More than mashrabiya

"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."

Nonetheless, designers are unanimous in agreeing that the market can only benefit from greater use of local design motifs. "Culture meeting commerce can only be a good thing. After all, we are living and working in the Middle East and should do all we can, as designers, to encapsulate and showcase its traditions and beauty."

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