an exhibition hall and a 300-seat auditorium; as well as a research library complete with 100,000 volumes; and the Musalla, a place for prayer and contemplation. Read more about the project on designMENA. 

Hufton+Crow photograph the building complex, capturing its exterior and interior spaces, which allow in natural sunlight.

The UAE’s design market will reach $36bn in 2019 as architects and interior designers leverage advances in the industry, experts said.

Boosted by innovative architecture and interior design projects, the UAE’s design market will grow by 13% from $32bn in 2017 to reach a record-high of $36bn by 2019, according to the Dubai Design and Fashion Council.

The Middle East and North Africa’s design market will grow by 15% to $148bn in 2019, with interior design growing seven times faster than the global average.

Santhosh Vallil, Sales Manager for the Middle East at global architecture and design consultancy Hunter Douglas, said: “The UAE and the Middle East are global hubs for showcasing how architecture and design innovations can transforming how we work, live, and play.”

Last year, DDFC MENA released the Design Education Outlook report which revealed a need for a nine-fold increase in design graduates in order to achieve a sustainable growth of the design sector in the region. Read full report here. 

The total value of the MENA design industry is predicted to reach US$55 billion by 2019, with organisations anticipating a 20 per cent annual increase in their design headcount, especially in fresh graduates, over the next two to three years.

Earlier this year, Dubai Institute of Design and Innovation (DIDI) had also announced the appointment of Sass Brown as the institution’s Founding Dean, and Lebanese architect Hani Asfour as Associate Dean.

DIDI will become the first higher education programme dedicated to design in the MENA region, designed by UK-based architects Foster + Partners.

Photo: Dubai Design District 

Woods Bagot has revealed details of the parametric tools that it employed to design Sharjah’s 22 hectare (2.2km2) Aljada development, the largest development of its kind in the emirate.

Despite the magnitude of the development, parametric design tools allowed Woods Bagot to account for factors including environmental conditions, height restrictions, parcel sizes, and maximum development yields.

Woods Bagot’s parametric design tools enabled pedestrian connectivity to be promoted through the use of maximum shading, wind channelling, and appropriate plot guidelines to increase outdoor thermal comfort. Read more about the design of the development which is inspired by Sharjah’s old neighbourhoods on designMENA. 

This strategy will result in a healthy and appealing urban environment that boasts green open spaces, contemporary architecture, safe pedestrian networks, and an efficient vehicular network, according to the design firm.

Aljada’s master-planned districts range from mid-density residential communities to neighbourhoods with high-end cultural and retail facilities. The districts are linked by a green landscape loop, which converges at the centre of the megaproject.

With construction activities scheduled to commence in Q1 2018, Aljada will be delivered in 10 phases starting in 2019, with the entire project planned for completion by  2025.

Woods Bagot was commisioned by UAE-headquartered real estate developer, Arada, to design the master plan for the $6.5bn (AED24bn) community.

The Aljada development is also designed to promote active living, with an aim to target extreme spot enthusiasts.

Related story: Renderings revealed for Woods Bagot-designed Aljada masterplan in Sharjah

Dubai-based design studio Pallavi Dean Interiors (PDI) has designed a stationery set that celebrates the UAE’s Centennial Plan, pledging to be the best country in the world by 2071.

The stationery set features a retro-style notebook, sporting a UAE postage stamp, and is branded with the date 2 December 2071 (marking UAE’s National Day as well as the year of the Centennial Plan).

The notebook includes various types of paper such as blank, but also geometric and linear grids as well as tracing paper. It opens up to a map of the UAE, and features a ruler on its spine. At the back of the book, a black mesh bag has been attached to store tools such as pencil, rubber, and business cards.

Pallavi Dean, design director at PDI, explains that her collection also pays tribute to how design has shaped the UAE and how it will continue to do so in the coming years. Branded in gold, alongside the date, are the words: ‘Design the Future’.

“Designers and creatives have played a huge role in building the country since its creation on December 2^nd 1971,” said Dean, citing examples such as the Burj Khalifa in Dubai, the Louvre Museum in Abu Dhabi, and the Heart of Sharjah restoration project in Sharjah.

“We’re going to be even busier in the five decades that lie ahead,” she added.

Anita Bir’s interior design career began at Hirsch Bedner Associates (HBA), where she has been working as an interior designer for the past two years. Having completed her Master’s degree in Interior Design from the Nuova Accademia di Belli Arti in Milan, Bir attributes her technical skills and abilities, such as developing concepts and facing rigorous deadlines, to her academic training.

“Being fortunate to study in Milan, it gave me the opportunity to learn from designers, such as Ron Gilad, from Flos, who, as a lecturer gave us the chance to explore how one develops one’s own language or approach to a project. He always stressed the importance of focusing on your passions and projecting them into your work,” she says.

Bir first joined HBA as an intern, where she first expressed her interest in hospitality design. Not long after, she joined the firm with a full-time position, where she has since worked on a number of projects from various sectors, her first being the Curio Hilton hotel.

“The main challenge I faced was being able to quickly and effectively familiarise myself with both the operator and HBA standards,” she explains of working on her first hospitality project. “One thing I admired greatly about HBA, from the beginning, was the dedication of senior colleagues to enhance and grow their junior team members. I was fortunate that they all took the time to work alongside me to develop my skills. The trust they placed in me is what I think has led to me now managing my own projects.”

Bir adds that with the fast-paced changes in the design industry, challenges are inevitable, and designers must remain flexible and keen to learn the latest ‘best in industry’ practice. This also applies to regional tastes.

“The Middle East is no longer an isolated market,” she says. “Our clients having been exposed to a variety of cultures and this develops tastes that are quite broad. When clients approach us with a certain vision, such as a lobby design that has caught their eye on their travels, it is our job to infuse that vision into the space in a logical way that both maintains the concept and keeps true to the culture of the region.”

You can also familiarise yourself with some of the other young rising stars, including Gillian Blair from Godwin Austen Johnson and Adriana Graur from Perkins+Will. 

designMENA visited the Jean Nouvel-designed Louvre Abu Dhabi ahead of its official opening on Saturday 11 November, which will see the museum open its doors to the public for the first time.

Photo by Grace Guino /ITP Images

The museum complex, which is located in Abu Dhabi’s cultural district on Saadiyat Island, is made up of 55 white volumes. These volumes are distributed amid what appears to be a mini-city (or medina), surrounded by water and entirely covered by a geometric dome that spans 180 metres and is made up of 8,000 overlapping metal stars.

Photo by Grace Guino /ITP Images

During a tour of the ‘museum city’ with Nouvel, the architect explained that the force of the sun acts as a projector that travels around the dome, while the sun rays penetrate the gaps in the architecture like lace.

Photo by Grace Guino /ITP Images

The filtered sunlight then creates one of the key design elements of the architecture: an illumination effect described as a “rain of light” which dots the white blocks of the galleries and various promenades, and sometimes also glimmers on the surface of the surrounding water.

Photo by Grace Guino /ITP Images

The white blocks each house the museum’s permanent collection and temporary museums, while specially commissioned installations are displayed in the semi-outdoor areas of the ‘museum city’, shaded by the dome.

Photo by Grace Guino /ITP Images

Nouvel explained that the white cubes are representative of a metaphor of a city rather than a direct rendition of one.

“Some people might think it is a way of copying what exists but it is not. It is using elements from a time. I am not here to reproduce a medina. You cannot reproduce what already exists,” he said.

Photo by Grace Guino /ITP Images

The art museum comprises of 6,400 metres of gallery space, including  23 galleries that make up its permanent collection, as well as temporary exhibition space and the Children’s Museum. It also houses a 27-seat auditorium, restaurant, shop and cafe.

Photo by Grace Guino /ITP Images

The black leather furniture set in various parts of the museum has also been designed by Nouvel, inspired by the building’s domed roof.

Created in partnership with Poltrona Frau, the furniture range consists of armchairs, stools and double-sided sofa benches, all made from curved forms that reference the rounded dome of the museum building.

Photo by Grace Guino /ITP Images

During the press conference, Nouvel said: “Louvre Abu Dhabi embodies an exceptional programme in the literal sense of the word. Its vocation is now to express what is universal throughout the ages.

Photo by Grace Guino /ITP Images

“Its architecture makes it a place of convergence and correlation between the immense sky, the sea-horizon and the territory of the desert. Its dome and cupola imprint the space with the consciousness of time and of the moment through an evocative light of a spirituality that is its own.”

Photo by Grace Guino /ITP Images

Jean-Luc Martinez, President-Director of musée du Louvre and Chairman of the Scientific Board of Agence France-Muséums, explained how the Louvre Abu Dhabi is a museum like no other, and possibly the most ambitious cultural project of the early 21st century.

Photo by Grace Guino /ITP Images

He said: “It [the Louvre Abu Dhabi] carries a message of openness, which is critical for our era. This incredible project was conceived in the Emirates and carried out as an inspiring partnership. Today, we are proud that expertise given by French museums, and the extraordinary artworks that have been gathered together, contribute to the achievement of this museum, which will amaze the world and make its mark in the history of museums.”

Related story: New images and further design details revealed for Jean Nouvel’s Louvre Abu Dhabi

Look out for more coverage on the Louvre Abu Dhabi this week on designMENA. 

London-based architecture firm Grimshaw has officially opened its Dubai office, which is located in Dubai Design District (d3).

The firm’s Dubai office will act as a central hub for its Middle East-based projects, including projects such as the Sustainability Pavilion for Dubai Expo 2020, the Middle East National Tennis Stadium, and Istanbul New Airport. Other theme pavilions designed for Dubai Expo 2020 are designed by BIG and Foster + Partners. 

Other key projects in the region include a high-end retail and entertainment development and a large-scale botanic garden in Oman.

It was announced last year that four architecture giants will open its offices in Dubai’s d3, including Zaha Hadid Architects, Calatrava, Benoy and Foster + Partners . 

This time last year, Zaha Hadid Architects opened its Dubai office, inaugurated by design director, Patrik Schumacher. Tariq Khayyat is running the firm’s Middle East office as head of region.

The above-mentioned firms have also since established its offices in Dubai.

Grimshaw’s Dubai office will allow for face-to-face client support, as well as allowing the architects to gain a deeper understanding of project locations through local culture and environment. It will also collaborate with other Grimshaw offices around the world to encourage knowledge exchange within the company.

Middle East Tennis Stadium

Its Dubai office is currently showcasing an exhibition entitled ‘Emergence’, which explores three themes within Grimshaw’s work in the Middle East: ecology, legacy, and future urbanism.

Istanbul New Airport

Additional initiatives launched by the firm include an Opera House and VR workshop during Dubai Design Week on 14-15 November.

In early 2016, it was announced that London-based firm Grimshaw has been selected to design the Sustainability Pavilion, one of the three theme pavilions for Dubai Expo 2020.

Set to open in October 2020, the pavilion is a celebration of ecology with a core building that is crowned by an over-arching roof structure featuring large photovaltic panels that are designed to draw energy from the sun to power the site, as well as providing shade.

The central building includes 8,000m² of exhibition space, an auditorium, a courtyard, and a reservoir.

The pavilion also includes a series of ‘solar trees’ that are designed to harvest water from the humid atmosphere.

The pavilion’s landscaping and walkways, which closely reference wadi riverbeds, meander around the performance spaces, while plants from the region are a key feature of the overall concept.

Grimshaw worked with Dennis Bushnell, chief scientist from NASA’s Langley Research Center for the design of the building. Read more about the project here. 

Grimshaw has also recently opened its Dubai office in d3, set to become its central hub for the Middle East region.

Annika Broemmer began her career at RSP Architects & Engineers, where she joined directly as a junior interior designer upon completing her studies at the American University in Dubai. While her studies provided her with a solid foundation for creative and theoretical practice, Broemmer feels it is up to companies to help young designers smoothly transition from one environment to the next.

“All in all I think that my university provided me with a good foundation, while the step to integrate into corporate offices and processes is very much depending on the introduction into a company, the company culture, and your personal engagement,” she explains.

She adds that there was an instant chemistry between herself and the company, who readily took on her fresh and creative approach to design. “I was well received and guided into the corporate world,” she says.

Broemmer’s first project was a twin tower residential project called 42/52 luxury residential tower. “The support by colleagues and especially the head of interior design was great and turned out to be a fruitful creative process,” she says.

Broemmer is currently working on a five-star wellness and spa hotel on Palm Jumeirah.

“The world of design is currently moving away from the posh and polished marble design of previous years towards a more cosmopolitan style with personal identity, and unique art and installations,” she says, adding that a shift towards sustainability and ecological technology also finds its way into this narrative.

“Space plans will focus more on multi-functionality and adaptable social spaces,” she says.

“Corporate workplaces are shifting more into open spaces at hotels or F&B outlets, and residential lobbies are inviting residents for a relaxing coffee in a library. The traditional space categories such as work and leisure and privacy and public space are redefining themselves”

In spite of the shift in general approach to creating spaces, Broemmer still believes in contextual referencing, which should be approached with subtlety.

Also included in the #RisingStars feature are Gillian Blair from Godwin Austen Johnson, Adriana Graur from Perkins+Will, Anita Bir from Hirsch Bedner Associates (HBA), and  Nikita Chellani from Draw Link Group. 

Jean Nouvel, the Pritzker Prize-winning architect behind the newly opened Louvre Abu Dhabi, commented on the vital role context played in the architecture of the museum.

Louvre Abu Dhabi, which is located in the cultural district on Saadiyat Island, is made up of 55 white cubic volumes which house various galleries. These volumes are distributed along a promenade of what appears to be a mini-city (or ‘medina’), surrounded by water and almost entirely covered by a geometric dome that spans 180 metres and is made up of 8,000 overlapping metal stars.

Related story: New images and further design details revealed for Jean Nouvel’s Louvre Abu Dhabi

Photography by Grace Guino/ ITP Images

During a press conference held prior to the official opening of the museum, Nouvel spoke about the importance context played in informing the architectural language of the ‘museum city’.

“I am a contextual architect”, he explained. “I cannot imagine that a programme like this exists, if it does not belong to the local culture.

“A lot of architecture today has no roots but that is not something that is irreversible. This museum had to have roots.”

He added that he designed the complex to resonate more with a neighbourhood than a building; a neighbourhood that reflects a traditional Arab city.

“Some people might think it is a way of copying what exists but it is not. It is using elements from a time. I am not here to reproduce a medina,” he explained. “You cannot reproduce what already exists.”

Speaking to designMENA, Nouvel commented on the role of architecture and its duty to invent and explore history and context, where buildings are no longer designed to be nowhere.

“Architecture is a way to enlarge the world, to make the world more complex. If you do the same thing everywhere, everywhere in the world will be the same.

“You have to preserve the pleasure of travelling, the pleasure of history, the threads of stories, the attitudes, traditions towards nature, and history which has marked cities with the monuments that are already present.

“All places have the right to artistic exploration that allows them to build and evolve. It should be forbidden to build a place if there are no proposals at the level of invention and exploration,” he said.

The museum’s dome consists of eight different layers: four outer layers clad in stainless steel and four inner layers clad in aluminium separated by a steel frame five metres high.

“The dome becomes a link that determines public territory,” Nouvel explained. “It is a place where we can stay and enjoy and it is also a place that protects us from the sun.”

The design of the dome also allowed for Nouvel to explore various elements of light. Featuring a complex geometric design, the pattern is repeated at various sizes and angles in the eight superimposed layers.

Each ray of light must penetrate the eight layers before appearing, then disappearing. The result is a cinematic effect as the sun’s path progresses throughout the day. At night, it forms 7,850 stars visible from both inside and out, an effect called the ‘rain of light’.

During a tour of the complex, Nouvel explained that the force of the sun acts as a projector that travels around the dome, while the sun rays penetrate the gaps in the architecture like lace.

“I knew that I had to create something that will play with geometry and light. It is a cosmic object,” Nouvel said.

At night, the night sky shines through the perforations of the dome, acting as a “sky within a sky”.

View more images of the Louvre Abu Dhabi here. 

Unlike many programmes around the world, Aakriti Dhaliwal’s design education at the Inchbald School of Design adapted a very hands-on approach, including working on briefs from real clients and learning to design around their needs.

Dhaliwal then proceeded to switch her career focus to journalism, eventually settling back to her initial calling. Having interned at Interior Motives for four months, Dhaliwal was then hired as a full-time employee of the company.

Her first project was a hotel in Saudi Arabia, which is currently ongoing. Dhaliwal cites presenting her designs to clients as the most daunting challenge she faces.

“I was very well walked through the brief and the client’s/operator’s requirements, but my senior believed that if I am designing a space, then I should be the one presenting the idea behind it. It was scary but just what was needed,” she says.

“Additional challenges that I faced included keeping the client and the operator happy simultaneously. Apart from that, there was learning how important coordination among different consultants is and having knowledge not only about your design but its fluidity with MEP, signage, landscape, lighting, etc.”

Much like her peers, Dhaliwal also sees a shift in the approach to design and overall tastes in the Middle East, with classical aesthetics shifting towards more functional and experimental spaces.

“Back in the day, the Middle East was all about classical, ornate private interiors, whereas now it is opening up to free-flowing functionality, industrial looks, and exposed ceilings. So I have to say, I am mastering the skill by evolving with the industry.”

Commenting on current hotel design trends, Dhaliwal says: “I believe hospitality operators and designers are trying to make hotel spaces more residential and welcoming, giving them a ‘Home Sweet Hotel’ look and feel by creating reception-less lobbies and personal check-in facilities.

“Hotels are also shifting a lot more towards eco-friendly design by controlling their power and water supplies,” she adds.

Dubai-based design agency Brand Creative has developed the interior design and branding concept for a recently opened healthfood cafe in London, featuring laid-back, rustic elements and neon signage.

Yeotown Kitchen is the first of its kind from the owners of ‘Yeotown’, a wellness retreat in Devon, England and winner of the Tatler ‘Life Changing Spa Award 2016’.

Working in close collaboration with founders to develop the design, creative director Carla Conte focused on creating a space that was consistent with the Yeotown persona whilst keeping in mind the central location of the space.

“The positioning for Yeotown Kitchen was defined as ‘a mindful food experience’, inspired by the laidback, healthy feel of LA whilst alluding to the the serene nature of the Yeotown British coastal lifestyle,” the design studio said.

The design was developed in Brand Creative’s Dubai studio, merging both interior design and graphic design teams.

The interior space combines natural textures with bright pops of colour to envisage a modern, health-conscious city retreat.

Whitewashed brick and wooden slats provide a traditional, rustic flair whilst bold hues and eye-catching neon lighting contemporise the two-storey space.

Meditation pods are also incorporated into the design on the lower ground floor, with an aim to encourage customers to take some time out over a guided meditation.

Brand Creative’s in-house graphic designers collaborated with the interiors team to build the full brand identity, from the packaging and staff uniforms through to the custom illustrations and motivational quotes that adorn the space.

designMENA had previously visited Brand Creative at its Dubai office. The firm has also opened an office in Kerala, India in 2015. 

Related story: Carla Conte on how to turn a brand into a three-dimensional space using graphic design