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Italian mixers, rich textures and dramatic light fixtures are used in the bathrooms.

Organic and textural, the interiors of Emaar’s first hotel in dubai mirror the region’s natural landscapes, as Selina Denman discovers.

As development giant Emaar’s first venture into hotel management, The Address, Downtown Burj Dubai had to act as a larger-than-life showcase of the company’s hospitality ethos and ambition.

“It had to fit with our tagline, Where Life Happens,” Cora Stuart, hotel manager, explained. “There’s a little bit of excitement in every part of the hotel and that matches the identity of who we are. It has a texture and a feel that is a little different,” she continued.

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The project was a collaboration of international experts: Mirage Mille was appointed as the developer and project manager, WS Atkins was the architect, Cairncross Martin was responsible for procurement, Shankland Cox did all the landscape architecture and Claire Craig and Helen Skea of WA International looked after the interiors. 

“The team was the best I have ever worked with. Everyone really cared and put so much effort into it. The same people were on the project for four years, so that made a huge difference to the whole continuity, from the inside to the outside. There’s a flow throughout the hotel,” said Helen Skea, associate at WA International.

The aim was to create a high-end contemporary development infused with subtle Arabian twists. For example, oversized mashrabiya screening on the architectural façade is carried through to the interiors and replicated on headboards in the guest rooms, as a simple nod towards the Middle Eastern aesthetic.

It also strengthens the connection between the interior and exterior of the building. “What we tried to do was create something that was not completely minimal and modern, because it would date. It’s warm and sophisticated and quirky in many ways, but not over the top – and in ten year’s time it is still going to look like it fits into the building,” Skea says.

The region’s rugged mountains, undulating sand dunes, stunning seascapes and striking sunsets acted as a basic inspiration point for the entire design. Golds and bronzes interplay with reds and oranges and are infused with flashes of blue to create a palette that mimics natural landscapes from across the Middle East. 

“We’ve used the desert landscape, wadis, dunes and mountains as inspiration. The whole concept was a contemporary take on the Arabian landscape. Everything is quite subdued. We’ve tried to keep that through the background colour palette. Where we’ve got more drama, like the bars and restaurants, we’ve introduced silvers and blacks, in the form of Saint Laurent marble, chrome and glass,” Skea explains.

The overall shape of the building had a fundamental impact on the interior design – and was the source of some major challenges. “Because of the shape of the building, there were 44 different guest room types. And they were not slightly different but majorly different, so drawing package-wise for the team, it was a real challenge,” Skea says.

The curvaceous configuration of the building, which was free of sharp lines and edges, warranted an interior where organic and undulating design elements dominated. Fluidity was key. “If you look at the hotel from a bird’s eye view, the whole of the landscape and the architecture of the building is very organic, so we kept the interiors very natural.”

Public spaces are open and flowing, with separate areas blending seamlessly into one another. Even the boundaries between outside and inside are blurred, with the external landscaping seeming to flow into the building in a conch-like wave that almost ushers guests in.