CONTENTS EFU HEAD OFFICE BUILDING "EFU life Head Office", the high rise structure governing the profile and skyline of Korangi Road. The building appears to be a sculpture of pure forms stacked together with aesthetic variations. The building has been treated with Modesty, Simplicity and excellence which is synonymous to none other than late Maestro Habib Fida Ali. Page 62>
LALE-I RUMI RESTAURANT The central idea of Lale-i Rumi is to provide an insight of Turkish Culture. It provides jiost of various aspects of the dynamic culture it aims to represent. Turkish Culture is a package that reflects unparalled diversity and richness because of unique combination of Art and Architecture, ceramic and textiles, carpets and kilms, music and poetry, philosophers and culinary art.. Page 74>
CAFE & ROOFTOP BAGHEECHA Rooftop bagheecha space was developed with the concept of disaggregation, open courtyard (baramda) and a very special public place. As a design philosophy the studio is concerned with abstract nature of spatial and tectonic process, empirical and material, with a kind of a strong expression visible in the use of materials and architectural elements. Page 80>
BELLAVISTA RESTAURANT DESIGN Based on the premise of ´your home away from home´ the interior design references the idea of daily life and festive spirit of small villages in Spain, but also all around the world. The name, meaning Beautiful View of the Garden in the North, references to the large garden at the end of the restaurant. Page 88>
GERMAN GYMNASIUM The German Gymnasium in London’s King’s Cross is undoubtedly one of 2015’s landmark hospitality openings. Housed under one, very prestigious roof, this new collection of restaurants, bars and cafés from D&D London features interiors by the acclaimed studio, Conran and Partners. Page 100>
CONTENTS THE ATHENAEUM HOTEL Leading British design studio Kinnersley Kent Design has completed the multi-million-pound refurbishment of one of London’s most iconic hotels – The Athenaeum Hotel & Residences – remodeling the interiors and adding new layers of warm and subtle glamour to this family-run, five-star, thoroughly-independent jewel in the heart of Mayfair. Page 108>
WELCOMING AND INNOVATIVE Talent and Taste Interior Designers completed their Hallmark interior of Agha Steel office. The language of the interior is bold, using materials, colors, textures and finishes, which are glossy, glamourous and blatant. Page 114>
WORK YOUR WAY TO WELL-BEING The office, which was created by the award-winning Swiss architecture and design studio Evolution Design has been specifically designed with employee well-being in mind. Every aspect, from workstations to social spaces, team areas and relaxation rooms, is built around four key pillars of health: activity, attitude, rest and nutrition. The result is one of the first offices in Switzerland that makes employee Page 120> well-being its primary focus.
ARCH TALK To promote & appreciate architecture, A+i has launched Architect’s interview series of the renowned Architects & Interior Designers. The contribution to their profession & distinctive style of work one of the renowned Architect & Interior Designer will be featured in every issue of A+i. In this issue we are publishing Architects Habib Fida Ali (Late) and Adil Kerai Interviews. Page 30>
OTHERS Editorial Project News Happenings
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49th issue
ISSN no. 2073-901X
founder Arch. Syed Akhlaq Hussain (Late) e d ito r Arch. Mujtuba Hussain managing editor Arch. Murtuza Shikoh
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contributing editors Arch. Sohail Razvi (USA) Arch. Anila Naeem (England) Arch. Apurva Bose (India) Arch. Shoaib Arif (Gulf) Arch. Agha M. Mirza (Canada) art designer Salman Arif
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Editorial Eating & Sleeping… two things never seem to get enough of. Well, we handle sleeping in our future issue but this spring issue focus on eating (and drinking to go along with it) makes our F&B main story a mouth-watering feast of design. Trends? Seems like rustic chic, often using found materials, is taking over the eateries, plus the thematic stalwart of nostalgia. But when done really well, there’s better than revisiting familiarity. It lets us focus on the food, and the company, and not worry overly about ‘getting’ the abstract design concept or what particular angst the designer was trying to expunge. The point is, design doesn’t always have to be profound to be good, and F&B is a category that often seems to understand this more than some others. Dig in… Today, restaurants are keen to invest more time and energy into their interiors, and designers have been able to more freely express their creative potential in the use of new materials and forms, creating distinct, almost theatrical atmospheres. In designing a restaurant, firms have to keep in mind that customers need to feel drawn by the space. Hence, special care must be taken in lighting, good views and the search for a unique aesthetic. In our ARCH TALK section we are publishing legendary Architect Habib Fida Ali (Late) and Architect Adil Kerai interviews. In this 49th spring issue of A+i we are publishing last masterpiece of Late Habib Fida Ali EFU Head Office Building. Also featured in this issue The Athenaeum Hotel & Residences, Agha Steel Head Office interior design and PwC Switzerland’s Basel Office by Evolution Design.
NEWS
IMAM HUSSEIN INTERNATIONAL AIRPORT, KARBALA - IRAQ
The project of the runway of the Imam Hussein International Airport" in Karbala, affiliated to Imam Hussein Holy Shrine. Engineer Fouzi Shahir stated, “The construction work of Karbala International Airport is already commenced, as the memorandum of understanding was signed with the British Copperchase Corporation.” Directors of Copperchase Nahudh Muhammad Saleh remarked, “We plan for the first airplane to land at the new airport within two years after the completion of the first stage of this immense project.” The Department of Transportation had earlier signed with the holy shrine a memorandum of understanding for the establishment of Karbala International Airport, which will be divided into three stages. Karbala International Airport was designed by the French ADBI Company and will include the longest runway of all airports in Iraq, measuring a length of 4.5 km. The passenger traffic is expected to reach 15 to 20 million per year.
ARCHITECTURE INTERIORS [22]
NEWS
PARKORMAN, ISTANBUL - TURKEY
Dror are making a connection between people and nature in a city with no central park. Existing green spaces in Istanbul are few and far between. When considering the approach for a park located six miles north of the city centre, Studio Dror asked the question: ‘How do we draw strangers-tonature to this destination?’ The architects set out to create a park that dissolves the anxiety and fear that often accompanies an unfamiliar environment through a network of conditions that fosters unconditional love. They imagined the most profound experience delivered through the lightest touch; an effort that preserves the lush forest and leaves every tree in place, as mandated by the city. Our masterplan for Parkorman is a web of possibilities; a living system of places for visitors to explore. Instead of dictating one’s path through the park, visitors write their own experience. Numerous non-linear pathways, like calligraphy, weave through the existing woodland, surprising people with unexpected discoveries along their journey. Five main zones, each with their own distinct qualities, are designed to provoke emotion. The Plaza, at the entrance of the park, presents nature as a place for collective experience and gathering. Interaction and play are encouraged through a series of interventions spread throughout: swings and hammocks sway above the bed of the forest (The Loop); giant ball pits, inspired by Turkish spice markets, invite people to dive in (The Pool); a footpath floats above the ground and twists around tree trunks into giant loops with trampolines at the centre (The Chords). The Grove, a maze-like trail pollinated with sculptures that relate to the landscape, spurs exploration, while The Fountain of Clarity, a cube-shaped frame that sends water down all four sides and opens via a hydraulic piston to envelop oncomers, prompts reflection.
ARCHITECTURE INTERIORS [24]
NEWS
TOUR & TAXIS, BRUSSELS - BELGIUM
Vincent Callebaut Architectures are creating a mixed-use eco-neighbourhood in Brussels that incorporates an Art Nouveau railway station. According to Vincent Callebaut Architectures the architects of this unique eco-project in Brussels… Most developing countries can write their future starting from a blank slate, however developed European cities face the challenge of transforming their built heritage to secure their energy, social and economic transition towards post-carbon, circular and interdependent urban living. The project focuses on the "metamorphosis" of the Gare Maritime (Marine Terminal) into 50,000 sq m(c. 538,000 sq ft) of mixed-use space composed of professional activities (offices, workshops, etc.), retail activites (markets, showrooms, shops, fablabs, etc.) and public amenities. Across from the pediment of the Gare Maritime, the project also includes the eco-design of three residential "vertical forests" totalling 85,000 sq m (c. 915,000 sq ft), as well as the creation of a large pond bordered by a natural and biological pool which links the Tour & Taxis park to the Brussels canal.
NOVOTOWN, ZHUHAI - CHINA
This development in China by Aedas draws on the concept of an open palm to create a reflection of Chinese culture. Designed by Aedas and located at the heart of Hengqin Island in Zhuhai, China, this project is just five minutes away from Macau. It is positioned as both a tourist destination and a cultural/creative incubator for Southeast Asia. The mixed-use development features a retail ring which seamlessly links different experiences together while embracing a massive courtyard garden – the Heart of China Garden. At the podium level, a 120,000 sq m cultural and entertainment complex features a shopping mall, a multi-purpose hall, a wedding pavilion, a healthcare and beauty cultural centre and two indoor themed attractions – the Lionsgate Entertainment World and the National Geographic Ultimate Explorer. The three towers above offer the 490-key Hengqin Hyatt Regency Hotel, a 52,000 sq m office tower and a cultural workshop tower. Novotown is an iconic development that reflects on the Chinese culture. The challenge was to come up with an architectural gesture that is recognised both nationally and internationally. According to Aedas: “The result rests on the concept of an open palm, implying that we grasp the past, present and future in the palm of our hands. The hand also symbolises the passing on of the Chinese culture by creating a unique culture with our hands and appreciating the essence with our hearts.”
ARCHITECTURE INTERIORS [26]
INTERWOOD ARCH TALK
HABIB FIDA ALI PIONEER OF MODERN ARCHITECTURE
Habib bestrode his profession like a colossus and much has been written in recent days about his work. Uncompromisingly modern, he revolutionised the understanding and practice of architecture in Pakistan. Over a fifty-year career he imprinted his creative vision on the country, designing restaurants, university campuses, corporate buildings, mosques and a multitude of distinctive houses. He created one iconic building after another – Shell House, Kabraji House, Commercial Union Office, the campus at LUMS, Haleema Mosque, British Deputy High Commission, Siemens, to name just a few. This interview is a tribute to HFA who passed away in January 2017. Interview by: Dr. Suneela Ahmed Photographs: Courtesy HFA
and the form has evolved from an understanding of the Char Darwaza. The forms are rooted in the context of Punjab. In Karachi there is no history.
ARCHITECTURE + INTERIORS (A+I): WHAT ARE THE MAIN ELEMENTS IN YOUR DESIGN PROCESS?
We have the colonial built form, but it is not necessary to replicate the colonial form. We can learn from it. We can pick points from it, and learn from the climatic solutions they offer, like the structures are cool in summers and warm in winters. The materials have also changed now and we use a lot of glass, but if we apply the principles of vernacular on modern forms, the combination can work. We have to create our own vocabulary based on simplicity.
Habib Fida Ali (HFA): It is very simple. I see each project differently, big or small in scale. I can't say I am not in favour of tall buildings but it needs to be justified. We can't erect a tall apartment building in Malir for instance. Who is going to live there? Tall buildings are for the rich with air-conditioning, lifts and other facilities. Many of these buildings can be seen along the Clifton Beach, and for me they are vertical slums. Their quality of construction is poor. These apartment buildings don't have any consideration for washing and drying clothes, although that is something which should be given priority. In other parts of the world, strict laws are followed, and hanging laundry outside is not allowed. I take a project on its own merit. I question myself when I am doing any work. I ask about the shape, the land and if I have taken care of the climatic conditions. If you see my buildings they have a form. I love working with forms but the form should have a function. If I am making a school the form should respect that. I have done a whole university in Lahore, LUMS, and they are very happy with it. DO THE EXISTING URBAN FORMS AND PATTERS FORM A PART OF YOUR DESIGN?
HFA: I believe in creating my own forms. Every architect creates their own vocabulary, look at the work of Zaha Hadid, Norman Foster, Tadao Ando. They create their own vocabulary. If you like their vocabulary you go to that architect, and then it is upto the architect to educate a client if he comes with some crazy ideas like for instance asking for a pagoda roof in Karachi. Look at our gardens, why do we have to copy the Chinese gardens. The Mughals were better to create gardens like the Shalimar Garden and we should learn from that. WHAT CAN WE LEARN FROM THE VERNACULAR BUILT FORM OF PAKISTAN?
HFA: If you see LUMS in Lahore it respects the context. I have used bricks
Plans should be made using common-sense. Generally, Pakistanis believe in a 'showy' philosophy, although our religion teaches simplicity. You drive down any lane in DHA and see the waste of money on the boundary walls and façades clad in granite and marble. We should think about using glass. In my office buildings the usage of glass is limited and there is lot of natural light. Glass does not suit our climate and we have abundance of natural light so why not make use of it. CAN THE BUILT FORM HAVE A SENSE OF BELONGING? IF SO HOW?
HFA: Yes I think so. Whatever you built you built nicely. I don't think any place in Karachi should look like Times Square. That is a different place. Even Times Square has changed now. They have pedestrianised the entire area and taken away the traffic from it. It is a square with cinemas, restaurants etc. Do you know they have made a Times Square in Shangai too, after bull dozing old buildings? I am afraid we are heading in the same direction and we as architects need to create this awareness in our clients. We need to respect and safeguard our built heritage, as it gives us a sense of belonging and a sense of place. IS IT POSSIBLE TO CREATE BUILT FORMS, WHICH ARE MODERN YET ROOTED IN A CONTEXT?
HFA: Yes it is. I think the problem for us as professionals is that nobody writes objectively on architecture in Pakistan, except for a very limited number of people. We lack a healthy architectural discourse. There is no critical evaluation of the works of architecture being produced either, thus we end up designing mediocre built forms.
INTERWOOD ARCH TALK
WHAT IS LOCALLY RESPONSIVE BUILT FORM?
HFA: It's a difficult question. I will have to think about it. Before partition Karachi was a wonderful city. In 1947 we had an influx of refugees. Most of the refugees came to Karachi, the rest went to Lahore and Hyderabad. Accommodation was built in a rush. Some accommodation was built by the government, whereas the rest of the houses were built informally and haphazardly. Bastis emerged. It took time for the people to settle down, find jobs and work. Karachi was a very peaceful city with communities of Hindus, Boras, Parsis and others living together. These communities left at the time of partition and there was an influx of a different community. There was an influx of migrants from India. This group of people who were known as muhajirs are now in their third generation. Now they belong to the country and unlike the previous generations, they have the 'jazba.' Lots of people also came to Karachi from other parts of Pakistan. People settled as per location of different industries and economic requirements. Karachi spread like wild fire without any support as such. Lot of Katchiabadis were converted into pakkiabadis. Infrastructure was laid down for electricity, water and sewerage in these pakkiabadis. These people are still settling in a nice way and this is what is local built form for Karachi. These settlements are well planned, look at Nazimabad, Orangi, KDA, PECHS. There was no DHA then. It was the other type of settlements. If we compare Karachi to Bombay, Delhi or Calcutta because it was people from here who came and settled in Karachi, so we realize Karachi is way better then these cities in terms of living and is also bad in many ways. People in Karachi have a roof over their heads but they don't have transport. As the city grows every city has slums but Karachi does not have slums, they are low income settlements, which are local in character. What Karachi lacks is infra structure and transport system. In that way Karachi is in the back waters. In terms of planning, Karachi seems like a very well planned city. When I go to Nazimabad and see the wide roads with their own shopping centers, where people don't have to travel to other parts of the city, I think that is a sustainable plan, and that is what locally responsive built form is.
Yes we do have ethnic problems, but that is because of the retched politicians. We were living peacefully before. Karachi was a great city-the cleanest city in the sub continent with the roads being washed every day. DO YOU THINK THAT WE HAVE LOST THE COURTYARD HOUSES BECAUSE OF THE ADVENT OF THE COLONIAL BUNGALOW AND ITS EXTROVERTED CHARACTERISTICS?
HFA: I think we have lost the courtyard houses to the requirement of the air conditioning in every room. The life style has changed. I used to bicycle to school. All of us used to cycle together from the neighborhood. There was a family car but was meant for the senior people. These values have changed now. No kid goes to school on a cycle anymore and everyone wants an air conditioner in their room. People don't like sitting and socialising in an open courtyard, rather they would sit with their tablets and laptops in their bedrooms with the air conditioner on. IS THERE A HABIB FIDA ALI STYLE THAT YOU THINK YOU HAVE CREATED?
HFA: I think I have. I was the first one to do a fair faced building. The first building of this style in Karachi was the Shell House. People used to ask me back then when will you paint this building? What will you finish this building with? And I had to explain it to them that it will remain this way. I think it is a modern building that is rooted in its context. WHO ARE THE ARCHITECTS WHO INSPIRE YOU?
HFA: There are many architects. One is Geoffrey Bawa. He was also a good friend. I loved his way of doing things. He was interested in the International Style as well as vernacular architecture. He would blend vernacular elements of the built form into his new forms. Also Barragan of Mexico integrates Spanish, Mexican and International architecture. These architects were also financially stable and not greedy for work. It is a difficult thing to do. Locally I think works of Architect Najeeb Omar, Architect Akeel Bilgrami and ASA's houses have this amalgamation. Najeeb's courtyard houses reflect our traditional life style.
I also love Architect Tadao Ando's work. He is an absolute minimalist. I also try and do minimalistic architecture (laughs). Amongst the masters the work of Louis Kahn and Corbusier inspire me. And the one architect's I hate is Frank Gehry. I think his work is a joke. I went to one of his buildings in Los Angeles, (LA). I couldn't stand in front of the building because of the heat generated with the use of titanium or whatever that material is, which clads the building. The neighbor's complained so he had to paint that entire building black. It is ok to give a certain form, but the building should at least be functional. Even his Massachusetts Institute of Technology (MIT) building is horrendous. HOW CAN AN ARCHITECT RESPOND TO THE ETHNIC DIVIDE OF THE CITY OF KARACHI?
HFA: Ethnicity and living styles are related. The relation comes in the planning, not in the elevation and facades. Communities have their experience of living. Like in our bastis no matter how small the plot is, a small multipurpose open space is required for cooking and for playing of children. The rooms can be smaller but the court needs to be big. Roofs should be accessible and useable. These small things put together is what makes architecture. Then the plan can take whatever shape. HOW DO THE POLITICIANS AND GOVERNMENT OFFICIALS' IDEAS ABOUT THE BUILT FORM AFFECT YOUR DESIGN PROCESS?
HFA: Politicians want to make Karachi into a Dubai, and I think Dubai is a horrible city. The towers are images of Houston and Dallas, which have no meaning for me. Karachi is a sprawling city and we have land. Yes, ok we have to go vertical, but not like Hong Kong where there are forty storey apartment buildings. They have a horrible living standard, inhumane with people living in little cubbyholes. Dubai has money but the city has no life as such. Look at our abadis where we have ground plus four buildings. People are happy living there. The glass image is for the millionaires. Poor people don't live there. Hong Kong and China have mass housing to accommodate the poor or middle classes, but the way they live is inhu-
INTERWOOD ARCH TALK
mane. They are suspended up there without any open land. If you look at the cityscape of Hong Kong and other Chinese cities like Shangai, they have demolished their old cities and have erected forty storey towers there. Now how is that sustainable? WHICH CITY CAN KARACHI LEARN FROM IN TERMS OF URBAN DESIGN AND PLANNING?
HFA: I think our ministers and politicians need to learn from their visit to other cities. When President Zardari came to power I requested him to do some uplifting projects for Karachi, to which he replied 'why are you being a romantic?' How was I being I romantic, I was not asking him to make a Taj Mahal. I was in Kathmandu last year and I was amazed how well they have maintained their old city. They had broken roads but the traffic was flowing smoothly. I did the restoration of Mohatta Palace and did not receive a single thank you note. Now we are restoring the City Railway Station in Karachi. Artist Noor Jehan Bilgrami initiated the project. I asked her to have a practical approach and just do what we can manage and not get into ideas like creating water bodies. We need to have elements which are easy to maintain because otherwise we will see beetroot stains everywhere. WHAT DO YOU THINK ABOUT ART APPRECIATION AND GENERAL SENSE OF AESTHETICS IN PAKISTANIS?
HFA: There is generally a lack of awareness about art in our society. I don't understand what they teach in schools here. We don't have cultural awareness maybe because of lack of education or lack of some-
thing. Like for instance I restored the Mohatta Palace but even people living in the neighborhood don't bother visiting it. We are not supposed to have musical evenings and weddings over there. It has become a gallery now, although it was supposed to be a museum. People nowadays are interested in possessing a Sadequin or Naqsh painting which matches their furniture and curtains, but nothing more than that. The awareness or appreciation that an art lover should have is not there. Internationally however our art and fashion is getting recognition and there is appreciation for Pakistani art and fashion. We also have many art galleries in Karachi now. These things are important to put the country on the world map, it’s not just architecture although that also plays a very important role. WHAT DID YOU THINK ABOUT THE PAKISTAN URBAN FORUM HELD RECENTLY IN KARACHI? DO YOU THINK IT WILL HAVE SOME POSITIVE OUTFALLS?
HFA: I think it was ok. Its good to have exchanges like these. There was a nice opening ceremony and the participation was good. The people from the government also spoke well, but implementation is a separate thing. We all spoke about Karachi but it will be worthwhile if it is implemented. Along with such forums there should be activities like cleaning the city. They should keep a week just to clean Karachi. It happens in Lahore at times on self-help basis. When I travel I also see people working on self help. In Thailand I saw shopkeepers cleaning their own shops, painting the facades and cleaning up the locality. Here we expect the government to do everything for us. We should come out of this kind of mental block and become more proactive as citizens.
LUMS Campus
Mukhtar Husain in conversation with Habib Fida Ali Having carefully drafted a set of questions, and having been through his book "The Architecture of Habib Fida Ali", I was well prepared for an afternoon's discussion at his office. Or so I thought. Habib was in a casual and expansive mood. Offering us a cup of tea, he allowed the photographer sent by this magazine to shoot away. Once she was done and had left, he asked for the door to be shut, and no calls! There I was, in the company of one of the foremost architects of Pakistan, one with a portfolio of remarkable landmark buildings. His work includes offices, academic and public buildings, mosques and, of course, houses galore, located not just in Karachi, but also in Quetta and Lahore, besides a few other places. And many of these are buildings you would know and recognize easily too, because of his distinctive and fairly consistent style over more than forty years. MUKHTAR HUSAIN: YOUR RESIDENCES LOOK DIFFERENT FROM YOUR BUILDINGS.
HFA: I allow my clients more leeway in their houses. And they interact differently too. The whole family is involved in the process, unlike a business tycoon, or a company board for whom I may be designing an office building. YOUR BUILDINGS IN KARACHI ARE MOSTLY FINISHED IN GREY CONCRETE (REFERRED TO AS FAIR-FACED IN ARCHITECTURAL PARLANCE). BUT YOUR LUMS CAMPUS IN LAHORE IS IN BRICK.
HFA: Brick is the natural material in Lahore. I have really enjoyed working in brick, and working for LUMS, now for about thirty years. Every building
on the LUMS campus has been designed by me. I have, however, tried not to be repetitive. Often the donors for a particular building have a say too, and I respect their wishes. On the whole, it has been a very rewarding experience. MH: WOULD YOU ELABORATE ON THE EVOLUTION OF YOUR STYLE?
HFA: When I returned to Pakistan after completing my architectural studies at the AA School in London, concrete and brick were the rage for buildings. There was Le Corbusier, who had designed Chandigarh in India. And Louis Kahn, who had done remarkable work, including the National Assembly complex in Dhaka. Nayyar Ali Dada, our very own master in Lahore, had done an auditorium on the NCA campus there. I worked with architect William Perry for a year. His work also was in concrete and brick. So, when I was developing my concept for the Shell Building in Bath Island, I decided to do it entirely in concrete. We found a good contractor who followed my instructions and did his best. We retained the concrete in its original form, allowing even the honeycomb to stay. There are no plastered patches. And it has been maintained as built all these years. Since brick is scarce in Karachi, I stuck with concrete. One building has followed another. I try to achieve a simple geometry with straight lines, rectilinear plans, flat roofs, deep-set windows, bold projections and slender colonnades. So you could say that has become my style. No matter how I start, I end up with that vocabulary.
INTERWOOD ARCH TALK
YOU WERE ALSO INVOLVED WITH THE MOHATTA PALACE RESTORATION PROJECT. ISN'T THAT A COMPLETELY DIFFERENT BALL-GAME?
HFA: Yes it is. But then a project is usually much more than just its design. It is the way you relate with the client, how meticulously you prepare the drawings and documents, how closely you follow through during construction. Mohatta was one of my more difficult assignments. Restoration of the Flagstaff House and the Jaffer Faddoo Dispensary in Kharadar had already been done by Yasmeen Lari. I was asked to undertake the restoration of the Palace in 1995. But I had a difficult time with the client team. At one stage I was so frustrated I was prepared to give it up. The building was a complete disaster when we started. The Ministry of External Affairs, which had occupied it until 1959, had constructed another building on the grounds, which I had to tear down. And Mr. Jinnah's sisters, who had lived in the Palace after that, had really messed it up. One corner of the building had sunk, and actually had to be jacked up into alignment. We got stone-masons from the traditional biradari of Rajasthani mastercraftsmen, who belong to the Silawat community and who did most of the buildings during the Raj period, to do the repairs to the stonework. The work was completed in 2001. I have been unhappy with the way the exhibitions have been arranged, with temporary walls veritably hiding the beauty of the interiors. It was sup-
posed to have been a museum with its own permanent collection, but it has become more of a venue for special exhibitions and events. You also wanted to know about my house. This was one of seven similar large houses, in a row. All the others have gone. Although I have been only a tenant, ever since moving in in the early seventies, I have continuously restored and maintained it. It belongs to a Trust and, I believe, it is now on the Heritage List, so it cannot be pulled down easily. YOU HAVE ONCE TAKEN AN ACTIVIST STAND AGAINST BILLBOARDS IN KARACHI.
HFA: I was a member of a committee to advise the Karachi Municipal Corporation on improving the city's image. And I spoke out against these giant billboards that deface our roads and buildings. The city government claimed they were a major source of rental income for them. Some were grudgingly removed, but only for a while. When a windstorm blew a number of billboards some years ago, there was a hue and cry. Again, we seem to forget, and most of them are back. And they keep getting bigger. In fact, I would say there are several pedestrian bridges built across major roads merely to erect billboards, because hardly anybody ever uses the bridges otherwise. Worse than the gaudy new graphics are the blank ones claiming to be "To Let". Worst of all are the remnants of old advertisements, torn and tattered, fluttering in the breeze, adding to the city's chaotic ugliness. They look so terrible.
DO YOU HAVE TO DEAL WITH THE ENVIRONMENTAL PROTECTION AGENCY (EPA) FOR ANY OF YOUR LARGER BUILDINGS?
HFA: Yes, in fact we do. But I am amazed that they tolerate all this environmental mess all over the city, all the garbage, broken or half-completed structures, the potholes, the missing footpaths. What good do they do? WHAT IS YOUR OPINION ON THE PAST, PRESENT AND FUTURE OF ARCHITECTURAL HERITAGE IN PAKISTAN, PARTICULARLY KARACHI?
HFA: Karachi has already lost most of its heritage character. Look at Elphi, or Bunder Road or Burnes Road. They have been neglected and mutilated, almost beyond recognition. The majestic KMC building is so badly treated that it too may soon be damaged beyond repair. And the Empress Market is a filthy mess, with garbage and squatters all over. However, what remains can still be resurrected, if only we care for it and make the effort. What is lost is lost. Old buildings are our history, and must be conserved, to inspire our younger generations some day. In Lahore too, much has been lost or has changed in appearance. However, the Mall has its grandeur, with several colonial-era buildings still standing as landmarks amidst those handsome tall trees. But that is Lahore. Trees are an equally important part of our street-scape. In Karachi we neglect and destroy trees more willfully even than buildings. WHOSE WORK HAS INFLUENCED YOURS, AND WHO DO YOU ADMIRE?
HFA: I like I. M. Pei's work, Tadao Ando's and Geoffery Bawa's. And Luis
Barragan, he is my favourite. Each one is a master for something that is perhaps special and unique in his work. Admittedly, Bawa cannot be replicated here, nor Ando. But the discipline, detail and sculptural character of their work is worthy of praise. My work too is always disciplined, always on a grid. Even when designing a house, I first establish a grid, then I set about organizing the floor plan. In a sense, you could say Richard Meier has been an influence too. He always works on a grid, and has maintained a consistent and recognizable style for years. He even manages to do houses in the same language. DO YOU STILL COLLECT ART AND ANTIQUES?
HFA: People say I have an eye for things of value, and have often managed to procure these at bargain prices, from London, Singapore, Kathmandu‌ It feels good to be surrounded by these hand-picked objects and curios. HOW DO YOU HANDLE THE WORK IN YOUR OFFICE?
HFA: I still put in a full day's work, and develop the concepts. Everything passes through me before going out. But when I travel, and I do that often, I seldom get calls or emails about work in the office. It just carries on. I hope it carries on the same way after me! Many thanks for talking to us!
KERAI
A+I talks to Adil Kerai, Partner at Habib Fida Ali Architects, about his professional journey, inspirations and growth as an architect and how has the passing away of maestro Architect Habib Fida Ali (HFA), a dear relative, mentor, teacher and leader of the firm impacted upon his professional journey and the practice at large. Although this interview was supposed to be Architect Adil Kerai’s development as a professional but it turned out more like tribute to HFA, especially because Adil kept quoting HFA and referred to something HFA did or said throughout the interview. It shows that Adil not only greatly misses HFA but feels that he owes a lot to him. Adil shows great admiration and respect for HFA. He is honest enough to accept how various aspects of his life have been impacted by the decisions taken for him by HFA
Interview by: Dr. Suneela Ahmed Photographs: Courtesy HFA ARCHITECTURE + INTERIORS (A+I): HOW DID YOU DECIDE ON TAKING UP ARCHITECTURE AS A PROFESSION?
Adil Kerai: I basically grew up, as you already know, coming to this office because Habib sahib was my maternal uncle. His house and office are within the same premises so we used to come here a lot. But when I was doing my FSC (Intermediate) I used to frequently come to this office. In college I had undertaken Pre-Engineering and used to take help from people in the office to make my axonometric and other technical drawings. Slowly I got interested in what was being done at the office, I started observing and looking at the technical architectural drawings and absorbing the office environment. But my first passion was always flying and I tried to enroll in the air force in the flying program but was rejected on medical grounds because of my weak eyesight. The second best option was architecture. At that time I knew that Habib Mamoo was an architect, and I had heard from people that he was a good architect, but I never really knew what he was all about and what all he did. So in 1987, before I decided to go for a B. Arch degree, I started coming to this office, and it is then that I decided to take up architecture as a profession, because I saw what this office was about, what Habib sahib was about, and what kind of work was being done in the office. The office had just won the competition for LUMS and many other projects which got me really excited. I wanted to cut down the five years of education and join the office immediately but obviously that was not possible. HOW DID YOU DECIDE ON WHICH COLLEGE TO GO TO FOR YOUR B.ARCH DEGREE?
AK: When it came to deciding about the college, the initial thought was to go to National College of Arts (NCA) in Lahore, because it was an institution in Pakistan. But at that time there were two
people at Habib Fida Ali’s (HFA) office, Architect Hasnain Lotia and Architect Ali Naqvi, who encouraged me to go abroad for my education as it would broaden my horizons and give me better exposure. Architect Ali Naqvi had just come back from the US after having completed this degree from UT Austin. I decided to apply to the University of Houston, College of Architecture, because a very dear friend of mine, Late Architect Faisal Butt was there, and he helped me with the admission and enrollment process. I enrolled in 1987 and graduated in 1992.
Then the teachers were from different institutions, different states and some were from different countries who bought with them a rich experience. All this contributed to our learning as students.
HOW WAS YOUR EXPERIENCE AT THE UNIVERSITY OF HOUSTON, COLLEGE OF ARCHITECTURE?
AK: Bob Timmy was a teacher who always encouraged me as a student. We had a program at the College in which we had the option to study in France for a semester, based on a portfolio review of the student’s work. Bob Timmy was in charge of this program and after one of my design juries he asked me to submit a portfolio to be considered for this program. I was eventually selected for this program, along with a few other students, and even got a scholarship. We stayed for six months in France and Bob took us all over France. It was more of a cultural awakening than an architectural experience, but as whole of France and Europe is all about Architecture we had teachers come in and talk to us about the rich architectural history of the continent. We also visited all the historical cities.
AK: It was a great experience and a good exposure. The library of the College of Architecture was amazing. It opened up the world of architecture for me. I had never seen an architectural library except for Mamoo’s personal library of Architecture so to see books upon books on architecture was an incredible experience. Our library gave students access to their extensive slides collection where I spent a lot of time just looking at different works of architecture. The great thing about the program was the nonarchitectural electives being offered which helped broaden the horizon for the students and were a great source of exposure. Out of the 152 credit hours required for the B. Arch degree, 36 credit hours could be from non-architectural courses offered as electives. A lot of these electives were also offered by the college of Architecture were courses on Mies, Corbu, Architectural History, Architectural Theory. So the learning curve of architecture rose very quickly. The classes were structured such that we used to have open discussion and based on these discussions we used to have quizzes. The weekly quiz was about last week’s discussion which helped a lot to understand climate, context, scale and other aspects of architecture.
The city itself offered so much to learn from, I frequented museums, other institutions and travelled to famous and not so famous places, and the interaction with people from other parts of the country was incredible. ANY PARTICULAR TEACHER WHO HAD A GREAT INFLUENCE ON YOU OR BECAME A MENTOR?
In the last year of my B. Arch degree Bob Timmy pushed me to do what I really believed in and that helped me a lot. ONCE YOU GRADUATED WHAT MADE YOU DECIDE TO JOIN HFA AND NOT EXPLORE OTHER OPTIONS?
AK: I landed a job with a firm right after my graduation and was very excited about it. Friends and family had also advised me that I should not join HFA immediately after graduation and should explore other places so that I learn the hard way. I wanted to take up the job offer but Habib Sahib was there for
INTERWOOD ARCH TALK
my graduation and when I told him about this job he said nothing doing, you have to immediately come back to Karachi and join HFA. So I stayed in the US for a couple of months after my graduation, in which I extensively traveled the country and then came back to Karachi. I joined HFA in August 1992. WHEN YOU JOINED HFA HOW WERE YOUR INITIAL YEARS AND WHAT PROJECTS DID YOU GET TO WORK ON?
AK: Initial years were great. In those days Architect Maqsood Alvi was part of HFA and I used to sit next to him. Habib sahib started me off with residences. I started designing two houses and one of them was Akbar Adil’s residence. Akbar sahib is still a good friend of mine and whenever he wants to change anything in his house interior or exterior he still calls me in for consultation. This relationship between a client and an architect was something I had heard about, but I am truly blessed to have experienced it first hand on my first house. This experience is something that will stay with me forever. And then obviously Maqsood bhai was with me throughout to guide me. The other projects in the office at that time were NIT, Sui Southern, PICIC, LUMS- just to name a few. I tried to absorb as much as I could and was privileged enough to go to all the meetings with senior architects. Thus, I learnt quickly, because I was not only doing residences and interiors, I also got to be involved in big projects. Gradually I started working on projects with Habib sahib, and got involved with Sui Southern, Siemens and British Deputy High Commission. Besides architecture I also learnt management of projects because on projects like British Deputy High Commission, an international project management team was involved. WHAT PROFESSIONAL ADVANTAGES DO YOU THINK YOU HAD BEING THE NEPHEW OF HFA?
AK: It was different for me because I came to an established office where I could be the sponge and
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could talk to anybody in the office if I did not understand something. Everyone really helped and encouraged me around here. Then being the nephew of HFA also had its perks in the architectural fraternity and I could walk into anyone’s office, be it Arshad sahib, Misbah Najmi, Yawar Jilani, Mehboob Khan, Tariq Hassan. So when I introduced myself as HFA’s nephew I was always welcomed and many doors opened up for me. AS YOU WENT TO COLLEGE IN THE WEST AND WERE EXPOSED TO WESTERN THEORIES AND ARCHITECTURE DURING YOUR EDUCATION SO DID YOU FIND IT DIFFICULT COMING BACK TO PAKISTAN AND ADJUSTING TO THE LOCAL CONTEXT?
AK: Before I left I had spent eight months at HFA’s office and was used to seeing construction drawings for buildings made out of concrete and steel. In reality I had to adapt to the context in the US, and the initial two years of college I had a bit of a struggle to switch to other materials. I remember in the first structures class I was lost, because of a different type of technology being taught there. After coming back to Karachi and having started work at HFA it took me a couple of years to understand the local context and way things work here. What I learnt, and always tell my colleagues, is that if one works on the design of three to four houses and visits the site regularly, one learns almost everything about the building industry in Pakistan. In the design of houses we are very conscious about scale, utilization of every inch of the plot and detail of every corner. That is what Habib sahib also insisted upon, that to learn how the client lives, what are his/ her likes and dislikes, social norms and general patterns, and design accordingly. We are not concerned with too much detail in large scale projects, are we? We have the luxury of space in large projects and clients don’t live in those spaces, but they are equally important. WHAT ARE THE DESIGN DETERMINANTS FOR STARTING A NEW PROJECT?
AK: First of all we get the client brief. Secondly,
we look at the byelaws and thirdly we start putting these requirements on paper. What we try to do in this office is, while following the HFA philosophy of simplicity and minimalism, we start working on grids. The grid and symmetry are important for us, for example when designing an office building the primary thing is parking, which eventually gives us the structural grid for the entire building. This design approach is evident in all HFA buildings and is reflected in the symmetry of columns, windows and the overall massing and façades. WHO ARE THE ARCHITECTS WHO HAVE INFLUENCED YOUR DESIGN PRACTICE BESIDES HFA?
AK: Primarily I just knew Habib sahib. But I think I have learnt from the works of Arshad sahib, Misbah Najmi, Nayyar Ali Dada and amongst the younger lot I think architects like Yawar Jilani, Ali Naqvi, Tariq Qaiser and Tariq Hassan inspire me. Another thing I learnt from Habib sahib was to appreciate good works being done by others, even if they are competition. Habib sahib would look at other people’s design and appreciate and criticize their work where necessary to learn more. Later in life another architect who influenced me was Architect Tom Payette of Payette Associates. We were lucky that Tom wanted us to be part of the new campus of the Aga Khan University, the Faculty of Arts and Sciences. I was fortunate to work with him and got to spend six months in Tom’s office to do the master plan. I learnt a lot from Tom and he would always appreciate good works of architecture. If he got to know that X architect had designed something which had turned out well, he would get in touch with that architect and would ask for a visit to the designed space and for a discussion on the design. He was willing to talk to anyone, was open to new ideas and was always willing to appreciate good design. DID YOU EVER FEEL THAT BECAUSE YOU CAME AND JOINED AN ALREADY ESTABLISHED FIRM OF AN ELDER RELATIVE, YOU JUST HAD TO FOLLOW
THE PATH THAT HAD BEEN CREATED AND COULD NOT GENERATE ANYTHING OF YOUR OWN?
AK: I don’t think that was ever the case. In fact some of the houses that I designed on my own I always discussed with HFA and took his feedback. Habib sahib let me do what I wanted to do, but if he disagreed with something he would point that out. Generally the philosophy of the office is ‘less is more’ and everyone who works here believes in it. Even when I was at college I studied the masters like Miesvander Rohe, Frank Lloyd Wright and Le Corbusier, and all these masters worked with a similar philosophy of ‘less is more’. But on coming back to Karachi and understanding the fabric and climatic requirements of the city, the theory studied at college started to make sense. The Shell House had already been designed and I had many discussions with Habib sahib over the years about why we use fair face concrete and why do we have a minimalist approach to design. Over the years I learnt that it is much more difficult to do ‘less’ rather than do ‘more’. You have also been involved in teaching B. Arch students at Indus Valley School (IVS) of Art and Architecture. How was that experience? I took thesis design at IVS from 2013 to 2015. It was a good experience because I got to learn from the students. The students came up with the projects, I was there to guide them, and in the process I learnt a lot because the student projects are not bound by client briefs, bye laws and structural realities. I could not continue teaching at IVS because of time limitations and I thought it would be unfair for the students if I am not able to give dedicated time to them. WHAT DO YOU THINK OF THE ARCHITECTURAL EDUCATION IN PAKISTAN?
AK: Mostly all the architects we hire at HFA are local graduates butI feel we have a long way to go. I think the knowledge base available for the students doing Architecture here is very limited. The exposure is much greater abroad because of the teachers and students coming from varied backgrounds. The learning in Architectureare not just from books and certain sources of literature, a student needs to develop observation skills and it’s a continuous process. We cannot, as Architectural students, study two to three hours a day and then shut everything out. We need to inculcate the vocation in an individual. I have experienced that the Architectural students in Pakistan know about western architects but are unaware of their own architectural history and local architects. It is perhaps because the local architects are not well documented or well published and there is no critical discourse about their work. But the students also do not have the zest to find out about local architects and the architectural history of the country. Even the professionals don’t know much about what is happening in the architectural fraternity because of lack of publication on works of Pakistani Architecture.
INTERWOOD ARCH TALK
KARACHI HAS BEEN GOING THROUGH A LOT OF DEVELOPMENT RECENTLY IN TERMS OF INFRASTRUCTURE AND TALL BUILDINGS TOO. WHAT ARE YOUR VIEWS ABOUT THESE NEW DEVELOPMENTS IN THE CITY?
AK: Unfortunately, people are against high rises and the way we are building them is incorrect. However, I am not against constructing high rises. I think we should continue to make tall buildings but the formula for their construction should be revised. For example, we should have setbacks on the ground floor and introduce public spaces like podiums and piazzas, which can be used by the general citizens. The building footprint should not cover the entire plot and we must think about amalgamation of plots to create maximum open spaces on ground level for the city. HOW DO YOU COMPARE THE PRACTICE OF ARCHITECTURE IN PAKISTAN TO THAT OF THE WEST?
AK: I honestly think we are not far behind from the west in the design of buildings but we are far behind in understanding the ways to collaborate with differ-
ent design professionals. We need to accept that an architect cannot solve all the issues of the city, we need to collaborate with civil, structural, lighting engineers and landscape designers etc. We need to find our strength, specialize in it and collaborate with other specialists, for example one architect could specialize in podium designs, another could be a great landscape designer, yet another could be good at lighting designer. Similarly we need to collaborate with other professionals for improving the infrastructure design of a our buildings and the city at large. In the west, there are food consultants, signage consultants, waste disposal consultants, lighting consultant, infrastructure consultant and the architect collaborates with all these consultants. I think design of institutions is a specialty and so is the design of hospitals, and we as architects should accept that we need help when we are designing these facilities and should engage different professionals who specialize in these fields. In the west companies,specialize in design of different typologies of buildings, like hotels, hospitals, apartments, factories and institutions. They have a core team, whichspecializes in the de-
sign of these buildings, thus the design quality is much richer. TELL US SOMETHING THAT YOU PROFOUNDLY REMEMBER ABOUT HABIB SAHIB.
AK: There are many many things. Habib sahib always told me never to stop designing residences, because from his point of view, residences teach a lot in a small span of time. As the interaction with the client in a residential project is very personal, it develops long relationships and everything is done with the client together, thus an architect gets to learn from the client. Habib sahib always stressed on learning from others and not to close oneself off. This is a legacy left behind by Habib sahib and we have to carry it from here. Habib sahib also strongly believed in the integrity of materials. When different materials are mixed together, their quality has to be understood. For instance, when I initially designed interiors I wanted to jazz it up, but then Habib sahib explained the practicality of doing a jazzy interior in terms of maintenance and
wear and tear. He would never tell me what to do and what not to do, but would just explain the pros and cons of a certain design direction. Habib sahib also instilled in all of us at office that we are the architects and we need to visualize a design right upto the minutest detail. We were never allowed to undo anything that had been built on site. He would say that even a layman can get something constructed on site and break it two to three times and eventually get it right. Why would anyone hire an architect if the same process is to be followed? Thus, visualization was of prime importance for Habib sahib, and how a certain thing will be put together. For that we needed to understand the materials and how they behave and are to be maintained. Habib sahib strongly believed that the architect should think the project through, dream it, visualize it and then start its construction. The other important aspects for Habib sahib were the architectural drawings. He would say that the drawings should be readable even by a lay person and
nothing should be left unspecified in them. All the material and structural specifications should be there, along with all the sectional details, levels and dimensions and nothing should be left on assumption. For him the plan and the section were the most important drawings. He did not care much about the elevation because according to him if the plan and section were resolved the elevation would come through. Habib sahib always said that when an architect designs something he/ she needs to know how it will be build, be it a building, a chair or a dustbin. WILL THERE BE ANY STRUCTURAL CHANGES IN THE OFFICE AFTER HABIB SAHIB?
AK: The only change in the structure unfortunately is that Habib sahib is not there anymore. Other than that there is no change at all. We still have some of the people who started with Habib sahib working for us, Architect Kalam sahib is one of them and he started working at HFA fifty-two years ago. He was the first employee of the firm. HFA was a mentor and teacher for all of us and we will carry forward his philosophy and ethics of work. As time goes by,
hopefully, we will evolve further in a fashion that HFA evolved during his fifty years of practice. We will continue calling the firm ‘Habib Fida Ali’. IS THERE A MESSAGE YOU WOULD WANT TO GIVE TO THE ARCHITECTURAL FRATERNITY ON THIS PLATFORM?
AK: With the passing away of Habib sahib it has been a huge setback for me personally and for the office but one thing that I would always be thankful for is that he taught us well. He trained us well. He let me work on my own, helped me as a mentor, and gave critical feedback too. I always discussed my projects with him and he always encouraged me. Today I feel I can continue forward with what he has done for me. I hope we can evolve from what he has taught us in the years to come and make him proud. He made me a partner in the firm fifteen years ago, when it had only been ten years since my graduation. That was a big ego boost for me and for the last five years he had given the complete control of the company to me. Many thanks for talking to us!
INTERVIEW
TAHER SACHAK Mr. Taher G. Sachak has studied in UK and is a graduate in Business Studies from Bournemouth University, and also has a postgraduate Diploma in Management Studies from Liverpool University. Following his studies he joined the British Civil Service and after 5 years decided to pursue a career in life assurance. He held executive positions in major UK Life Assurance Companies, Allied Dunbar, Trident Life and finally Century Life before coming to Pakistan in 1994 to join EFU Life.
He is also Managing Director of EFU Life and Vice Chairman of Allianz EFU Health and Director of Institute of Capital Markets and a “Certified Director” from Pakistan Institute of Corporate Governance.
When you thought of efu life house ,what did you had in mind? TGS: Life assurance is a long term business. As we look around the world we see life insurance companies investing in properties because it projects the idea that we are here for long term and the company can be trusted. Therefore, that was the background we had in mind. We wanted to put up our own building for the greater good and development and provide our staff an environment of high standard quality for better productivity and efficiency..Few years ago we got this plot and it took a long time to get the approval for construction because it was the first high rise under the new bylaws of DHA. So, we knew we will be setting a bench mark with this building. How was your experience of working the pioneer of architecture Habib Fida Ali?
“He was a rare individual who he made a mark not only in architecture, art or culture but also as a human being”
TGS: We were fortunate enough to have his last master piece in our name. Habib Sahab delivered us the vision we had for this project in the most simplistic yet functional manner and there couldn’t have been a better projection of our organization than this building. Having the pleasure of knowing him personally and professionally as well I had confidence on him and there were no second thoughts about it.
why did you choose this location as your head office? Why didn’t you consider a commercial hub like I I Chundrigarh or Shahrah e Faisal?
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A Chat with Mr. TAHER G SACHAK, CEO & MD – EFU LIFE ASSURANCE LTD.
Architect Murtuza Shikoh and Architect Iqra Wazir met Taher G Sachak in his modern, brightly day-lit, newly built last master piece of Architect Habib Fida Ali, EFU Headoffice building situated in DHA phase I, Karachi
TGS: We didn’t want to have a place which have traffic and congestion to overpower and create hurdles. As this area mostly low rises and not high rises so there were no bylaws for a high rise building here. Because of Efu life house, new by laws were made and building was designed accordingly. Another aspect was affordability. This location is quiet commercial yet central. Our intention was to not rent out any of the property as we were thinking about long term investment. So it was a question of setting the priorities right and make a wise strategic decision.
Do you plan to expand the building in future? TGS: Not currently, As we have enough to last us for a long time. As an organization, we are now managing a hundred billion of assets and as we have just moved in so we should first digest the investment that we have made here before we think of another building. Later in time, we do have intentions of putting up buildings in other cities also.
What were your feelings on the inauguration day? TGS: 5th December was the first working day and Habib Sahib was fortunately here to attend it but at the official inauguration he had passed away. The feedback that I got even after his death from our common circle as well as other people was that he was very proud of this building and he was constantly talking about it. I promised to take care and preserve the building as much as possible in his remembrance.
How long did it take to complete this building? TGS: It took us four years to complete this building not because of the design or delay from the team members. The building had to be designed according to the new bylaws for high rise given and also special structural system, features and techniques that we used took time. For e.g. the glass that we used have been specially designed such that it lets the light in but blocks the heat. The flooring repels heat. The grand hall is column less and support has been given by efficient system to meet the strength of floor, column and beam. Our engineers did an incredible job along with the team of architects.
Would you like architecture students to visit the building and learn from the piece of art that Habib sahib created? TGS: Most definitely, it will be beneficial for the students to understand the project well. It will be our contribution to make the building larger and better. It’s always enlightened to hear review of a fresh mind and understand what could have been better or what idea can be adjusted in future. it will be a learning experience for them and for us as well.
What is your personal impression of the building? TGS: I absolutely admire the building and the outcome. When such a large project is being done, one can say I could have done it better but this building I can proudly say is perfect in every sense which states the commendable job done by the team. It has greatly enhanced our company profile. What would you say about the client and designer interaction in this project? TGS: We gave them free hand to design and meet the requirements of the project. They never imposed anything on us and vice versa. Let it be exterior or interior, we made decisions together and reached on mutual agreement.
Photo credit: Muhammad Khizar
SIMPLE TIMELESS CORPORATE ARCHITECTURE
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AND FUNCTIONAL
EFU LIFE HEADOFFICE
KARACHI, PAKISTAN HABIB FIDA ALI ARCHITECTS
Text by: Iqra Wazir Photography by: Ali Rizvi
CORPORATE ARCHITECTURE
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Project Location Client Architect Project Team Landscape consultant Signage &Way finding Consultant Interior Design Consultant Project Manager Structural Engineer Mechanical & Plumbing Consultant Electrical & System Consultant Contractor Site Area Building Covered Area Building Height
EFU Life Assurance Head Office Building Phase-I, DHA Karachi. EFU Life Assurance M/s. Habib Fida Ali, Architect Habib Fida Ali, Mansoor Ghanchi, Asif Usmani, Abbas Ali M/s Habib Fida Ali, Architect M/s Habib Fida Ali,Architect M/s Habib Fida Ali,Architect M/s Habib Fida Ali,Architect M/sLoya Associates M/s Y.H Associates M/s Eleken Associates M/s Mughal Contructors 1821 Sqyd. 164,012 Sq. Ft. 224’-6”
"EFU life Head Office", the high rise structure governing the profile and skyline of Korangi Road. The building appears to be a sculpture of pure forms stacked together with aesthetic variations. The building has been treated with Modesty, Simplicity and excellence which is synonymous to none other than late Maestro Habib Fida Ali. The building design is driven by the need for practicality yet it is visually appealing with a brilliant modern touch. EFU showcases straightforward modernism within a deceptively simple architectural expression of Masses from different perspectives. The building on the main 60' wide main Korangi Road bifurcating the commercial area with the residential area and intends to provide plus maintain the privacy of the residences. The high rise can be observed when approaching from Khayaban-e-Ittehad Road where the pragmatic modernistic facade strikes with stacked volumes of concrete in company with mass of glass wedged in between showcasing the setback terraces. Coming from the FTC Flyover towards Korangi Road it gives full impact of the deep set windows arrayed where as viewed from the side it creates an impression of a sculpture rising and meeting the sky. EFU life Head Office is the master piece of Habib Fida Ali Architects. It’s consistent yet innovative design elements in exteriors as well as interiors have given the building an iconic identity in the list of highrises today. The impressive high rise houses offices and around 350 EFU Life employees in 18 floors with 8 parking floors, and 8 office floors,1 recreational floor on13th floor and 1 mechanical floor on the18th floor and 1 basement. The size of the plot if less than 2000 sq.yds. Other features also include a multi functional column less hall with a clear 40' span with specially designed structural system and thought full natural lighting giving feeling of openness. The building responds well to functional, technological and cultural factors making a profound impact.
CORPORATE ARCHITECTURE
Site Context and Planning: The iconic structure and it’s form are in accordance with the requirements of the bylaws and context of the building. The design excellence and problem solving is shown with a disciplined creativity that analyzes and asses the objective and target issues of the project. The architect, tackling the policies and bylaws turned it into the backbone of the design. Therefore, an imaginary angle of 65 degrees was drawn in accordance with the required setbacks and resulted in the terraces governing the façade of the building. The entrance as well as the major circulation parts of the building were incorporated and shifted accordingly. The designers didn’t let the restrictions become a hurdle and incorporated natural light and ventilation in the interspaces using the angle. Architecture Design: The simple yet striking form of the building speaks volumes about the signature style and design principles of Architect Habib Fida Ali i.e; Simplicity, Timelessness and functionality. The building itself speaks of innovation and highly sensible solutions and is definitely a source of inspiration for those who have the pleasure of experiencing and living with it. Simplicity is a dominant theme in the execution and design and the form and function are in synthesis reflecting the design philosophy of the Master Architect with less is more being the guide for design concept. Conscious exercise done in terms of functionality is not abstract at all and the concept also focuses on the inner application of design values reflecting the idea of minimalist spacing which produces a perfect balance of proportion, texture, scale and composition. The efficient use of materials is linear and thinly scattered, creating an impactful architectural environment. The tiles on the exterior are kept in small sizes with anti slip bonds. The ageless materials are used in consideration with the environment and weather affect. Special system of glass is designed to let the light in, gives protection against heat as much as a 9” brick and reduces the sound.
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CORPORATE ARCHITECTURE
Ground Floor Plan
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Typical Floor Plan
17th Floor Plan
CORPORATE ARCHITECTURE
The building is cleverly divided into public, private, semi private and service zones. The core is deliberately kept away from the service area as to not disturb the traffic of the building and provided maximum usable space with minimal amount of square footage for circulation. The materials and finishes play a vital role here to demarcate the areas and maintain privacy of each. The recreational floor caters to the café on the 13th floor. The hall is efficiently designed with glass walls providing views and incorporates one of the terraces of the building. Open plan can be observed and opens a wide range of opportunities for the designers. The spaces doesn’t look dull and soulless .The flooring changes with the nature of the zone and the deliberate shifts changes the perception of the space as well as create a more interesting place to be in. The spacious entrance hall with marble flooring is perfected with the water body next to reception built with statement toned marble. The glass walls make the space more open and bright. Appropriate lighting and groups of furniture are impact fully placed. Throughout the building, flooring plays a vital role. The sitting areas have Walnut Brown tiles with circulation area being Beige tiled. Same is the case with most of the ceiling of the building. The walls are cladded accordingly and make a significant change in the atmosphere of the spaces. The parking levels have the occupants passing in the natural light coming from the windows. The lifts as well as the ramps take them to the required floors and open to the buffer area between offices and services. The placement has been done strategically and doesn’t cause discomfort to people. The office floors have been deliberately planned such that they have been giving complete privacy at the same time have access to the necessary services. Maximum circulation space has been given with minimum hurdles in between. The structural system has been specially designed to create a combination as to meet the different strengths of column and beam. The columns don’t become obstacle in vision and appears light. The floors are equipped with dispatch services, waste disposal areas, janitorial rooms, and washrooms in service zones. In case of any emergency situation the staircase is designed well with appropriate size to evacuate the building. Landscape becomes an integral part of the spaces and makes the waiting, seating areas a soothing place to relieve and relax. Here, the terraces are seen as a landscape element as well as they are accommodated on the low parapets as well as the corners. Talking about the transformation a building goes through day and night and how it adapts the change, EFU definitely lives up to the expectation and produces an aesthetic expression and profound structure. The building is unique with its sophisticated look with concrete, glass and aluminum and paved it’s way through the hurdles to produce a masterpiece of architecture.
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COVER STORY
Today, restaurants are keen to invest more time and energy into their interiors, and designers have been able to more freely express their creative potential in the use of new materials and forms, creating distinct, almost theatrical atmospheres. In designing a restaurant, firms have to keep in mind that customers need to feel drawn by the space. Hence, special care must be taken in lighting, good views and the search for a unique aesthetic. “Restaurants need to be assertive,” writes Drew Plunkett, author of Detail in Contemporary Bar and Restaurant Design. “Customers tend not to visit them to satisfy basic appetites for food or drink but for the social opportunities. Their interiors need to occupy the imagination of their customers and to whet the appetite for a return visit. The design that gets the formula right will do as much to prolong the life of the business as the products on offer.” In this regard, using certain materials to add texture and dimension to a space – say, wood, to create sculptural walls and ceiling surfaces – is becoming a popular method. For a more impactful foodie experience, many eateries are also designing their layout to include an open kitchen. Even chairs and booths are becoming more creative: long communal tables in the middle of a room encourage small individual groups to sit with each other and interact. Additionally, sustainability is still high on the agenda and architectural firms are using ‘greener’ building materials such as bamboo.
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Eat More!
NEW TRENDS IN
RESTAURANT DESIGN
The move toward ‘conscious consumption’ has also begun to influence restaurant design. People want to understand where their food comes from and how it’s prepared. And with the ubiquitous rise of celebrity chefs, cooking shows, cookoffs and food blogs, people are much more aware of food, its place in society and the ‘value’ of great cooking. The top restaurants will always have the budgets to be able to deliver. It’s the next tier down where the interesting moves are being made. As we move toward an era of conscious consumption, clients and diners are beginning to challenge cost and budgets. This runs through from construction value to the cost paid by the patron. Slimmer budgets; value; and quality are underpinning a lot of new restaurant design. The competition is becoming even stronger was evident from the large number of entries to the 2016 edition of the Restaurant & Bar Design Awards. The judges noted there has been a tendency to design each space as a reference in itself, to give it that distinctive mark which sets it apart from the rest, so customers know they are in the ‘best’ place they could be. Featuring new eateries in the world, the following pages reveal the creative thinking that makes a restaurant visit a truly memorable experience.
Lale-i Rumi
Karachi - Pakistan Designer, Rizwan Ahmed Malik
Text by: Iqra Wazir Photography by: Ahmed Shajee Aijazi
LALE-I RUMI , an authentic representation of Turkish Culture in aesthetical reality! Housed in the Swiss Cottages Clifton in Karachi, Lale-i Rumi offers Turkish experience in its true essence. The restaurant lives upto the expectation of user to be transported to Turkish culture and cuisine. The owner and designer, Mr. Rizwan Ahmed Malik have looked into minute details of design of the project. The restaurant design surely does justice to the theme and successfully managed the challenge of adaptive reuse. The credit goes to the Mr. Rizwan for the hard work along with two Architects Maha Chishti and Irtika jaamro. After acquiring Degree in Communication
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Design from Indus Valley School of Art And Architecture, he gave his concepts the shape of reality in the advertisement world. He aims to design places that connects and conveys the real message of the space to people. Some impeccable examples of his works are Sattar Baksh and Lale-i Rumi. The central idea of Lale-i Rumi is to provide an insight of Turkish Culture. It provides gist of various aspects of the dynamic culture it aims to represent. Turkish Culture is a package that reflects unparalled diversity and richness because of unique combination of Art and Architecture, ceramic and textiles, carpets and kilms, music and poetry, philosophers and culinary art..
“The idea was to present authentic Turkish cuisine to the city and transport user to a piece of Turkey, not a mix and match of food” Rizwan Ahmed Malik Poetry and Philosophy are embedded deeply in the roots of Turkey. The name Lale-i Rumi means “Tulip of Rumi” reflecting the importance of the vital role played by Rumi in the history of Turkey. The stone steps leads to the entrance enhanced by the folding screen. The foyer comprises of a water body with wooden deck serving as outdoor sitting area and experiential landscape. The décor is inspired from Turkish culture, mosaics and folding screens and vibrant color palette used during the times of the ottoman empire in Topkapi Palace, Istanbul. The architecture reminds one of the Turkish monuments and mosques.
One of the characteristic that reflects the richness of history of Turkey lies in the traditional crafts and their intricate detailing. Not only knitting, weaving to copper but silver craftsmanship also draws attention of tourists and locals. No matter where one travels in Turkey, there are some art and crafts that can be found anywhere. In this project, those elements have been inculcated aesthetically. The outdoor and indoor space has visual connectivity which supports the ambience. The wooden deck, furnished with colorful chairs and mosaic designs on the table’s tops and sound of water builds an overwhelming sense of the space. The indoor dining area is a collage of Turkish culture. Different elements like bar counter
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and walls are highlighted with the colorful mosaic tiles .The spaces are wall painted with colors having significant meaning and used frequently in Turkish Architecture or artfully enhanced with ceramic tiles, paintings, Kilim carpets, evil eye accessories and artifacts. The roof draws attention to itself as the wooden network supports the low hanging Turkish lamps and antique mirror. The jaffri treatment of arches on doors and glass walls not only creates views and vistas but also reminds one of the grandeur of Turkish Architecture. The materials used throughout are mostly what one would associate with Turkish Architecture although most of them have been acquired within Pakistan which reflects the workmanship.
Directed by the swirling dervish’s statue, one moves towards the stairs-case designed intricately with railing having evil eye balls hangings and tiles in the steps. The glorious Turkish red color on the wall with jaffri panel and mirror becomes the focal wall. “Tell me what you eat, and I will tell you what you are.” Anthelme Brillat Savarin The culinary art of Turkey is colorful and dynamic. The project incorporates similar culinary elements to complete the ambience of the project. Similarly, Music of Turkish culture is very unique. In Lale-i Rumi it serves as a reminder of Turkish music and performing arts in Istanbul. The designer successfully managed to deliver a piece of Turkey and presented a platter with representing Turkish Culture and its attributes. Arches and patterns are one of the most important features of Turkish Architecture. The menu card of Lale-i Rumi reminds of this fact as it is designed in accordance with the theme of the restaurant and boosts one’s confidence on the authenticity of the place and cuisine. The trained chefs under supervision of Turkish Chefs creates Turkish magic on the platter achieves the aim of satisfying the Turkish taste buds victoriously. The service and staff plays it’s role vitally to complete the package for a sensory Turkish dining experience. In the city of lights Karachi, Lale-i Rumi is the Turkish jewel and it won’t be wrong to title it as “the mini Turkey”.
Café & Rooftop Bagheecha Islamabad - Pakistan Suhail & Fawad Architects
PROJECT ADDRESS CLIENT DESIGN FIRM PRINCIPAL ARCHITECT PROJECT ARCHITECT DESIGN TEAM PHOTOGRAPHY BY COVERED AREA
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CAFÉ & ROOFTOP BAGHEECHA BY BEHBUD SUPER MARKET, F-6 MARKAZ, ISLAMABAD – PAKISTAN MRS. SAAEDA MAHMOOD/ MRS. ABIDA MALIK SUHAIL & FAWAD ARCHITECTS, ISLAMABAD / KARACHI SUHAIL A. ABBASI FAWAD S. ABBASI FAWAD S. ABBASI, MEHREEN AZMAT, SALMAN J. MALIK, UMER SAJJAD & ALI NAQVI AHMED SHAJEE AIJAZI & RANA ATIF REHMAN 5300 SQ.FT
CafĂŠ & Rooftop Bagheecha by Behbud was designed by Suhail & Fawad Architects on the philosophy to keep things “vibrantâ€? & attractive but not to overdo anything. They believe that the over emphasis & the preoccupation with form & style at time overshadows the original intent of what architecture and interiors is to be for the user. These interior and outdoor spaces express a sense of vibrant belonging. Design has been evolved emphasizing on simplicity, openness and light filled interior spaces. Proportions, energy efficiency and details have been the primary focus. The process of design involved a series of research, understanding & experimentation in order to achieve the most suitable design for Behbud which has a 50 year history. The designers dedicated the space to the people who built the organization and continue to do so on a daily basis. All levels have a sense of harmony with, brick as a major
material, water bodies as entrance features on every floor, self design elements like wooden instillations painted in bright colors, adding to the ambiance at the CAFÉ’. This is surely another example of great team work and dedicated designers who contribute immensely to the firm. Rooftop bagheecha space was developed with the concept of disaggregation, open courtyard (baramda) and a very special public place. As a design philosophy the studio is concerned with abstract nature of spatial and tectonic process, empirical and material, with a kind of a strong expression visible in the use of materials and architectural elements. One can see inspirations and the experiences of the father/son practice. This CSR project is very close to their heart and developed in three phases. One can see the progression from how they have successfully dealt with each level independently, how the grid has been juxtaposed and made a formal element within each facility. The images, symbols, diagrams, folk art and color are all composed within a spatial pattern and become more significant as you begin to become part of it. Finally arriving to a sense that architecture is transcendental.
Kitty Burns
Melbourne, Australia Biasol: Design Studio Photographer Ari Hatzis
Nestled below Melbourne’s iconic Skipping Girl, Kitty Burns combines both the tranquility of Yarra Bend with the quirkiness that lies key to both Melbourne design and dining. The Kitty Burns project allowed Biasol: Design Studio to combine their experience in interior, product and branding design to create not only a unique space, but a unique character. The Skipping Girl story provided Kitty Burns with a name, while Biasol: Design Studio created a dual personality for the brand. The contrasting elements of the Kitty Burns personality are creatively woven into every design element- Kitty’s fun loving, playful personality, juxtaposed with Burns’ more serious and structured side. Challenges presented themselves in the shape of preexisting 6 metre high ceilings. We took this as an opportunity to capitalise on stunning natural light and open space while ensuring a level of intimacy was maintained. To maintain
this, we designed three main dining areas to break up the space, creating unique dining experiences that work together cohesively. Biasol: Design Studio wanted to establish Kitty Burns as a home away from home for the residents of the Haven apartment complex, a pitched roof design was introduced and incorporated into all elements of the project. We played with both scale and displacement of the roofs, forming a 3D effect that we utilised to create intimacy throughout the various dining spaces. The home concept was also carried through into the brand identity we created for Kitty Burns. These pitched roofs also played on the Kitty vs Burns theme - where Burns brings in the physical structure and clean lines, closer inspection reveals that each pitch is at a different height, paying homage to Kitty’s playful side. The lime washed timber bulkheads forming the house shape above the
dining areas are lined with three dimensional cladding detail, allowing natural light to create a shadowing effect changing the colour of the timber depending as it receives light. In contrast, the lime washed walls along the seating pods and bar take on a more natural stain allowing these elements to be highlighted within the space with a hierarchy in design and areas of focus. We created two main areas of the bar - the coffee bar and the elixir bar, individually housed within framework that ensures each area is distinctly identifiable, aiding on a practical level with ordering and service. The bar is lined with handmade pale turquoise tiles, a nod to Kitty’s more playful side, framed by a strong overhead structure constructed from Australian natural timbers, representing Burns’ more disciplined personality. Within the coffee bar we have introduced a waiting area for patrons, as well as designing a mobile coffee cart that echoes the design language of the main bar. Each element was seriously considered in the context of the space, with Biasol: Design Studio going as far as to custom design and make each pendant light to ensure they conveyed both the playful and serious sides of the brand most effectively. The light fittings were created in copper and white tones, both sympathetic to the overall colour palette of the space. Each light was created in two parts allowing us to mix and match for a playful finish. With the tranquil surroundings and views of Melbourne’s iconic Yarra River, it was of the utmost importance that Biasol: Design Studio took advantage of that tranquility to create comfort and a sense of serenity. We introduced a strong element of greenery inside to embrace the surrounding, making the dining spaces feel one with the environment. The space doesn’t compete with the external surrounds, instead choosing to compliment it. Fusing mischief with structure, frivolity with discipline, Kitty Burns embodies the iconic Skipping Girl woman in one light-filled space.
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Bellavista Del Jardin Del Norte Restaurant Design Calle Enric Granados 86, Barcelona El Equipo Creativo
PROJECT LOCATION CLIENT ARCHITECT PROJECT TEAM PHOTOGRAPHY LIGHTING DESIGN FLOOR AREA
BELLAVISTA DEL JARDIN DEL NORTE RESTAURANT DESIGN CALLE ENRIC GRANADOS 86, BARCELONA HERMANOS IGLESIAS, LEO MESSI EL EQUIPO CREATIVO _ OLIVER FRANZ SCHMIDT + NATALI CANAS DEL POZO + LUCAS ECHEVESTE LACY NARCÍS FONT, ANNA MARTÍNEZ SALOM, BLANCA LORA TAMAYO, MAURICIO GARCÍA, NÉSTOR VELOSO, CRISTÒFOL TAULER ADRIÀ GOULA / COMUNICACIO@ADRIAGOULA.COM BMLD ARCHITECTURAL LIGHTING DESIGN 1000 M²
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The entrance of Bellavista del Jardín del Norte greets you with thousands of hanging flowers reminiscent of flower feasts. Immediately you are transported to your family´s village or that quaint town you passed through while travelling. Our client wanted to create a restaurant where guests could enjoy a re-interpretation of classic tapas in a relaxed and fun environment and where they would feel at home. Based on the premise of ´your home away from home´ the interior design references the idea of daily life and festive spirit of small villages in Spain, but also all around the world. The name, meaning Beautiful View of the Garden in the North, references to the large garden at the end of the restaurant. This garden is a
surprising oasis in the center of Barcelona and inspired the name of the restaurant as if it related to a name of a small town. Different elements in the form of metal kiosks guide you through the space until you reach the large garden located at the end of the space. These elements are an abstraction of the festive elements in village towns: a street adorned by a ceiling of flowers and lights that accompanies you to the plaza (main square). This plaza overlooking the garden becomes the icing on the cake as it hosts an open space underneath a sky of fireworks. The final result of the design creates a sensation of a familiar setting for many Spanish people: going back home for the yearly village feast and enjoying homemade food. Each corner is as surprising as it is familiar. Despite the size of the space of 1000m2, the goal was to create a functional yet intimate space. The place is divided into two floors, both facing the street on one side and the garden on the other side. The ground floor has a variable width, after the generous entrance the space becomes narrow in the middle, like a prelude that precedes the
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lavish garden at the back. This spatial experience is integrated into the concept, unifying the entrance and the middle zone in a sort of stroll through the village towards the plaza. We begin the journey through the village at the florist, surrounded by flowers and plants. Here we are met by the village street in which metallic stall frames and letter signs form a grocery and a newsstand. Moving further in we see the cake shop with grandmothers´ cakes, sweets and ice cream. Further on we can choose to have a seat at the barbershop, local pub or watch the chefs cook in the tombola. We finally arrive at the plaza, where the challenge was to give human scale to this double-height space without losing its majesty. The church borders this central zone and is composed of a structure adorned with festive purple flags. Surrounding the central area is a perimeter of balconies covered with beaded curtains which add depth to the space. The second floor has views to both directions and contains more private areas. On one side the event rooms receive the light from the street sifted through the flower stalks of the entrance. Its wallpaper-lined walls reproduce the floral spirit of the exterior while ensuring the acoustic comfort. The space is made flexible by means of retractable dividers that split the space into two.
At the other end the reserved seating area is situated, four areas of different sizes are separated by sliding screens adjustable to the guest´s needs. These curtain screens are composed of black and white beads recreating the shadows drawn on the curtains of village windows. The reserved spaces are still connected to the plaza thanks to the open balconies. The lighting is done in collaboration with the BMLD Lighting Design team. The idea was to create a lighting installation that accompanies the concept of a walk through a village and the grand finale in the final open space. Strings of light bulbs are held up by tensioning cables from the ceiling to accompany the guest from the entrance all the way up to the plaza. In the plaza, the grand finale is the explosion of ´fireworks´. These light structures were created in collaboration with BMLD and are composed of iron structures and LED lights, mimicking an abstract form of fireworks. The light varies in intensity and color and gives the option of creating a separate ambiance for lunch and dinner time. The beaded curtains give a functional element to the different areas while also enhancing the ambiance of the entire space surrounding the plaza. The bicolored curtains are dispersed throughout the space at different heights creating a rhythmic effect similar to the curtains of the doors and windows in Spanish village squares. On the ground floor the curtains act as a division between tables, while on the upper floor, the curtains become a sliding partition to provide privacy for the guest.
Café M
Islamabad - Pakistan CITE’ Architecture and O.R.A.D. Photography: Hidaya Zia
Text by: Ar. Beenish Tariq CONTEXT Café M is a collaborative between two Islamabad based firms CITE’ architecture planning and design group and O.R.A.D (Office for Radical Architecture Disciplines). The café was built to cater to Maroof hospital in F-10 but soon started receiving other residents of Islamabad as customers. Initially built to cater to a limited number of people, the small space provides indoor and outdoor seating along with a display counter. DESIGN This café is by no means conventional. It lies isolated from the other café/restaurants of Islamabad which are mainly grouped together in popular parts of the city.Café M is the only one of its kind in this locality and is adjacent to a busy hospital. Apart from the location theinterior of the café also stands out from what is typically seen in Islamabad’s eateries which rely; heavily on themes and put insistent effort to fit into a supposed scheme. With origami inspired details, café M is more of a sculpture than an interior even though it is designed on a small scale. The walls morph into three dimensional structures,resultantly adding an extra edge to the space. The colors applied transform the sculptures’ stark lines in a subtle way; redefining the café as a welcoming and intimate dining area. There is a mix of grays, black and white in the walls and the furniture with an occasional, surprisingly pleasant addition of wooden texture in the morphed structures and in the tables that are designed along the lines of vectors. The details of the designed space add dimensionality to the quality of the ambience. The façade made up entirely of glass is fixed together in a certain pattern. The use of glass in two directions on the façade give it a wave like quality and makes for an interesting portal towards the bustling road outside. The place is intrinsically quiet so the internal space and outdoor seating divided by glass, both make fascinating places for a customer to be seated in.
In terms of material the designers have used a wide-ranging palette but it is used intelligently. Even though walls are made of painted brick and bare brick the obvious ruptures of glass and mirror break the brutality of the brick. Warm lights that suspend from above make the ceilings black color deep but not overpowering. On the other hand, the geometric pyramids seen on the walls also depict a variation in material and color. They have three forms i.e. solid, mirror and louvered. It is interesting how the furniture, lighting and the counterfollow the lead of these walls and blend into the whole atmosphere perfectly. The floor that was originally going to be terrazzo retains the initial concept by using a terrazzo tile now. This floor was suggested to go with the rustic backdrop of brick on the interior walls. PLAN The planning of the café was done as per the limited need. It has a banquet sofa at one end while the rest of the arrangement constitutes of the commonplace chairs around table arrangement. Even though area wise the café is small, the place is planned such that it accommodates 17 to 20 people indoors whereas another 12 people seating is given outside the café. CONCLUSION Dining in is one of the most common activity that residents of the capital look forward to , in order to get respite from their work routines. A decade ago it was easy to name the few places that were favorites among the citizens but at present a number of restaurants and cafes have cropped up in different parts of the city, many of which follow the lead of the more successful eateries by trying to create a similar spatial character. As a result, there has been a mushroom growth of places that feel and appear similar. In such a scenario, interiors like that of café M are a breath of fresh air.Intimate places soundly designed like this one, demonstrate hopeful prospects to designers. They are an indication of the ample possibilities that lie in interior designing.
Craft London
Greenwich Peninsula, London Design Research Studio Photographer Courtesy Design Research Studio
Design Research Studio, under the creative direction of Tom Dixon, has created Stevie Parle’s new restaurant, Craft London, at Greenwich Peninsula. Craft London will house three floors of culinary surprise and excellence. Kicking off with a café and roastery in October 2014, a new restaurant and rooftop bar will follow this spring. Craft London focuses on quality in production, collaborating with modern experts, fanatics and obsessives, to create world class products through the roasting of coffee, smoking of fish, bee keeping, meat curing, fermentation of vegetables and the creation of a contemporary kitchen garden within the new green oasis coming to the Peninsula.
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Located in the new pavilion by Marks Barfield Architects situated at the entrance to a new public garden (also designed by DRS), Design Research Studio sought to contrast the hardness of the building’s glazed facade with soft elements and the clean modern lines with organic patterns and natural materials. Design Research Studio’s key aim was to use the interior to reflect and complement Stevie Parle’s cooking, known for its use of British produce, unique combinations and strong ingredients. Wherever possible materials have been used in an extraordinary and installed by specialist crafts people and manufacturers.
The Design The ground floor CafĂŠ features a brick-clad wood-burning bread oven surrounded by a hand-made glazed brick countertop and tables with handmade glazed enamel tops. The Restaurant on the first floor offers expansive views of the kitchen and will feature a pewter bar with a steel and aluminium bottle display. Seating areas will include oversized and sumptuous velvet banquettes for larger
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groups and a double height blue wall in traditional Moroccan plaster will be a key design highlight within the space. The Rooftop Bar welcomes guests to uninterrupted views of the Peninsula and Canary Wharf. The large curved pewter bar with suspended copper storage contrasts with the upholstered leather walls and seating wrapped around the elliptical core with a carpeted ceiling tinged with a watercolour inspired motif.
German Gymnasium
King’s Cross, London Conran & Partners
Photography by Jean Cazals, Marcus Peel, Paul Winch
The German Gymnasium in London’s King’s Cross is undoubtedly one of 2015’s landmark hospitality openings. Housed under one, very prestigious roof, this new collection of restaurants, bars and cafés from D&D London features interiors by the acclaimed studio, Conran and Partners. Designed by London-born architect, Edward Gruning, for the German Gymnastics Society in 1865, this purpose-built gym was the first of its kind in Britain. It marked a monumental turning point in the development of athletics in Britain, and indeed hosted the first ever indoor events of the 1866 National Olympian Games.
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150 years on, this beautiful venue – located between King’s Cross Station and St Pancras International – has been sensitively restored into a 447-cover complex, featuring a ground floor café, restaurant, bars, an outdoor terrace and private dining spaces. Conran + Partner’s brief was to create a contemporary spin on a classic brasserie, tying in subtle references to German culture and cuisine. The crux of the design rested on a careful appreciation of and respect for the rich history of the building, while creating a fresh and exciting hospitality venue.
“As project director, my first responsibility is to ensure that I come up with creative and unexpected solutions that not only meet the client’s brief and objectives, but also exceed them,” explains Tina Norden, Conran and Partners. “With German Gymnasium, I also felt a deep sense of responsibility to the building itself. It is an important heritage building and has had other ‘lives’ and as someone with a German background, I was particularly conscious of our responsibility to honour and celebrate the building’s past, as well as take it forward to its exciting future as a ‘destination’ restaurant and bar. “German Gymnasium will provide an all-day dining experience, so it felt very natural to us to develop a concept based on a contemporary take on the grand cafes and brasseries of Central Europe, complete with patisserie counter and al fresco terraces. There will even be a four o’clock bell to announce the magic hour of ‘Kaffee and Kuchen’.” From a spatial point of view, the key challenge was to restore the first floor gallery, which had been filled in during the 1990s. This not only provides a view over the striking dining areas, but emphasises the magnificent structure of the triple-height ceiling space.
The open pass and windows overlooking the street will invite commuters and diners to view the grand main kitchen, completely rendered in black, above which sits a separate kitchen serving the upper dining area, with a dramatic double-height mirrored glass façade. The venue is scattered with original historic details, from the climbing hooks in the ceiling to the cast steel columns and laminated timber roof trusses, which set the tone for the choice of materials, colours and textures for interior detailing. Gold mesh screens, inspired by Victorian detailing and fencing masks, have
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been installed, while walnut timber panelling and distressed leather upholstery contrast with occassional flashes of bright colour. “When I first saw the German Gymnasium building stripped out, revealing the interior with its 57 ft floor-to-ceiling heights, I had the same spine tingling feeling I had when I first saw Quaglino’s as a hole in the ground 25 years ago,” says Des Gunewardena, Chairman and CEO of D&D London. “We love this building and its history. It deserves an exciting life in the 21st century and we are going to do our best to give it that.”
Torchys Tacos Austin Chioco Design
Photography Patrick Y Wong
After several years of testing and establishing a design language embodying the TorchyÊs Tacos brand, mainly through the design and construction of interior finishouts and second generation remodels, Chioco Design was commissioned to create their new flagship location. The ground-up building, located along AustinÊs iconic South Congress Ave., is situated on the site formerly occupied by FranÊs Hamburgers, an Austin based restaurant established in the 1970Ês that symbolized a nostalgia for the archetypal Texas drive-in diner. Chioco Design set out to create a building able to respect itÊs iconic setting, allude to itÊs historic roots and fulfill the needs of a modern restaurant. Consciously referencing the archetypal 50Ês-era drive-in diners, Chioco Design developed an iconographic structural ÂXÊ & ÂYÊ form traversing the length of the block facing South Congress Ave. These bright red columns support a crenellated roof profile extruded through the entire building, seamlessly connecting inside to out, and allowing for the addition of numerous north-facing skylights which provide an abundance of consistent natural light. Steel planters and tree wells extend out to the
sidewalk and street to act as an inviting and accessible area adjacent to the vibrant energy of South Congress Ave. Drawing from a carefully developed and dynamic material palette from previous TorchyĂŠs locations Chioco Design implemented the now-symbolic red road reflectors across the western facade emphasizing the eclectic character of the neighborhood. Encaustic cement tiles are thoughtfully used around the interior and exterior, even materializing as a flooring surface to distinguish the entrance and queuing area. Brightly colored custom fabricated light fixtures hover above both bar areas serving as a significant contrast to the white ceilings during the day and brilliantly illuminating the space at night. Half-height board-formed concrete walls, a staple of the TorchyĂŠs brand, serve to direct traffic and act as a compliment to the warm wood tones found around the space.
INTERIOR DESIGN
THE ATHENAEUM HOTEL AND RESIDENCES
Kinnersley Kent Design redesigns one of London’s most iconic hotels
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L
eading British design studio Kinnersley Kent Design has completed the multi-million-pound refurbishment of one of London’s most iconic hotels – The Athenaeum Hotel & Residences – remodeling the interiors and adding new layers of warm and subtle glamour to this family-run, five-star, thoroughly-independent jewel in the heart of Mayfair. The scope of works undertaken by Kinnersley Kent Design, one of the UK’s most established and celebrated practices, includes brand strategy, positioning and identity work - undertaken in partnership with the hotel’s owners and close-knit internal team - as well as external architectural works and a full interior architectural and design renovation, transforming the hotel’s public spaces, from the lobby, lounge and first floor meeting areas to a spectacular new bar – ‘THE BAR at The Athenaeum’ - and the elegant, day-to-night restaurant offer – ‘Galvin at The Athenaeum’. Speaking of the design approach to the project, Kinnersley Kent Design Partner Jill Higgins explained, ‘Above all, we were looking to open the hotel up in terms of light, space, circulation and visibility. The building’s original art deco nature has also been brought back to life by replacing the ground floor elevation with an elegant bronze façade with brass details referencing the 1930s modernist style.’ Design Walk-through: Exterior façade, entrance and terrace The hotel’s external appearance has been transformed, with an entirely new ground-floor-level façade offering guests spectacular leafy views out across the Royal Green Park via new floor-to-ceiling
INTERIOR DESIGN
windows. An impressive new, fully DDA-compliant main entrance has been relocated to the left of the façade, directly alongside the ‘Living Wall’ and created according to a design aesthetic of ‘authentic deco’. It features classic architectural details of the era, such as stepped bronzework and geometric shapes, with a pattern overlaid on the doors, along with bespoke gilded metal inlays, featuring abstracted art deco shaping.Outside, a new terrace area has been created, in what was a relatively low-key but very successful transformation of available space in the project’s earliest phase. Lobby and overall interiors palette For the newly-remodeled, double-height lobby area - where the whole mezzanine galleried section has been squared off and pulled back to double the available space - the design team applied a playful interior architectural signature in the form of an eclectic mix of classic British furniture items,to reflect the hotel’s strong British heritage, mixed with contemporary and mid-century-modern European pieces. ‘We think of it as ‘mismatching’ with an educated, curated eye’, Jill Higgins said, adding that the chosen materials palette was ‘Rich, understated, high quality, indulgent and luxurious.’
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INTERIOR DESIGN
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The scheme features lots of contrast and texture, with high-gloss and reeded finishes and thin and elegant metal forms set against a muted and subtle colour palette, punctuated by bright and contemporary accents. Materials include mesh-withinglass and a curated rose bronze that the Kinnersley Kent Design team created in order to get the exact look and feel required for the galleried balustrade to the mezzanine. Stunning, open, metal screens create semi-private zoning between the open-plan lobby and restaurant space, whilst the columns, which are a strong feature of the space, are clad in a striking, narrow-reeded dark timber. Furniture and fittings include two statement ‘Meshmatic Chandeliers’ by Atelier Rick Tegelaar,used here for the first time in the UK and chosen for their lightness, elegance and sense of playfulness, as well as to tie in with the metal in the overall materials palette. The space features a carefully-chosen selection of elegant chairs in smokey grey and teal velvets, with mustard and tangerine upholstery in leather and other fabrics, with all chairs chosen for their interesting tones, contrasts and juxtapositions. Galvin at The Athenaeum The entire ground floor has been designated as potential hospitality space, with a brand new espresso bar serving the lobby, as well as afternoon tea later in the day.An existing, centerpiece chandelier in the restaurant was retained because it was in great condition and, with its spare, mid-century aesthetic, fitted perfectly with the style of the new furnishings on the ground floor. The flooring in the restaurant space is white oiled oak, whilst seating is a mix of bespoke, buttoned velvet banquettes and timber, metal and leather chairs.
THE BAR at The Athenaeum THE BAR at The Athenaeum is a sensual delight and a space that really comes alive at night, with a deliciously dark and tactil e contemporary palette of blue-green, lemon yellow and stylish dark green suede, velvet and leather, with full-height glass walls backed by the tropical feel of the full-height ‘Living Wall’ greenery outside. The furniture here really ups the elegance factor, with long, slim forms and plenty of sinuous metal. Stand-out pieces include a console designed by Kinnersley Kent Design to the rear of the space and rugs, bespoke-designed by Kinnersley Kent Design and manufactured by Stepevi. Seating is a carefully-chosen mix of black velvet and brass barstools, lounge chairs in butternut velvet and armchairs with a black leather exterior and saffron nubuck interior. There are sofas for more serious lounging, including velvet Chesterfields, whilst the small drinks tables feature a brass base and Nero Marquina marble tops and the larger ones a black base and Verde Guatemala marble tops. Flooring is white-oiled oak, as in the restaurant. Also at the rear of the space, a screen plays a bespoke film sequence of passionate embraces from the movies, in a reference to the hotel’s long history of links with Hollywood greats, including former guests Elizabeth Taylor, Marlon Brando, Shirley Maclaine, Cary Grant, John Wayne and Russell Crowe. The Gallery On the first floor – glimpsed as a mezzanine from the double-height atrium, The Gallery offers an exclusive feel and two new stunning private dining rooms with amazing views onto Piccadilly and across to Green Park, as well as meeting rooms for those looking something more relaxed and personal. The design feel here is informal and more domestic in scale.
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By Dr. Suneela Ahmed
T
alent and Taste Interior Designers completed their Hallmark interior of Agha Steel office on the 8th floor in Emerald Mall, Karachi. The office interior has been modelled creatively to house the approximately hundred people in a space of 11000 square feet. The language of the interior is bold, using materials, colors, textures and finishes, which are glossy, glamourous and blatant. Office interiors have traditionally been designed using certain language that exuberates seriousness, non-playfulness and a sober outlook. The very thought of spending eight hours daily in an enclosed environment may evoke monotony and dreariness. The design template of Agha Steel’s office interior however, defies these preconceived notions of an office interior and evokes a healthy and cheerful feeling. Although a very huge variety of interior elements have been used, ranging from wood, to leather, to metal, to stone, to glass, but the variety of materials have been balanced by using selective color templates for different interior spaces. Design Walk-through: Lobby and overall interiors palette The scheme features lots of contrast and texture, with high-gloss finishes and thin and elegant metal forms set against a muted and subtle colour palette, punctuated by bright and contemporary accents. The reception area has glazed metal elements greeting the visitor. The mix of contemporary materials with traditional furniture pieces grounds the overall composition of the reception lobby mixing the eclectic style with a traditional approach.
Metal screens coupled with glass create private zones between the main circulation spine and the enclosed departments. There is variation in the latticework on the glass enclosures of different departments which also provides richness to the interior space. The general color palette is a variation in shades of grey, with few bright accent colors used in the furniture. The interior features a range of carefully selected pieces of furniture especially elegant chairs upholstered in bright mustard, brown and orange leatherite creating contrast and juxtaposition within the interior. Departments enclosed within full height glass and metal partitions Different departments of the office are enclosed within full height glass walls located on either side of a well-lit corridor. The central corridor, which is the main circulation spine, is finished in dark grey tiles bordered by pebbles, and insets of light grey tiles in certain places in semi circles, generating a pathway. The full height glass walls of different departments are finished in differently designed wood and metal screens. Meetings rooms also originate from this central spine and are also enclosed in full height glass walls which have metal clutch wires holding them up. Although the departments are enclosed by full height glass walls but within each of the department furniture and work stations are placed within an open plan layout. The enclosed spaces on the left side of the corridor open out onto the city and have a spectacular view because the office is located on the eighth floor.
Board Room Interior The boardroom offers an exclusive feel with heavy usage of wood cladding and a view onto the city skyline. It houses a huge table finished in wood and leather. The usage of specific materials gives the boardroom an exquisite outlook. The board room interior and the office interior of the CEO has a similar language, using wood cladding and leather clad furniture. The board room also houses a comfortable seating arrangement and has a provision for a refreshment bar. Meeting rooms A number of small sized meeting rooms having a capacity to house four to eight people have been placed at different intervals in the office. These full height glass walled meeting rooms have cylindrical shapes with the full height walls giving these meeting rooms acoustic privacy, although the usage of glass allows transparency and light to enter the rooms. Accents within the Interior The art pieces that adorn the office interior, as wall hangings, lamps or decorative accessories seem to have been carefully chosen or specifically designed for this particular office because they follow the same design language as the other elements in the interior. For instance, some of the wall hung frames have relief designs finished in metal, which reflects the design of the glass and metal screens used as partitioning walls. Generally, the office interior seems welcoming and innovative, using a mix of contemporary and traditional materials, to achieve a holistic design palette.
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WORK YOUR WAY TO WELL-BEING PwC Switzerland’s Basel Office by Evolution Design DESIGN TEAM: STEFAN CAMENZIND, TANYA RUEGG, CAROLIN MICHALKA, NATALIA MACIEJOWSKA, NICOLE GÖGEL, MARK PINTER PHOTOGRAPHY © PETER WUERMLI
Can the design of a workspace improve health, energy levels and productivity? At the Basel office of PwC Switzerland, the answer is an emphatic yes. Employee well-being is an important business objective for PwC Switzerland and at the company’s Basel office the goal became a key priority when commissioning new office interiors. The office, which was created by the award-winning Swiss architecture and design studio Evolution Design and completed in July 2016, has been specifically designed with employee well-being in mind. Every aspect, from workstations to social spaces, team areas and relaxation rooms, is built around four key pillars of health: activity, attitude, rest and nutrition. The result is one of the first offices in Switzerland that makes employee wellbeing its primary focus. Keeping active ‘Movement and activity are crucial for energy and health,’ says Evolution Design executive director Stefan Camenzind. ‘PwC Switzerland already offers classes such as pilates and yoga to its employees, so we focused on how the workplace design can support more movement.’ After research and consultation with PwC employees, three key work typologies were established. The Focus Space is a desk area where employees can work on their own projects while still being part of a team environment. In the Quiet Zone, a place without
phones and with private spaces ranging from booths to desks, it’s possible to concentrate without interruption or noise. For group tasks, the Team Space features large shared desks, whiteboards and walls on which it’s possible to pin project work. ‘Sitting at a desk all day is not very healthy. It’s better to walk and move around and to work in different positions. The challenge for us was to create spaces that work so well that people will get up and move to different areas when they are doing different tasks,’ says Stefan Camenzind. Along with choosing ergonomic chairs and height adjustable desks, each area also makes use of a variety of chair and table types, ranging from low sofas and coffee tables to taller stools against bar height desks. ‘The spaces are designed that people can sit and move in different ways. We want people to become more active within their working hours, but we don’t want to be prescriptive in how they do this.’ Positive attitude In busy, high intensity offices, workspace design can also have an important role to play in creating a positive mindset and improving mental health. At PwC Switzerland’s office in Basel, Evolution Design focused on empowering employees as a way to help manage stress levels and increase energy levels. The office space offers a wide choice of working areas and
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employees are free to choose the kind of work environment that best suits their mood and task at any given time – whether that’s meeting in a think tank, working at the bar in the sociable coffee zones or using a phone booth for greater privacy when making phone calls. Each of the spaces is designed with cues that signify its use. The Quiet Work Area, for example, employs calm green tones and is subtly divided for privacy and to aid noise reduction. ‘We believe empowering people is the most effective way to reduce stress levels,’ says Tanya Ruegg, Evolution Design creative director. ‘The design here is all about making it easy and enjoyable for people to do a task in the best way possible. It’s functional, but also emotional – people can choose where and how to work.’
pany briefed us to encourage employees to relax and recharge their energy levels,’ says Stefan Camenzind. ‘Several studies have shown that power napping significantly improves concentration. While it may seem strange now to take a nap at work, in the future it will be people who don’t take time out to relax who are seen as being irresponsible.’ Eat your way to health The final pillar in the company’s health and wellbeing manifesto is that of nutrition. Evolution Design has created a series of graphics throughout the office space to remind and motivate people to eat well. Healthy snacks, fruit and water are also on offer – each year employees of PwC Switzerland consume some 21,000 kg of fruit.
Corporate engagement is another important factor in creating a positive attitude. ‘People want to be proud of their workplace and the company they work for,’ says Tanya Ruegg, and Evolution Design has used colour and communication tools – including photography and graphic design – to ensure the office is an inspiring three dimensional representation of the culture, attitude and mindset of PwC Switzerland.
The office design includes various spaces in which to eat and relax. Key to the design are the numerous coffee points, which serve both as social hubs and places for spontaneous meetings. As Stefan Camenzind points out: ‘Sharing knowledge and exchanging ideas in this way improves creativity and also helps to build relationships which has a positive impact on general well-being.’ There’s also a new 7th floor roof terrace, which is proving a popular place for lunch in the sunshine.
Rest and relaxation If power napping at your desk is more likely to earn approbation than applause at your office, the reverse is true at PwC Switzerland’s Basel office, where Evolution Design has created a room specifically for relaxation. Employing natural motifs and organic shapes and with low-level lighting and music, it comes complete with state of the art massage chairs and the MetroNap Energy Pod, a rejuvenation space designed for taking power naps.
It’s clear that working healthily is about far more than just ergonomics. The recipe for success requires a subtle blend of planning, creativity and humanity: providing variety and choice in workspaces that recognise the importance of both teamwork and singular tasks, acknowledging the role of informal networks and taking into consideration individual needs such as nutrition, relaxation and empowerment. In this respect the Basel office of PwC Switzerland is an excellent example of working your way to well-being.
‘The relaxation room is a very important part of the design. PwC Switzerland understands that it’s not possible to go at full speed all the time, this is why the com-
HAPPENINGS
ARCASIA HANDING OVER CEREMONY The Architects Regional Council Asia (ARCASIA) handing over ceremony took place on Saturday 14th January 2017, Islamabad. This austere evening where the Presidency of ARCASIA was handed over to Pakistani architect Jahangir Sherpao was well attended by foreign architects, Ambassadors, dignitaries and Pakistani architects. The Architects Regional Council Asia (ARCASIA) comprises of architects from 21 countries with the institute of architects Pakistan being one of its members and for the next term of 2 years this council will be led by a Pakistani President. The Council meets annually to deliberate and to give collective direction and representation on matters that affect the architectural profession, in general, and the professional. The new ARCASIA office bearers for the term 2017-18 led by the President Jahangir Sherpao include honorary secretary, Architect Ramiz Baig and honorary treasurer, Architect Sannah Ejaz both from Pakistan along with 12 other members from 8 Asian countries.
INTERNATIONAL CONFERENCE The International Conference of Urban and Regional Planning 2017 was held at NED University of Engineering and Technology on 24th and 25th March. It was organised by the Department of Architecture and Planning, NED UET. The main focus of the conference was based on Urban Resilience and Adaptation. The scope of the conference centered on the following themes, urban planning, governance, climate change, disaster management, informality, infrastructure and environment and urban security. International and national experts deliberated at length on key matters related to these themes. Besides a good representation from Pakistani academia, educators, civil society representatives, media professionals and industry practitioners there were international speakers from USA, Germany, Belgium, Australia, UK, Sweden and Kashmir.
DANCING FOUNTAINS Bahria Town Karachi unveiled Pakistan’s most dazzling dancing fountains amidst great cheers. The scintillating display of colors, water, fire and dancing lights in sync with background music mesmerized hordes of visitors who thronged the site to experience the excitement, awe and wonder evoked by this amazingly colorful spectacle of dancing laser light, fire and water. The fountains gave a test performance on Pakistan Day as part of the celebrations. Comprising 250+ fountain jets, water jets up to 180 feet high, 24 flame throwers, 2 water screens with 6 lasers green + Multicolored & 350 LED Lighting Projectors and 2 HD4k video projectors, Bahria Fountain created a spell binding effect on the audience.
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