Every project needs to be anchored to its environment in some way or another. Designers are obliged to create a connection between spaces and the landscapes they inhabit. So, even when it is not spelled out in the brief – which, more often than not, it is – designers in this part of the world must inject Middle Eastern influences into their work.

 

Often, however, this means that designers work some kind of mashrabiya motif into the project and leave it at that. 

 

Token gestures and half-hearted nods to Middle Eastern culture aren’t hard to come by in this region – but beg the question of what, exactly, ‘Middle Eastern design’ means. 

 

“Unfortunately, the mashrabiya motif is used quite commonly to give a soulless design the illusion of being ‘local’. The wind tower has also been copied to death,” said Markus Schwitzke, branch manager, Schwitzke & Partners, Dubai.

 

“What defines Middle Eastern design is hard to say, especially since it is dominated by western architects and designers at present. There is no Middle Eastern design without local protagonists.

 

“I believe Middle Eastern design has so far been defined by the needs of the region. It is a combination born out of dynamic developments created by an international crowd but is often also based on the rich culture, traditions and religion of this area, which is what makes it so interesting and different,” he said.

 

In its purest form, Middle Eastern design has been shaped by a rich, culturally-unique history, strong religious ties and climactic influences. “Middle Eastern design is the evolution of architecture and interior design over 1,400 years,” noted Supriya Fernandes, principal architect, 3 Square Design, Dubai. 

 

“Many elements of design and decoration in ‘Middle Eastern design’ are attributed to the prohibition of images in Islam, which led artists and calligraphers to create beautiful scenes using geometric imagery and turning type into pictures,” she elaborated.

 

“The use of inward looking spaces, to reduce the amount of sunlight and heat entering a dwelling, shuttered windows, cool blue ceramic tiles and mashrabiyas, were all functional elements that reduced the harsh impact of the inhospitable climactic conditions while becoming defining elements of a design style.”

 

As so many elements of Middle Eastern design evolved as a direct response to climactic conditions, it is perhaps unsurprising that in an era of ubiquitous air-conditioning, many of these are now regarded as redundant. “The primary evolution for the style came as form followed function in terms of climate.

 

“Once we have managed to totally control climactic influences, with temperature-controlled environments, many of the functional elements became merely decorative,” Fernandes agreed.

 

In the quest to create a Middle Eastern design ethos for the 21st century, designers can call upon historical, cultural and religious motifs, but also have a varied and striking landscape to draw from, said Alfred Johnson, founder of Dubai-based design firm, Imagination. 

 

“Middle Eastern design is about bringing in not just the deserts, but the oases, the gorgeous sun and the beautiful beaches. It is about incorporating all of that. Design should be an echo of society and how it has advanced, and this is a society that is extremely old and rich, and which has come so far. That’s what you need to convey,” Johnson said. 

 

In many parts of the region, there has been a leaning towards a more authentic architectural style, which demands interiors to match. “We recently completed a lobby area at Ibn Batuta gate which is a commercial building with an Arabic style façade. We were very conscious of making sure that the interior was in harmony with the exterior design,” said Kerrin Matthey, head of design and furnishing at Asteco Property Management. 

 

“Prospective clients visiting the building find the Arabic style refreshing and impressive, and it appeals to overseas companies who want to feel like they are part of the community,” she added.

 

Infusing Middle Eastern design influences into a commercial setting creates interesting contrast, Matthey continued. “Middle Eastern design can work hand in hand with the modern requirements and demands of a commercial building.

 

“Whilst the commercial offices inside the façade are contemporary, common parts such as the lobby and reception can reflect Middle Eastern design and concepts. The duality at Ibn Batuta gate is a perfect example.”

 

Mixing ultra-modern and Middle Eastern design can yield some surprising results, Schwitzke agreed. “Sure there is a clash but this can be used quite productively! You will find Middle Eastern design in wild combinations with contemporary, western design and lifestyle ideas. Just have a look what Rochebois from France or Zara Home are doing with regards to home and furniture design, for example, or how fashion designers have been influenced in recent years,” he said. 

 

In fact, Middle Eastern design elements can be used to soften contemporary schemes. “Contemporary design tends to be quite harsh. Middle Eastern design introduces softer touches. Just think of sand dunes – they aren’t jagged or harsh. You bring those kinds of elements into focus,” said Johnson.

 

European design is particularly prone to harsh edges, Schwitzke pointed out. “In general, I like the use of Middle Eastern design motifs and patterns as it helps to soften the hard and clean architecture and design which we know from a lot of European designers. It can really create something new if it is done well.”

 

However, it is not an easy balance to achieve, Fernandes pointed out, particularly in a market like Dubai. “It is not easy to achieve the balance, especially as Dubai is a city that loves over-the-top design elements and the fusion style works best with low-key design elements, subtly infusing flavour into the overall aesthetics of the design concept,” she explained. 

  

There are, however, effective examples where the balance has been treated with the necessary sensitivity, she said.

 

“I have always loved the interiors at the Park Hyatt Dubai by Wilson Associates, for the reasons stated above. There are no over-the-top dark wood mashrabiyas and giant pots everywhere but a very Middle Eastern flavour and soothing ambience. The material choices, fabrics and light fittings of all public spaces create an interesting palette of colour and texture that is the epitome of this style.”

 

Invariably, reinterpreting Middle Eastern design requires a familiarity with the place, its traditions, its cultural idiosyncrasies and its unique landscapes. 

 

“The design nomads of this world can’t answer this question because actually it needs some time, and a controversial and continuous dialogue to develop a strong local design language and reputation,” said Schwitzke. “We as designers should look more behind the facades and understand the context.”

 

To some extent, laziness on behalf of designers is to blame for stunting the development of a modern, innovative Middle Eastern design language, Schwitzke suggested. “It is more or less the laziness of the designers wanting to easily meet the wishes and objectives of the clients,” he said.

 

For Johnson, time restraints are largely to blame. “Clients haven’t really given designers the time to create great examples of modern Middle Eastern design. It takes time to digest.”