This year’s Dubai Design Week is as fascinating as ever — there is just so much to see that you don’t even know where to look. So many talented designers showing their work!

And apparently, the festival’s bringing together over 1,000 designers, architects, and creative people this year.

One of my favourite parts has always been the installations. They are huge, creative, and always mind-blowing. This time, one of the exhibitors is the Japanese architecture studio Nikken Sekkei, working with Sobokuya, a construction firm. Together, they are creating an installation called Chatai — a mix of Chashitsu (a Japanese tea room) and Yatai (a street stall), celebrating Japanese culture and hospitality.

I talked with the team behind it — Dr. Fadi, CEO of Nikken Sekkei Dubai and Executive Officer at Nikken Sekkei, plus architects Kao Liting and Prarthana Sudhindra.

And of course, I couldn’t resist asking them about one of their best-known projects — One Za’abeel.

— First of all, one of the buildings I am most fascinated by in Dubai is the one your team created. So, I’d love to ask you about One Za’abeel. Could you tell me the full story behind it — from the very beginning, the concept, and the inspiration, to why it looks the way it does?

Dr. Fadi: This project, owned and developed by ITHRA Dubai, started more than ten years ago. It began with an invitation to a competition. There were many different ideas submitted, all great in their own way, but the organisers were looking for something more unique.

When we began studying the site, we realised it was located at the entrance to Dubai. So we thought that it should have the form of a gateway to Dubai. It is a gate to the new Dubai, right at the intersection between old and new Dubai.

We started exploring possibilities. The site already had the tallest tower nearby, so we didn’t want to repeat that. There were also twin towers around, so we ruled out that idea as well. I was leaning toward creating something with a strong, distinctive form — something that would express the idea of a gateway.

I remember we had a big design discussion in Tokyo. Everyone was there, including our chairman. We started sketching and building models, and then there was this “magic moment” when the concept suddenly came together. That became the foundation of the project.

Of course, not everyone agreed at first. Some were concerned — it is a real highway underneath, and we were proposing to build something on top of it. But others, myself included, argued that this is Dubai, and in Dubai, we take on bold, challenging ideas.

So we pushed forward with the cantilever structure and eventually won the competition. That is when the real challenge began.

It took ten years to complete. We had a large design and engineering team, from Nikken Sekkei and WSP, and countless specialists who contributed greatly to the success of this project. We counted once, over 60 consultants, from five continents. Construction was extremely difficult because the site was close to the sea, with a very deep foundation — seven basement levels. During excavation, we had to make sure the highway between the two sites didn’t sink, so sensors were installed everywhere to monitor road movement.

One of the biggest moments was when dewatering was finally completed. After that, we could start the substructure and then the superstructure.

The structure itself was built in two parts. The cantilever was incredibly heavy — about 10,000 tons of steel, even without finishes. It is a 230-meter-long link, basically the length of a skyscraper, just laid horizontally and suspended between two towers. Imagine flipping a skyscraper on its side and attaching it in the air — that is the scale of it.

It was lifted in two stages because lifting it all at once could have caused it to tilt. I like to joke that Dubai was closed three times: once when President Bush visited, once during COVID, and once because of us! The road was closed for three days for that operation.

After the lifts were completed successfully, construction progressed quickly.

One of the most remarkable features is The Link. Nowadays, we talk a lot about vertical urbanity in dense cities — how to connect towers not just underground or at the ground level, but also in the sky. There are only a few examples of this worldwide, so it sets a new benchmark. Our link isn’t just structural — it is functional, with indoor and outdoor spaces.

It is amazing to think that something which started as a simple sketch became a real place — a place where people now live, work, and gather.

— That is exactly what I am also interested in. As architects, you first create something on paper, and then it becomes real — a physical space that people can actually walk into. What does that feel like? Which of your projects has been the most meaningful to you?

Kao Liting: I would like to talk about Waldorf Astoria Osaka, the hotel we recently completed. We designed it around a very specific concept.

This particular project started about five years ago, from the early planning and design discussions with the client and the operator. We spent a lot of time thinking about the guest experience — what kind of feeling and story we want guests to have when they stay with us.

The main concept was to let visitors truly enjoy Osaka’s local culture. We asked ourselves, how can we express Osaka’s culture and spirit through design? So, we explored the city’s lifestyle, history, and small details that could be reflected in the hotel’s design.

Our team is based in Osaka, so we know the local culture deeply. Through our experience, we tried to bring that everyday Osaka lifestyle into the hotel’s spaces — something both international visitors and local guests can enjoy. We wanted locals to feel, “Yes, this is Osaka,” while visitors can discover something new and authentic.

The style of the hotel is what I would call architectural art-tech — modern, artistic, and rooted in design. But when it comes to food and service, we focused on Osaka’s local flavours — like takoyaki and other traditional dishes — to give guests a real taste of the city.

The hotel’s highlight is the Peacock Alley Osaka. It is inspired by a cultural tradition that has been around for almost 90 years in Osaka. Architecturally, it follows a classic style, but we have reinterpreted it through a modern Japanese lens — blending heritage with contemporary design.

So, this project is really about combining history, lifestyle, and design — creating a place where people can experience the essence of Osaka in a fresh way.

Prarthana: In 2023, we started working on a project called King & Sons in Moscow. It is a full-scope project — both architecture and interior — completely from scratch.

We began with large-scale site analysis, studying the context and understanding Moscow’s culture and character before developing the residential design. Then, in 2024, we moved on to the interiors for the entire residential complex.

Now, it is amazing to see everything coming to life. Construction is progressing side by side with our design reviews, and we are constantly checking and refining details as the project takes shape. It is really rewarding to see something that started from a blank page turn into reality so quickly.

That is definitely one of the projects I am most proud of.

— Thank you for sharing! Nikken Sekkei is rooted in Japan, yet you create many projects in the Middle East. I am curious — from your perspective, how are these two worlds connected? And how do they come together in Nikken Sekkei’s practice?

Dr. Fadi: We are all part of Asia — and that is something special. What I really appreciate about Asians is that we are people of the heart. It is not just about rules and regulations; there is a human, emotional side to how we work.

In the past, most of our work was done entirely from Japan. I used to collaborate with different teams there on all kinds of projects. But now, things have evolved. We have established a full-fledged studio here, in Dubai, with a dedicated team.

Depending on the project, we sometimes form teams with our offices in other countries — it could be Shanghai, Thailand, or Vietnam — depending on the specific expertise required. I find this approach fascinating because it creates a larger ecosystem of creative minds from around the world.

What is popular in the Middle East can be very different from what is trending in Japan, but there is a lot of cross-pollination. For example, many of the ideas we develop here in the Middle East are also relevant to projects in Russia or Vietnam. And we collaborate frequently with teams from Thailand and Japan as well.

The Japanese teams we work with are often highly specialised — especially in large-scale projects like stadiums, airports, and healthcare facilities. Architecture is such a vast field, and there is so much diversity in the kinds of work we do.

Here in Dubai, our focus is a bit different. We have built a creative studio that concentrates on residential design — crafting beautiful, thoughtful living environments. We also work on more imaginative projects and design competitions, exploring new horizons and innovative concepts.

It is a truly creative design studio — now an integral part of Nikken Sekkei, where we continue to combine expertise, culture, and creativity from across Asia and beyond.

— So, this year, you are participating in the amazing Dubai Design Week, and you are creating a pop-up installation that blends a traditional Japanese tea room (chashitsu) with a neighbourhood street stall (yatai). Could you tell me more about that?

Dr. Fadi: So, that is something quite personal for me. When I was in Japan, I did my dissertation on traditional architecture. I have always loved Japanese carpentry — those old royal houses, the craftsmanship, the philosophy behind them.

Then, suddenly, I got a call in Dubai. A Japanese carpenter wanted to open his company here. I was surprised — a carpenter from Japan, in Dubai? I couldn’t quite understand the connection.

A few days later, I was coming back from Abu Dhabi, and my colleagues suggested we meet him — just casually, over a beer, since he had come all the way from Japan. That is when I met this very genuine, humble man — a true carpenter. Not a business-minded person, but someone deeply passionate about his craft.

He said something that really stayed with me. He told me, “Each time we cut a tree, we are taking away a life. So, it is my duty to give that life back — to infuse it into something new.” I found that profoundly beautiful.

That conversation inspired me. I sketched an idea I called “Chatai.” It was just a quick concept for an installation we could build for the Dubai Design District — d3. I sent it to him and asked, “What if we create something like this?” He said, “Okay, let’s do it.”

From there, it started growing. Kao-san joined, then Prarthana. Together, we began developing the sketch into a modular structure. Soon, other companies became part of it. Panasonic offered to handle the lighting. Hiroshima Jozai brought tatami mats. Dai Nippon Printing joined for printing. It became this wonderful collaboration!

Even the Consul General of Japan in Dubai agreed to participate. He is a master of Ikebana, the Japanese art of floral arrangement, and he offered to perform a live demonstration during the show.

So, what began as a casual conversation over a beer turned into something quite meaningful.

When designing the pavilion, I asked myself, Okay, we will have this beautiful wooden structure by SOBOKUYA. People will come, admire the craftsmanship, smell the wood, and drink Japanese tea. But what else can we offer beyond that sensory experience? That is when we decided to include an exhibition inside — featuring handcrafted items by Abjad Design. Together, we created a collection of pieces that expressed Japanese culture through the lens of architecture.

There is also a counter — inspired by the idea of the yatai, the traditional Japanese street stall where you stop, have food, and chat with the person behind the counter. We won’t be selling food, but perhaps green tea. The person there will talk to visitors, explain the art pieces, and start conversations.

That is really the spirit of this project — bringing together many different ideas, cultures, and people, and weaving them into something poetic. This project is about connection, craftsmanship, and the exchange of real knowledge.

Prarthana: Chatai was originally all wood-based; the whole framework was made of timber. Kao-san worked out many of the details — figuring out how it should be built, and also clarifying what elements were distinctly Japanese versus Chinese. Sometimes, when it is not your own culture, those differences can be subtle, so that was a very interesting process of discovery. From there, we started developing a structure that could be a bit modular — something adaptable that could blend Japanese and UAE cultures. The design included flexibility to allow that fusion. Then we began adding more elements — traditional Japanese details like shoji screens, benches, and a tea-serving table to create a warm, interactive experience. We also collaborated with other companies, like Abjad, as Fadi-san mentioned earlier, especially for the graphic design. That was an important part of the installation, too, because it carried a lot of symbolic Japanese elements and helped complete the overall story of the Chatai. Kao-san: For me, I feel happy to be able to share Japanese culture and the materials we bring from Japan. People don’t need to spend money to travel all the way to Japan — it is right here, close and accessible. By showing these materials in the UAE, everyone can come, see them, touch them, and really feel the culture that we work with every day in Japan. I think it is a wonderful experience for everyone — a way to connect with Japan through design and craftsmanship, right here.