Latest news with #DubaiExpo
Hi Dubai
2 days ago
- Business
- Hi Dubai
Middle East Travel Spending to Hit $350bn by 2030 as Tourism Grows 50%
Travel spending in the Middle East is set to soar 50% by 2030, reaching nearly $350 billion, according to the ATM Travel Trends Report 2025 released by Arabian Travel Market in partnership with Tourism Economics. Driven by robust inbound tourism, expanding luxury and business travel, and mounting investment in sports and entertainment, the region is projected to outpace global travel growth. Inbound travel is expected to grow 13% annually through 2030, with Asia, Africa, the UK, and India emerging as key source markets. 'Travel growth in the Middle East is incredibly strong, with annual growth averaging more than 7 per cent through 2030,' said Danielle Curtis, exhibition director ME at Arabian Travel Market. She pointed to national visions, major development projects, and enhanced connectivity as central to this rise. By the end of 2024, regional travel spending is forecast to surpass pre-pandemic levels by 54%. Business travel, in particular, is growing at 1.5 times the global rate, positioning the Middle East as the world's second-fastest-growing region for corporate tourism. Aviation and hospitality are also playing pivotal roles. Regional carriers—Emirates, Etihad, Qatar Airways, and Saudia—have collectively placed orders for nearly 780 aircraft, underscoring long-term ambitions to cement the region's status as a global aviation hub. Luxury tourism continues to thrive, with nearly 60% of visitors opting for high-end experiences—far above the global average. Abu Dhabi, Dubai, and Saudi Arabia's giga projects are at the forefront of this trend. Sports tourism is emerging as another powerful growth engine. With the 2022 FIFA World Cup and Dubai Expo setting the stage, the sector is expected to grow 63% by 2030, boosted by events like Saudi Arabia's upcoming 2034 FIFA World Cup and increasing investment in motorsports, golf, and esports. News Source: Gulf Businesss
Yahoo
6 days ago
- Business
- Yahoo
GCC Structural Steel Fabrication Industry Report 2025-2030: How Mega-Projects and Urbanization Are Driving Growth
The GCC structural steel fabrication market is growing due to infrastructure projects and urbanization in Saudi Arabia, UAE, and Qatar. Prefabrication and smart technologies boost demand, aligning with economic diversification goals, despite challenges like fluctuating raw material prices and reliance on imports. GCC Structural Steel Fabrication Market Dublin, June 04, 2025 (GLOBE NEWSWIRE) -- The "GCC Structural Steel Fabrication Market, By Country, Competition, Forecast & Opportunities, 2020-2030F" has been added to offering. The GCC Structural Steel Fabrication Market was valued at USD 10.11 Billion in 2024, and is expected to reach USD 13.79 Billion by 2030, rising at a CAGR of 5.15% Structural steel fabrication, essential for producing components used in high-load-bearing structures, is seeing robust demand in the GCC due to extensive infrastructure developments. The region's ongoing urbanization, coupled with mega-projects in Saudi Arabia, UAE, and Qatar, is boosting the need for prefabricated steel components. Structural steel's strength, adaptability, and eco-friendliness make it a favored material in commercial, industrial, and residential construction. The shift toward prefabrication and smart technologies in construction further supports the market's growth, aligning with the GCC's economic diversification and sustainability goals. Robust Growth in the Construction Sector The construction sector across GCC countries is a key catalyst for the structural steel fabrication market, fueled by large-scale investments in infrastructure as part of economic diversification efforts. Major initiatives such as Saudi Vision 2030 and infrastructure-driven events like Dubai Expo and the FIFA World Cup have spurred the demand for steel structures in residential, commercial, and industrial developments. Projects like NEOM, Qiddiya, and the Red Sea Development are examples where structural steel plays a pivotal role in modern, sustainable construction. The material's inherent benefits - high strength, design flexibility, and recyclability - make it indispensable for innovative architecture and complex engineering requirements, driving continued demand throughout the region. Fluctuating Raw Material Prices The volatility in steel prices presents a significant hurdle for the structural steel fabrication market in the GCC. Limited domestic steel production necessitates imports, exposing the market to global supply chain disruptions, tariffs, and currency fluctuations. This dependency introduces financial unpredictability for fabrication firms, especially under fixed-price project contracts. Spikes in material costs can delay timelines, compress margins, and complicate budgeting. While companies are adopting cost-control strategies like supply diversification and advanced procurement tools, raw material cost instability remains a persistent constraint, particularly affecting SMEs and long-term project planning. Rising Adoption of Advanced Technologies Advanced technologies are transforming the structural steel fabrication landscape in the GCC. Firms are integrating CAD, CAM, and BIM systems to enhance design accuracy and coordination, minimizing rework and accelerating timelines. Automation - through robotic welding, CNC machining, and laser cutting - is boosting production efficiency and reducing reliance on manual labor, which is increasingly expensive in the region. IoT integration for process monitoring and predictive maintenance is also gaining traction, contributing to quality assurance and operational reliability. These innovations align with regional development visions like Saudi Vision 2030 and the UAE's Industry 4.0 agenda, signaling a shift toward smarter, more efficient steel fabrication processes. Key Attributes: Report Attribute Details No. of Pages 125 Forecast Period 2024 - 2030 Estimated Market Value (USD) in 2024 $10.11 Billion Forecasted Market Value (USD) by 2030 $13.79 Billion Compound Annual Growth Rate 5.1% Regions Covered Middle East Report Scope Key Market Players ArcelorMittal Tata Steel Limited Baosteel Group Corporation Nippon Steel Corporation JFE Steel Corporation China Steel Corporation TENARIS Steel Dynamics, Inc GCC Structural Steel Fabrication Market, By Service: Metal Welding Metal Forming Shearing Metal Cutting Metal Shearing Metal Stamping Machining Metal Rolling GCC Structural Steel Fabrication Market, By Application: Construction Automotive Manufacturing Energy & Power Electronics Defense & Aerospace GCC Structural Steel Fabrication Market, By Country: Bahrain Kuwait Oman Qatar Saudi Arabia United Arab Emirates For more information about this report visit About is the world's leading source for international market research reports and market data. We provide you with the latest data on international and regional markets, key industries, the top companies, new products and the latest trends. Attachment GCC Structural Steel Fabrication Market CONTACT: CONTACT: Laura Wood,Senior Press Manager press@ For E.S.T Office Hours Call 1-917-300-0470 For U.S./ CAN Toll Free Call 1-800-526-8630 For GMT Office Hours Call +353-1-416-8900Error in retrieving data Sign in to access your portfolio Error in retrieving data Error in retrieving data Error in retrieving data Error in retrieving data
Broadcast Pro
09-05-2025
- Entertainment
- Broadcast Pro
Disguise to demo entertainment technology at Middle East trade shows
The technology platform and solutions provider will be attending a range of key industry events as it tours the Middle East region in May. Disguise, the technology platform and solutions provider behind visual spectacles at events like MDL Beast Soundstorm 2024, Dubai Expo's Al Wasl Dome and the iconic displays on the Burj Khalifa, is set to make a major presence across the Middle East's top trade shows this May. The company will spotlight emerging trends and innovations shaping the future of entertainment, offering immersive demonstrations and insights into the transformative potential of its technology. At these events, broadcasters, filmmakers and sports franchises will have the opportunity to meet the Disguise team and explore how extended reality (xR), virtual production and augmented reality (AR) can elevate their storytelling. Disguise's state-of-the-art solutions aim to empower creators across industries—from thrilling sports fans in modern stadiums to mesmerising cinema audiences and lighting up urban landmarks. Rebecca Knight, vice president of sales EMEA at Disguise, said: 'With mega projects like Neom and Qiddiya, and global events such as World Expo 2030 on the horizon, there's more demand for incredible visual spectacles in the Middle East than ever before. The only problem is that many still believe these visuals are too complicated to execute. By attending some of the region's top trade shows this May, we want to help demystify the process, so showgoers can see exactly how easy it is to create an immersive experience with Disguise's software, hardware and services solution.' Disguise will first appear at CABSAT 2025, running from May 13–15 at the Dubai World Trade Centre (Booth S1-H22), where its team will demonstrate cutting-edge solutions for virtual production and next-gen broadcast studios. Attendees of the co-located Integrate Middle East event can also explore Disguise's tools for crafting location-based experiences and see firsthand how immersive, data-driven visuals can heighten fan engagement across live events and sports. Next, Disguise will participate in the Stadiums and Sports Innovation Summit KSA 2025, taking place from May 19–20 at the Hyatt Regency Riyadh Olaya. As a proud sponsor of the summit, Disguise will showcase how its technology can transform sports venues—enhancing fan engagement and pushing innovation across the region's fast-developing sports sector. From May 20–22, Disguise will exhibit at the Saudi Entertainment and Amusement (SEA) Expo 2025 at the Riyadh Front Exhibition and Conference Centre (Booth 4C441), where Sales Manager Josh Darlington will engage with key regional stakeholders as part of the UK Pavilion. The company will highlight its capabilities in themed entertainment and share success stories from major projects across the Middle East. Finally, Disguise will join production partner mediaPro at the Saudi Light & Sound (SLS) Expo, also taking place from May 20–22 at the same venue (Stand 2B231). After powering mediaPro's recent high-profile events such as the Dakar Rally Closing Ceremony, The Agenda Funtico launch, and the ADIB Cup 2025, Disguise will support live demos at the booth from 6 to 8 p.m. daily, offering a direct look at its platform's capabilities in action.
CNN
03-04-2025
- Entertainment
- CNN
A museum is exhibiting 3D-printed recreations of famous sculptures. Here's how they were made
Behind the red-bricked facade and marble friezes of the National Gallery of Denmark, visitors are now able to see nearly all of Michelangelo's existing sculptures — the 'most comprehensive' exhibition of his sculptural work assembled in 150 years according to the institution — and more than 1,000 miles away from where the majority of the Renaissance artist's works are typically seen. But to do so, the museum did not haul the 17-foot-tall David from the Galleria dell'Accademia in Florence, or the unfinished figure called 'The Genius of Victory' that sits nearby in the Palazzo Vecchio. Instead, 'Michelangelo Imperfect,' hosted at the SMK (short for Statens Museum for Kunst), relies on some 40 reproductions, including a new set of 3D-printed copies made for the show by the Madrid-based studio Factum Arte. Included is a 19th-century bronze version of 'David,' plaster casts of the four famed allegorical figures seen on the tombs of the Medici Chapel, and 3D-printed and cast sculptures of Pope Julius II's unfinished tomb. Though it's not the first time a Michelangelo sculpture has been 3D printed — the University of Florence unveiled a David replica made of acrylic resin at the 2020 Dubai Expo — this time, the technology has been used to help bring together nearly all of the artist's sculptural works in one place. The show also features original works by the Italian artist, including 20 drawings and a group of maquettes — preliminary models in wax and clay. 'It is a bit of an experiment,' said Matthias Wivel, the show's curator, in a video call with CNN. 'It's an exhibition that consists largely of reproductions.' Today, he added, 'it's not something you see so often.' Michelangelo Buonarroti, the 15th-to-16th-century sculptor, painter and draftsman who has endured as one of the most famous artists of all time, is recognized for the dynamism and emotional qualities of his classical sculptures. They twist and turn in space, tense their muscles, or hold seemingly precarious poses despite being rendered in solid white Carrara marble. At Factum Arte's studio, the team didn't just 3D print each object, but used a mix of new and traditional techniques. The intensive process involved recording each work with photogrammetry and Lidar scanning to make a digital twin. They first printed each work in resin, similar to the 'David' replica exhibited in Dubai, but they didn't stop there. Then, they created silicone molds from the printed forms and cast each in a marble composite to get closer to the artist's original material, before hand-finishing the final sculpture. 'Our goal is to make the (artworks) visually identical under exhibition conditions,' said Factum Arte's founder Adam Lowe, in a video call with CNN. 'You're able to distinguish a difference if you can touch them or if you can tap them, because the temperature of the marble is not quite the same.' But why exhibit replicas at all? And, if it really is virtually indistinguishable to the untrained eye (albeit a little warmer to the touch), is it Michelangelo enough? Today, we might not assign much value to reproductions, but in the 19th century, plaster cast versions of famous sculptures were the stars of many museums. Institutions like the Art Institute of Chicago began their collections with plaster casts, and the Louvre's plaster cast workshop, created in 1794, is still active today. Visitors who have traveled to Florence are already likely to have encountered a plaster doppelgänger of Michelangelo's 'David' in its original outdoor location at the Piazza della Signoria, but they have also been erected in London and Moscow, while bronze versions can be found internationally as well. Many were cast soon after the largest Michelangelo exhibition at the time took place in Florence in 1875 to mark the 400th anniversary of his birth, and featured a mix of original sculptures and new plaster duplicates, Wivel said. But reproductions eventually fell out of favor, and eventually into disrepair, locked away in storage or destroyed. In 2004, the Metropolitan Museum of Art donated its once-prized collection to the Institute of Classical Architecture & Art. They had previously been neglected in 'leaky' storage, The New York Times reported in 1987. 'It was a way of gathering and making accessible works of art that weren't accessible to the general public, either because they were far away or because you couldn't see them together,' Wivel explained. 'There's been this sort of fetishism of authenticity around original objects (beginning) in the 20th century.' In fact, he added, the entire foundation for Western art would have been upended without reproductions, since precious few original sculptures from Ancient Greece still exist today; the vast majority of our knowledge of the period comes from Roman copies. The SMK's extensive collection of plaster casts already included 27 out of around 45 existing Michelangelo sculptures, making it an ideal institution to host the show, Wivel noted. They were also able to relocate the bronze cast of 'David' from 1896 — normally displayed outside in Copenhagen's harbor district — indoors, becoming a 'centerpiece' of the show. 'I thought that was probably going to be impossible, but it happened,' Wivel said of moving the sculpture inside. A show of this magnitude is 'something you can only do with replicas,' Wivel said. 'You get a richer experience of him as a sculptor by seeing it this way.' To see the breadth of Michelangelo's sculptures, you'd have to travel across Italy and make additional stops in cities around the world, including Bruges, London, New York and Paris. Most can't move and some are behind bulletproof glass, such as the 'Pietà' at St. Peter's Basilica in Rome, or placed up high in cathedral niches, like four lesser-known saints he carved for a Siena chapel that until now, have never been reproduced. At the SMK, visitors will have unprecedented intimacy with nearly his entire sculptural output — though not quite all, as some institutions did not give permission to make copies, including two of the four unfinished nude prisoners Michelangelo carved for the tomb of Pope Julius II. (Those missing icons are 'the great frustration of the show,' Wivel lamented.) But all of the institutions who loaned the works will own the imaging and data that Factum Arte recorded, which — as they demonstrate through the exhibition — can be invaluable for conservation efforts. One of the most work-intensive replicas they made is a reconstruction of Michelangelo's early sculpture of St. John the Baptist as an infant from 1495–96, which was housed in El Salvador chapel in Úbeda, but smashed during the Spanish Civil War. Conservators took 19 years to restore the work, which went back on view in 2015, but Factum Arte sought to improve upon it by scanning, printing, and casting each of the fragments before reassembling it. 'We spent two and a half years working on the reconstruction to put the fragments back as they might have been,' Lowe said. Factum Arte's data provides invaluable information for institutions, Wivel said. 'Its accuracy is down to micron level… And that's very useful in the future (for) conservation treatments. You can refer back and see what it was like at that time, especially if it's damaged.' The scans they capture are taken around 20 inches away from the works and 'capture right down to the tiniest marks in the surface,' Lowe explained — even dirt and dust, which can prove challenging as it reads as extra volume or noise in the digital model. The scans do have their limitations if parts of the sculptures are inaccessible, like the backs of some that are positioned in chapel niches. But the material and surface details mimic marble in a way that plaster can't, Lowe emphasized, from the marble veining that's meticulously added to match the original works, to adding dirt and cracks to the sandblasted exteriors to match the texture and condition. In video clips of the studio taken by Factum Arte, monumental pieces of the sculpture sit together as they come to life over months and years. Spending that time with each work can profoundly change one's impression of them, according to Sol Costales Doulton, the studio's project manager who oversaw their making. 'The way you perceive these objects, it changes totally,' she said in the video call with Lowe. 'The Genius of Victory' was one that began to subtly transform the more she spent time with it, she explained. 'Everybody saw him as a quite dispassionate, detached, idolized beauty. And then you start looking at him, and he starts gaining depth, and there's actually something quite mysterious and deep in his eyesight, (like) something is calling him over his shoulder,' she recalled. 'So the psychological charge that the sculpture expresses is totally different when you get a chance to be with it and listen to what it's saying.' Though it was a privileged position to have that length of time, she encourages visitors to take advantage of the proximity of the works together in one show, and really sit with them. 'So many times in passing through a gallery or a museum, you're rushed to see all the masterpieces. Your attention span will be limited to a minute, a minute-and-a-half, and then you'll move on to the next object,' she said. 'So the possibility of being with them for months, they start to unravel many different narratives.'
Arabian Business
11-03-2025
- Business
- Arabian Business
UAE launches first sports and entertainment business free zone ISEZA in Dubai
Dubai will be home to ISEZA, the country's first dedicated sports and entertainment business cluster operating within a Free Zone environment. The hub aims to streamline licensing for sports and entertainment businesses while creating a collaborative ecosystem to accelerate industry growth. ISEZA will operate within the Dubai World Trade Centre Free Zone, providing a unified platform for businesses across established sectors including sports management, marketing, event management, talent representation, and media broadcasting, the Dubai Media Office (DMO) said in a statement on Tuesday. Dubai World Trade Centre unveils ISEZA sports business free zone The zone will also support emerging areas such as e-sports, AI-driven sports technology, and fan tokens. Dubai's sports industry currently contributes approximately $2.5 billion annually to the Emirates's economy. The new zone joins over 40 Free Zones across the UAE, each focusing on different industries. 'The launch of ISEZA within the DWTC Free Zone will foster a dynamic ecosystem, empowering sports and entertainment businesses, startups, and entrepreneurs to thrive. ISEZA members will benefit from our award-winning Free Zone's prime location in the heart of the city's business district, streamlined business setup, and access to valuable networking opportunities through our diverse events and exhibitions calendar. By attracting sports and entertainment-focused businesses, we are reinforcing Dubai's status as a global business hub and contributing to the growth of the sports sector in alignment with the Dubai Economic Agenda (D33),' Khaled AlFahim, Vice President of Asset & Investment Management at Dubai World Trade Centre said. The zone will target a range of industry participants including global brands, sports leagues and franchises, rights owners, investors, sports agencies, talent agencies, athletes, media personalities, social media influencers, and creative professionals. It will also seek to attract international and regional sports organisations, including federations, associations, and leagues. 'Our project is aligned with Dubai's strategic vision of being a global destination for sports, entertainment and tourism. This initiative will have a major social impact creating a unique environment for hosting sports exhibitions, museums, academic programs and community projects in Dubai World Trade Centre and Dubai Expo areas. Driven by the UAE's vision of business development with higher social impact, we believe it will further contribute to the promotion of active sports and healthy lifestyle in the UAE overall,' Damir Valeev, ISEZA CEO added. Located in One Central, near the Dubai Museum of the Future, ISEZA will collaborate with key UAE authorities including the UAE Ministry of Sports, Dubai Sports Council, and UAE National Olympic Community to provide tailored corporate and legal support to its members. The initiative aims to contribute to the Dubai Economic Agenda (D33) by cementing the city's position as a global business hub for sports and entertainment.
