VOLUME 04 ISSUE 04 OCTOBER-DECEMBER 2021
DESIGN CONNECT PROMOTING GOOD TASTE
SAFDARJANG RESIDENCE DESIGNED BY AKDA
THE JOURNEY OF SENSES BY METAFORM ARCHITECTS
RAAS CHHATRASAGAR BY STUDIO LOTUS
IN CONVERSATION WITH SUMAN SHARMA, PRINCIPAL AND HEAD OF BUSINESS, MANGROVE COLLECTION ASTHA BHATNAGAR, FOUNDER, RANG SANG
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rchitecture in the larger sense is civilization itself. But when civilizations are bracketed in borders, then perhaps, it is also used to connote the specifics. In such cases architecture tends to become sublime as art and the architect an artist. The art of architecture which symbolizes the finer aspects of nation, state and cities. In Dubai Expo the Luxembourg Pavilion designed by Metaform Architects is one example of this phenomena. The pavilion design attempts to convey a true reflection of the second richest European nation’s past, present and the future while also presenting the values of the country: small but ambitious, intriguing yet reassuring and above all generous and open.
Editor’s Note
In design as well, the execution and style of a project says a lot about the nation, city or state it belongs to. Hotel Laguna based in Sardinia, is a nice example to cite in this case. Part of the Chia Laguna Resort, which is nestled in the Mediterranean scrub, Hotel Laguna too was refeurbished by Studio Marco Piva to epitomize Italian hospitality and charm. The careful selection of furnishings, finishes and materials communicate a clear idea of luxury and well-being closely tied to the timeless Mediterranean style, which combines nature, elegance and freshness in a refined and radiant manner.
In New Delhi, meanwhile AKDA (Amit Khanna Design Associates) seeks to address modernism in a new light whilst paying a tribute to Louis Kahn. Based in New Delhi, the Safdarjang Residence designed by the firm invokes sustainability, meaning and craftsmanship much unlike the modernist design preferences which revel in stark opposition to traditional artistry. Almost 844 kms away from New Delhi, in Indore Madhya Pradesh, Sanjay Puri Architects designs the ‘Prestige University’ which draws inspiration from traditional Indian architecture, creating an energy-efficient sustainable building with minimal dependence on artificial lighting and air conditioning.
Editor Vikas Bhadra vikasbhadra@designconnect.biz Designer Darshan Palav
The foreplay of tradition and contemporary influences is not limited to architecture alone. Accessories used for designing interiors of residential and commercial spaces have also embarked on a similar journey. Suman Sharma, Principal and Head of Business, Mangrove Collective in a conversation with Design Connect points out that as a result of this trend indigenous and obscure crafts are getting reinterpreted for contemporary living. Astha Bhatnagar who founded ‘Rang Sang’ voices a similar opinion but adds that this synthesis, is also a result of the fact that Indians now are well-traveled and they yearn for uniqueness and exclusivity. The resurgence of crafts and artforms is also one of the highlights of RAAS Chhatrasagar, a luxury wildlife camping destination which won the World Architecture Festival (WAF) Award for the Best Hotel & Leisure Building of 2021. The project showcases a camp-like design vocabulary that borrows from regional influences and reinterpretation of indigenous craft forms. Happy Reading and a Happy New Year!
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The Journey of Senses: Metaform Architects designs the Luxembourg Pavilion at World Expo – Dubai
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In conversation with Suman Sharma, Principal and Head of Business, Mangrove Collective
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Defined by Form: A quiet residential street in New Delhi designed by AKDA is a haven rooted in sustainability, meaning and craftsmanship
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A Mediterranean Getaway: Designed by Studio Marco Piva Hotel Laguna is a testament to Italian hospitality and charm
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RAAS Chhatrasagar: Turning Heads Globally Based in Rajasthan, RAAS Chhatrasagar designed by Studio Lotus has won the World Architecture Festival (WAF) Award for the Best Hotel & Leisure Building of 2021
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Quick Byte: The Prestige University by Sanjay Puri Architects
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In Conversation with Astha Bhatnagar, Founder, Rang Sang
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Luxembourg Pavilion at World Expo – Dubai
THE JOURNEY OF SENSES
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A Möbius strip at Luxembourg Pavilion at World Expo – Dubai designed by Metaform Architects is a symbolic depiction of the various facets of the second richest country in the world often christened as a European economic powerhouse
Project Designed By: Metaform Architects Photo Courtesy: Steve Troes Fotodesign
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The main inspiration for the pavilion design comes from Metaform Architects’ desire to convey a true reflection of Luxembourg’s past, present, and future, while also presenting the values of the country: small but ambitious, intriguing yet reassuring, and above all generous and open. What better inspiration than a Möbius strip, a loop, a single surface twisted with neither beginning nor end, symbolizing infinity and, most of all, the circular economy and diversity united as one.
Luxembourg Pavilion at World Expo – Dubai
One of the biggest challenges was to find a good flow for visitors to pass through quickly. A setback was thus created between the main walking street and the pavilion: the space and distance offer a clear perception of the whole.
Given that the visitor experience begins in the waiting line, Metaform designed a ramp as a welcoming red carpet, inviting people to discover the building, and guiding them along a continuous path that blurs the limits between the exterior and interior.
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Luxembourg Pavilion at World Expo – Dubai
How do you merge user experience, scenography, and architecture? Scenography and architecture are complementary in the mission to merge people with the exhibition. In a didactic, interactive, and intuitive way, different projections and animations display the country and its people. Collectively, it creates a continuous flux of images from start to finish for experiences on the top second floor. The ribbon becomes a multilayered scenography canvas, alternating floor, wall, and ceiling as means of expression.
To accommodate concerts, receptions, and conferences, the side door remains closed, and the ramp guides visitors along without causing disruptions. When hosting a temporary exhibition, the door serves as a barrier, with the indoor space becoming an intuitive part of the flow. The second floor is the highest reaching point, and is dedicated to the space-themed exhibition. To reach the earth again, a slide down through the picturesque green patio concludes the journey in a fun and playful way. The journey from the bottom to the top is continuous, but constantly changing. While moving between the inner and outer protective skins, the feeling of being in and out at the same time prevails. The proportion of the space constantly changes, giving a nod to the similar perceptional changes of Luxembourg City due to its very particular and unique landscape. A variety of parallel visual connections are created on different levels, and through different stages. Ambiances and moods shift instantaneously, sparking curiosity to learn more about the country.
One of the requirements was to complete the project using 70% reused or recycled materials, which was a challenge that Metaform met by opting for steel construction. The fiberglass membrane, although difficult to recycle, can be reused by the producer, who specifically agreed with it. Connect Online@ www.metaform.lu
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Luxembourg Pavilion at World Expo – Dubai
The ground floor accommodates a storage area that is accessible from the back, as well as restrooms, a VIP suite, and an administration unit with visibility over the central area. There is also a restaurant with an open kitchen, and a gift shop oriented towards the front area. The first floor, accessible directly from the main ramp, is a multi-functional space.
In conversation with Suman Sharma, Principal and Head of Business, Mangrove Collective
INDIGENOUS AND OBSCURE CRAFTS ARE GETTING REINTERPRETED FOR CONTEMPORARY LIVING As a result, appreciation for these crafts is growing manifold, and this is a positive sign for many of our dying crafts-a beacon of hope for their resurgence in the marketplace says Suman Sharma, Principal and Head of Business, Mangrove Collective.
What is your idea of good design? Is it static, or would you say it is creative dynamics at work? Good design means different things for different people. By its nature there is a certain dynamism built into any creative process. Fundamentally however, design should respond to the narrative it belongs in and in our line of work in the way it responds to the context.
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In conversation with Suman Sharma, Principal and Head of Business, Mangrove Collective
How does traditional Indian architecture and design match up to the glory of traditional European architecture and furniture design? For a country like ours, home to a wellspring of crafts traditions, we have at our disposal a tremendous opportunity to combine indigenous knowledge with modern engineering-to develop ergonomic but also beautiful pieces of furniture. By reinterpreting indigenous and obscure crafts for contemporary living, local brands are giving them a new lease of life.
Suman Sharma
Appreciation for these crafts is growing manifold, and this is a positive sign for many of our dying crafts-a beacon of hope for their resurgence in the marketplace. Moreover, the transformations in the furniture segment have also led to several textile and carpet companies that were retailing abroad to launch retail stores in India for well-travelled consumers. Design Connect|October-December 2021
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In conversation with Suman Sharma, Principal and Head of Business, Mangrove Collective
For Indians who are now also aware of the global design scene, what kind of products do they seek? Noticeable shifts have been observed in consumer buying habits today. Many homeowners are developing a strong preference for local furniture and decor brands that promote regional craft and local skills and materials rather than imported products. As people and businesses look inward and seek to enhance comfort and well-being, there has been a marked increase in the demand for bespoke, crafted products. This newfound appreciation for homegrown brands, partly fuelled by the pandemic, has propelled brands to up the ante and offer designs whose quality, details, and ergonomic comfort are at par with international standards. When is your take on contemporary Indian furniture, is it all good, or are there some shortcomings which need to be resolved?
The only thing that I feel we should be conscious of is that we work in a country that has its own identity be it in the material it produces as well as the indigenous crafts that we offer. To reference our identity in our interpretations would be more meaningful than replicating what everyone else is doing. What led to the inception of Mangrove, and as a firm offering quality furniture, how are you addressing the shortcomings you made a mention of?
The seeds of Mangrove Collective were planted many years ago by our sister firm, the multidisciplinary architecture and design practice, Studio Lotus. The challenge for the studio was the struggle to translate design concepts into reality without collaborating with like-minded people who could bring their vision to life with their expertise. We feel like we can contextualise and take a design further while keeping in mind local materials as well as craftsmanship.
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Using fabric, wood and plaster as the key materials the essence of Vienna coffeehouse was brought to life
At Mangrove, we believe in a “conscious process” that celebrates local resources, traditional craftsmanship, and where designers, craftsmen, and clients are equal partners. For us, design, art, craft, and technology go hand in hand. When we say our work is craft-based, it doesn’t necessarily mean that our products look hand-crafted. Depending on the nature of the commission, the requirements, and the function, either the hand or technology can take precedence over the design of the products.
We are constantly challenging ourselves to look at products and processes in a new way-combining traditional craftsmanship with state-of-the-art technology. We feel luxury sans craftsmanship is a vain effort. Thus our products are designed with impeccable detail to bring joy to whichever space they inhabit.
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In conversation with Suman Sharma, Principal and Head of Business, Mangrove Collective
It has been almost six years, how has the journey been so far for Mangrove?
When it comes to metals, India’s obsession with gold is well-known. Likewise when it comes to furniture design what kind of materials are preferred? With a plethora of options available today, choosing the optimal quality of raw materials for furniture can be an overwhelming task. While materials such as wood, cane, metal, and glass are a preferred choice for modern furniture, leather, fabrics, and textile upholstery are also being used extensively to elevate the appeal of these objects. It is crucial to select materials based on their aesthetics, workability, and the client’s budget. Still, the process of understanding what makes for good-quality furniture requires a deeper understanding of raw materials, as well as their properties and benefits.
In conversation with Suman Sharma, Principal and Head of Business, Mangrove Collective
What are some of the pointers to be kept in mind while choosing furniture for residences and office spaces and in what cases can custom designed furniture add value?
We as a community are sitting on the verge of a massive change, and with this pandemic, homes have become almost sacrosanct, protecting and nurturing us in these difficult times. There is a realization among homeowners that our domestic spaces need to be reinterpreted for personal growth, satisfaction and well-being, as opposed to the idea of entertaining and flaunting material wealth. Homeowners have become increasingly aware of the importance of exercising their responsibility to embrace more mindful and sustainable lifestyles. To that end, they look for brands that align with their values and thinking. Even though people are returning to offices, the pandemic has caused a shift in the way society views happiness, comfort, and entertainment. There is a distinct value shift, and people have started looking inwards and valuing themselves and their environment. I believe that irrespective of where people work from, the importance of creating a haven that resonates with the inner self has taken priority.
Who are some of your well-known clienteles? Also, which are some of the key projects where Mangrove has played an important role? It would be challenging to narrow it down to some projects as every client for us has been an experience unto itself. For instance, we recently had the opportunity to develop the millwork and furniture for a colonial-era guesthouse-turned private residence in Lutyens’ Delhi. The result of an enriching collaboration with the design team at Studio Lotus, among many others, the project enabled us to work with a myriad of decor elements to fuse the classic and the contemporary and bring every space in the home to life.
One of our latest works in the hospitality segment is the RAAS Chhatrasagar, a 20-key eco-hotel in Rajasthan perched atop a century-old dam overlooking the Chhatrasagar Lake. The exciting brief by RAAS-to bring the outdoors in-enabled us to craft bespoke pieces that reflected the rich biodiversity of Chhatrasagar. We worked alongside Studio Lotus and printmaker Dhvani Behl of Flora For Fauna to create a canvas celebrating the wildlife. Key interventions include intricately detailed hand-crafted AC consoles and a Flamingo bar counter that features elaborate hand-carved relief work depicting a flock of flamingos, further extending the craft narrative down to the tiniest details.
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Custom-designed furniture offers a new window of possibilities as it becomes an extension to the client’s personality and taste. More importantly, it speaks to the synergy in vision amongst the designer, the furniture maker or craftsperson, and the owner in co-creating the object, which results in a masterfully crafted, high-quality piece. The level of customization a homegrown furniture brand can offerrepresentative of and suited to the client’s personality and lifestyle-is unparalleled.
What are some of the signature products and services? What is the best way for a prospective client to get in touch with you or your firm? Each product for us is a journey where all stakeholders-the craftsmen, the designers, the technician, and the consumers have a takeaway-a memory that lasts a lifetime. With every product and commission, we try to feed into the vision and aspirations of the user. We aim to breathe life into spaces and narrate stories by reinterpreting indigenous and largely-forgotten crafts, uniting traditional know-how with engineering to develop exceptional products.
In conversation with Suman Sharma, Principal and Head of Business, Mangrove Collective
Mangrove is a bespoke furniture studio, and our work is mainly made-to-order. However, we have an experience centre setup in our design studio where clients can visit and get hands-on experience on our products. Clients can get in touch with us at contact@mangrove.in Connect Online@ www.mangrovecollective.in
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The Safdarjang Residence by AKDA
The meaning of architecture as conveyed through form 16 Design Connect|October-December 2021
The Safdarjang Residence by AKDA
Unlike the modernist design preferences which revel in stark opposition to traditional artistry, the Safdarjang Residence designed by AKDA project is a haven rooted in sustainability, meaning and craftsmanship. Project Designed By: AKDA Photo Courtesy: Andre Fanthome
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The Safdarjang Residence by AKDA
On a quiet residential street in New Delhi, a monumental circular aperture sits within a square brick screen. In essence, this singular act of architectural intent defines the project, which is an apartment building developed by a family for private use. The facade of this building could be seen as a response to the context or a reflection on materiality. However, what it truly represents, is an ongoing conversation in the history of modern architecture in India. This facade is a tribute to the idea of architecture as imagined by Louis Kahn. The work of Louis Kahn left an indelible imprint on the architecture of the Indian subcontinent. His sombre, monolithic forms in the Indian Institute of Management at Ahmedabad and the Bangladesh Assembly at Dhaka, combined with the robust strength of local materials to evoke a mystical, yet calm monumentality.
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The Safdarjang Residence by AKDA
Crucial to his form-making was the act of puncturing seemingly vast brick and concrete walls with soaring geometric voids, creating dramatic shadows as the harsh Indian sun made its way through the sky. These voids were often circular; vast arches that were pure in their conceptualization and inch perfect in their execution, a testament to the genius of Indian craftsmanship.
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The Safdarjang Residence by AKDA
This building too likewise, is an ode to Kahn and his idea of how a building should be. It is the latest chapter in a conversation which has been continuing for ages. A conversation about the meaning of architecture as conveyed through form. All across the world in the large cities the urban cacophony creates a cantankerous atmosphere. Hence it is important to create spaces for quiet repose and the architectural language used in this building strives to recreate that much needed sense of calm.
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Within the interior, exposed brick walls contrast with the board-formed concrete of the slab. locally sourced Kota paving slabs are used for the flooring of the interior, sprinkled with mustard yellow Jaisalmer stone in the courtyard and the bathrooms. A stainless-steel counter in the open kitchen is offset by blue handmade tiles in the backsplash. The open kitchen itself sits opposite the open courtyard, animated by 2” thick Kota stone steps cantilevered from a quartzite wall that rises to the sky. The project illustrates an evolving understanding about the durability of materials in our harsh climate. Brick is inherently durable - Clay bricks last almost indefinitely, being largely immune to fire, wind borne debris, and temperature fluctuations and their exceptional thermal mass helps mitigate heat transfer. On a TCO and lifecycle basis, bricks outperform almost every other building material, effectively reducing the environmental impact from other systems like air conditioning and heating.
Every component of the building has been selected with the same parameters of high performance, inherent robustness and energy efficiency. Aluminium windows with double glazing are used all around, the terrace is insulated with inverted pots overlaid with terracotta tiles, the airconditioning uses variable refrigerant volume based on active monitoring of indoor use, and LED lighting is used throughout the building. Sensors are fitted in the washrooms, and they automatically control the lights based on movement and ambient light conditions. The apartments are secured with a keyless central security system with digital access.
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The Safdarjang Residence by AKDA
Consisting of four apartments elevated above a parking level, the property is hemmed in by neighbours on both sides. The 30-foot width of the building is its only source of light at both ends. The floor plans of the apartments are reductive, with all services concentrated in a core on one side of the building, including the staircase, elevator, three bathrooms, the kitchen and both bedrooms. The other longitudinal half of the building is an expansive living space, that is illuminated by the full-length windows on either end. On the top floor, this open space is punctuated by a courtyard that is open to the elements. On the facade, thin brick tiles are supported by a framework of crisp stainlesssteel profiles, both acting as a tension ring within the void and as supporting angles on the top and bottom of the screen. The entire brick screen is elevated off the ground level, proportioned to be a perfect square circumscribing a circle. The exposed side and rear walls are finished in an exposed grit wash set in white cement plaster.
The quality of buildings in the postindependent era of India has always been a source of debate. More so, because, modernist design preferences infused a concept of bland simplicity as opposed to traditional craftsmanship. This project seeks to alter those ideals, foregoing modernity, in the pursuit of sustainability, meaning and craftsmanship.
The Safdarjang Residence by AKDA
Connect Online@ www.akda.in
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The Safdarjang Residence by AKDA
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Hotel Laguna by Studio Marco Piva
A MEDITERRANEAN GETAWAY 24 Design Connect|October-December 2021
Hotel Laguna by Studio Marco Piva
Refurbished by Studio Marco Piva, Hotel Laguna based in Sardinia, is a testament to Italian hospitality and charm. Project Designed By: Studio Marco Piva Photo Courtesy: Andrea Martiradonna
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Hotel Laguna, located within the Chia Laguna Resort, occupies a splendid position on the coast. It is nestled in the Mediterranean scrub, among Sardinia’s beautiful snow-white beaches, rocky dunes covered with vegetation and lagoons coloured by pink flamingos.
Hotel Laguna by Studio Marco Piva
The intervention completed by Studio Marco Piva has raised the overall quality of the complex from a functional point of view, creating a diversification of the existing spaces, offering guests renewed, as well as brand new experiences and services, which at the same time add a formal, aesthetic and emotional dimension. The careful selection of furnishings, finishes and materials communicate a clear idea of luxury and well-being closely tied to the timeless Mediterranean style, which combines nature, elegance and freshness in a refined and radiant manner.
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The resort’s landscaping, rich in Mediterranean greenery and offering breath-taking views of the Chia Bay, is the first image that welcomes guests upon their arrival. The entrance has been transformed to be more visible, and therefore even more welcoming.
Major work has been carried out on the signage, terraces have been created using local rocks which, with a natural yet monumental structure, contain the Mediterranean scrub and accompany the guest towards the entrance. The new lighting adopts different languages – decorative, technical and carefully integrated into the greenery – to emphasise particular types of plants and herbs, for an atmosphere that guides guests from the gate to the drop-off, without intruding upon the authenticity of the landscape.
The drop-off area provides another opportunity to immediately impress guests: a path offering a perspective effect has been created with partitions in Biancone di Orosei marble in a rough finish and emphasised by the use of light, which directs the eye towards the reception area. A point of attraction that enhances the guest’s initial contact with the Resort, while creating a sense of continuity between inside and outside. Common Spaces
Reception & Lobby-Lounge, Bollicine Bar, La Terrazza Restaurant
These three spaces, all located on the same level on the ground floor, have been connected to each other, creating a fluid and chromatically coherent space. Small separations have been obtained thanks to the use of soft and light curtains, complemented by solid but textured and decorated partitions, which embrace the general concept of wind and lightness, while allowing guests to enjoy more privacy.
The design plays on the contrasts between the existing terracotta floors, with the fresh and pure furnishings characterised by light materials and colours, such as the ample and comfortable seating made with woven fabrics, and the decor consisting of flowers, lanterns, candles and local handicrafts, elements that contribute to the exclusive atmosphere. An outdoors-inspired image that reconnects and permeates with the external spaces, creating a solution of continuity that captures the charm of being outdoors, and brings it indoors.
A refurbished reception and lobby-lounge, with a clear identity, welcomes guests and immediately offers them a glimpse of Hotel Laguna’s new soul. The lobby offers an enticing and dynamic focus point, capturing the attention of guests and welcoming them at the entrance, assisted by walls enriched with display cases or niches integrated into the masonry and refined with decorative panels in wood or marble, in which local crafts are displayed to promote the territory, its history and activities. Hotel Laguna by Studio Marco Piva
Landscape
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Hotel Laguna by Studio Marco Piva
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The lounges are organised in such a way that they cover multiple functions, from offering a waiting space, to allowing guests to take part in informal meetings or to enjoy an aperitif. The check-in area has been redistributed, with the creation of extremely comfortable and almost private and intimate spaces, separated by walls with curtains and soft seating, stressing the idea of privacy and exclusivity reserved for the Resort’s guests.
The counter, a window framed in Orosei marble, overlooks both the interior and the exterior, integrating with the existing materials, such as the terracotta floors or the natural stones on the façade, for a harmonious environment: a fluid space that can also be closed if needed, creating temperature conditions that meet different needs.The lounge area is organised into small lounges and more intimate corners, thanks to the use of curtains characterised by a light and soft texture.
On the outside, special details have been added such as the ropes that decorate the backs of the sofas, a direct reference to the nautical world and a great tradition of the Sardinian people. A game of details, textures and materials that started by analysing the profile of future guests of the resort, to understand their needs and habits and, in turn, to envelop them in a sensory experience of complete relaxation. La Terrazza restaurant is the flagship of the Resort: a location that enjoys a privileged and unique position to offer guests truly unforgettable experiences. Inspired by the textures and patterns of typical Sardinian fabrics, Studio Marco Piva has enriched the room with different details. One of the highlights is the show cooking space, a spectacular transparent glass box covered with a material finish that enhances its shape and volume, an element of attraction that helps create a direct interaction between the kitchen and the restaurant’s guests: a focal point that enriches the internal dining room, offering a moment of sharing.
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Hotel Laguna by Studio Marco Piva
The new Bollicine Bar, located between the reception and the La Terrazza restaurant, has been extended and transformed into a genuine social space, a lounge-bar that guests can experience in three different flavours: the first indoors, the second on the covered terrace and the third outdoors, all overlooking the spectacular sea views. The route that leads from the reception to the restaurant has been given a permeable dimension with perforated walls that recall the typical textures of Sardinian fabrics and decorations, creating a division, while at the same time allowing light and air to filter in.
Hotel Laguna by Studio Marco Piva
The space has been carefully designed to accommodate different social situations – intimate or convivial, family or business – with comfortable armchairs or benches featuring decorated backs or dividers and different configurations of tables. Original decor elements hang from the ceiling, recalling soft and organic shapes such as algae and seashells: an unconventional yet captivating upside-down seabed.
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Spa
Rooms & Suites
In the Temple of Wellness, Chia Laguna’s Natural SPA is a space dedicated to wellbeing that enriches the offer of services available to the Resort’s guests. The gym offering panoramic views is characterised by fresh and natural tones, with state-ofthe-art equipment, as well as spaces for meditation.The rooftop solarium, with infinity swimming pools overlooking the garden and offering a breath-taking view over the entire Resort, has been rendered even more exclusive, with private and intimate lounges created using decorative tree and plants, outdoor furnishings, cabanas and tents.
The rooms and suites of the new Hotel Laguna, designed by Studio Marco Piva, reflect the high-end international standards of the brand and the typically Italian philosophy of warm and welcoming hospitality. The concept was inspired by the choice of furnishings, colours and finishes that offer a direct reference to the authenticity of the territory, with comfortable, high-end Italian furnishings, as well as utmost attention to detail and to the services offered: all this translates into an elegant and fresh atmosphere, typical of the Mediterranean, carefully studied to envelop and astonish guests.
The 34 family rooms, on the other hand, are organised as suites, consisting of a living area, or a second bedroom (all sofas can be transformed into roomy beds), a sleeping area, a spacious bathroom and a dressing room. The design reflects the theme of relaxation, enhancing it with furnishings exclusively selected to ensure family comfort, with a Mediterranean-style “domestic touch” that meets the needs of an international target. The colour palette is warm and welcoming, characterised by light and natural wood essences, marbles with pink and grey shades and traditional Sardinian textures and fabrics. The swimming pool – for exclusive use – offers families a dedicated relaxation experience, isolated from the rest of the Resort, allowing even younger guests the freedom to have fun in total security and privacy.
The organic shape of the pool follows the natural landscape, surrounded by a garden of Mediterranean greenery and sunbathing areas by the pool and with a sea view. For both solutions – one more closely oriented towards an exclusive and unique experience in total privacy, while the other is focused on comfort and relaxation with the family – the rooms have been designed to accommodate a high-end clientele: an international target oriented towards exclusivity, yet closely bound to the local context, taken to a whole new level. Connect Online@ www.studiomarcopiva.com
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Hotel Laguna by Studio Marco Piva
The rooms – 106 in all – are divided into two areas: those directly attached to the Hotel’s services, equipped with exclusive panoramic terraces, and those that were previously part of the “Spazio Oasi”, which is now an exclusive family area that extends towards the upper part of the Resort, with a dedicated swimming pool, private gardens and green paths. The rooms connected directly to the Resort’s services – 72 in all – range in type: immersive spaces characterised by dark wood essences, contrasting marble, textured fabrics, natural stone and artefacts made by local artisans such as knotted carpets featuring typical Sardinian textures.
PINNACLE DESIGNED BY HUANG QUAN Pinnacle is the name of Turri’s new collection entrusted to the award-winning Huang Quan, a leading figure in the Chinese interior design scene. A collection of furnishing accessories that is the perfect synthesis of Eastern philosophy, Western culture and contemporary taste.
Pinnacle Designed by Huang Quan
The name of the collection embodies its own inspiration: to explain the concept of ‘climax, culmination’, idealized in the English word piNNACle, we must refer to the Chinese expression Zheng’rong, which indicates the height, a privileged point of view, a peak. The first image evoked by association is that of the mountains and it is no coincidence that the Zheng Rong principle is the basis of the Shan Shui art movement, a painting style depicting natural landscapes. In fact, Eastern paintings often represent steep and rugged landscapes, which metaphorically evoke a certain moral standing; an approach to life, deeply rooted in Chinese culture, according to which it is necessary to strive for greatness. A relentless commitment and the desire to always broaden one’s horizons raise the human soul to its peak, thus surrounding it with an extraordinary and authoritative aura. However, in eastern art and philosophy, grandeur must always be balanced by grace and simplicity, just as in mountain landscapes the gentler slopes and streams alternate with the highest peaks.
Finally, table, chairs, sideboard and vitrine designed by Huang Quan are also an identity statement. With their sinuous lines, sometimes more rugged, sometimes more slender, these new furnishing accessories reveal something of those who choose them: the expression of a modern and contemporary taste, attention to workmanship and choice of materials, and the desire to embrace that ‘new way of living amidst beauty’ that Turri, with its latest collections, has transformed into a proposal appreciated all over the world.
Pinnacle is therefore a collection full of symbols and meanings, masterfully expressed in every detail. The image of the mountains and nature inspires the shapes, with evident references in the sculptural base of the table or in the slender lines of the vitrine’s legs. Bold, steep, vigorous strokes, soothed by others that are softer and more circular such as in the enveloping back of the chairs or in the curved sides of the sideboard. Even the choice of materials is not accidental: the marble top is a clear reference to the colours of the rocks, while on the one hand the almost austere gray walnut wood and on the other the gentler and softer leather express the balance between grandeur and grace. Furthermore, the careful craftsmanship tells the commitments and ingenuity necessary to achieve an extraordinary result, and so in this sense Pinnacle becomes a synthesis between different cultures: the eastern one, philosophical and conceptual, and that of the Italian design of Turri, guardian of a great manufacturing tradition.
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THE NEW TABLE FROM MILANO COLLECTION SBGA | BLENGINI GHIRARDELLI FOR TURRI
The Milano Collection by SBGA
Milano is a boldly characterized collection designed by SBGA | Blengini Ghirardelli as a tribute to the cosmopolitan city of Milan. Turri presents it’s highly awaited new table to expand the Milano line of furniture which was among the protagonists of this interior lifestyle brand’s renewal in style.
A symbol of conviviality and sharing par excellence, the round top, available in marble or in glossy lacquered wood is supported by an attractive base which is a combined expression of Italian craftsmanship and continuous research in design. It’s base is a chrome metal plate from which a glossy series of lacquered wooden blades’ rise up to the table top, creating a fascinating play of perspective betweenlight, shadow and diagonal cuts.The leather inserts and the metalbase are consistent details among others of the Milano Collection – characterized by the meticulous workmanship of the various materials.
The Milano Collection by SBGA was conceived from the desire to ‘emphasize lightness’ whilst creating ‘structures under tension’. This was achieved by the interaction of metal and the glossy finish of the lacquered wood, creating overall bright and contemporary pieces of furniture. These principles are evident in this new round table where the base structure has been wisely crafted to form sharp shapes yet softened at the edges by leather trims. Intended for the Living Area, the Milano Table is the perfect start and expression of Turri’s new stylistic language.
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RAAS Chhatrasagar by Studio Lotus
Based in Rajasthan, RAAS Chhatrasagar designed by Studio Lotus has won the World Architecture Festival (WAF) Award for the Best Hotel & Leisure Building of 2021. Project Designed By: Studio Lotus’
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RAAS Chhatrasagar by Studio Lotus
Photo Courtesy: Noughts and Crosses LLP
RAAS Chhatrasagar: Turning Heads Globally Design Connect|October-December 2021
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Photo Courtesy: AveshGaur
RAAS Chhatrasagar is a luxury wildlife camping destination perched atop a century-old check dam on the banks of the Chhatrasagar Lake, in Nimaj, in Rajasthan’s Pali district (between the cities of Jaipur and Jodhpur).
RAAS Chhatrasagar by Studio Lotus
Photo Courtesy: Noughts and Crosses LLP
The hotel comprises a restaurant and stilted tentlike pods in a linear configuration along the length of the dam. It provides guests with a year-round opportunity to observe the region’s biodiversity amidst 600 acres of regenerated forest, from the panoramic views of the lake on the east to the serenity of the forest belt on the west.
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Air-conditioning for when the suites need to be closed-off is enabled via floor-mounted units, which also serve as wooden consoles. These were designed in collaboration with the bespoke furniture and millwork studio Mangrove Collective using locally-sourced Acacia (kikar) wood. Artisans hand-carved the motifs of the “ker” berries, which come from the Khejri tree, ubiquitous in the desert. These motifs were first scaled and transferred onto paper and then carved onto wood. The reference to local biodiversity is captured in the restaurant as well, on the hand-chiselled chitar stone panels. The bar counter features elaborate relief work depicting a flock of flamingos; the overall craft-inspired expression celebrates the context and brings the story of the surroundings into the interiors. The site for the project-a remote village teeming with native and migratory birdlife-presented to the architects the unique challenge of being part of a fragile ecosystem.
Therefore, the team at Studio Lotus explored the possibilities offered by modular construction, a unique system in which building components are manufactured in an off-site location (a factory or workshop) and transported to the construction site for assembly. This new way of building presents several advantages over conventional construction, in which buildings are constructed on-site with a continuous supply of raw materials, leading to an enormous amount of wet-work, wastage, and pollution.
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RAAS Chhatrasagar by Studio Lotus
Photo Courtesy: AveshGaur Photo Courtesy: Noughts and Crosses LLP
The project showcases a camp-like design vocabulary that borrows from regional influences and reinterpretation of indigenous craft forms. For instance, the tensile fabric roof for the tented pods stretches over a series of lightweight partitions mounted with boarding and hand-painted fabrics executed in collaboration with printmaker Dhvani Behl’s studio Flora For Fauna. Borrowing from Japanese woodblock printmaking, and uniting it with local motifs, giant woodcuts were hand-printed on pre-stitched fabric lining by the printmaker to depict local babul and neem trees as well as birds such as kingfishers and bee-eaters.
Photo Courtesy: AveshGaur RAAS Chhatrasagar by Studio Lotus
“Building in such areas comes with a huge responsibility, where reckless development over the years has caused unprecedented damage to fragile ecosystems-areas that support local communities and livelihoods and often carry a wealth of sustainable ways of being. At Studio Lotus, we have always focused on minimizing the impact of our building practices on the environment while delivering maximum impact to our clients’ lives and well-being,” says Ambrish Arora, one of the co-founders of the practice and the project’s lead designer.
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The suites are housed inside the stilted tented pods to retain the dam’s structural integrity and enable MEP services to run elevated, allowing rainwater to drain freely into the lake. In a similar vein, the reception-cum-restaurant and bar, Baradari, is a lightweight metal construction with dry infill stone, a contemporary expression of the Rajputana twelve-pillared pavilion. The design intervention assimilates existing water features such as kunds and swales into the site planning to facilitate rainwater collection; all the wastewater is recycled through biodigestors. Connect Online@ www.studiolotus.in
Design Connect|October-December 2021
RAAS Chhatrasagar by Studio Lotus
Photo Courtesy: AveshGaur Photo Courtesy: Noughts and Crosses LLP
Working with a pre-engineered kit-of-parts using low-impact foundations and lightweight superstructures, the architects designed the hotel’s tented pods so that they tread lightly on the ground and merge seamlessly with their environment. Eliminating the need for conventional building systems that inflict irreparable damage to ecologicallysensitive sites, the project also presents a new, sustainable way of building that allows for a clinical construction process with minimal onsite pollution and waste generation.
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Prestige University by Sanjay Puri Architects
THE PRESTIGE UNIVERSITY
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Situated within a 32-acre university campus, the main administration offices, along with an auditorium, seminar halls, library & cafeteria, form the functions of this building.
Project Designed By: Sanjay Puri Architects
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As opposed to creating an imposing edifice, the building gradually steps up from the approach direction belying its 20-metre height. Stepped up from the northern direction, the entire terrace of the 4-level building is accessible to the students & faculty of the university, transferring into an open auditorium amidst the landscape. The multiple functional spaces within are interspersed, with naturally lit landscaped courtyards allowing indirect light to infuse the internal volumes at each level.
Design Connect|October-December 2021
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Prestige University by Sanjay Puri Architects
The north lighting & courtyards are imbibed from traditional Indian architecture, creating an energy-efficient sustainable building with minimal dependence on artificial lighting and air conditioning. This is in response to the climate of the city that varies from 30°C to 40°C for 8 months of the year. Varied sectional volumes punctuated by landscape create different experiences in each part of the building. A continuous diagonal indoor street, in addition to the numerous open courts, facilitate natural ventilation within the internal spaces.
Prestige University by Sanjay Puri Architects
Connect Online@ www.sanjaypuriarchitects. com
Design Connect|October-December 2021
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In Conversation with Astha Bhatnagar
The New Age Indian Yearns for Uniqueness and Exclusivity
A professionally trained art director Astha Bhatnagar initiated ‘Rang Sang’ to create a range of handcrafted and hand painted products.
From an art director to an interior accessories’ designer, how did this transition begin? I wouldn’t call it a transition. Both are two sides of the same coin.
Being an art director was simply a result of me being an artist at heart since childhood. The symbols, logos, motifs, visuals, illustrations used to fascinate me. As a child, I loved painting and sketching and I used to give my own spin and rationale to popular symbols and logos. So being an art director came easy to me, but like I said art when applied commercially becomes defined and also governed by opinions.
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In Conversation with Astha Bhatnagar
Making ad campaigns and brand strategies is really exciting but as a designer creating a practical item, tool or experience is the top priority, meeting the end user’s need before my own ideas and vision is something that needs to be kept in mind, unlike an artist, wherein I had to put myself and my feelings afront.
Astha Bhatnagar
I enjoyed my journey as an art director but it gave me no time to indulge in the sheer pleasure of something that’s handcrafted and hand painted. Now that I have started this journey, the gratification it offers is also a bonus. Earlier I used to see my ad campaigns in print and feel joyous, now I see my hand painted home accessories adorning people’s homes, it makes me proud.
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In Conversation with Astha Bhatnagar
From a well-established agency life which is ideally deemed to be financially rewarding to an accessory designer in the domain of interior design, did you ever feel like you are traversing a road less travelled? I still continue to work for brands and design strategies, but at my own pace and terms. Being an accessory designer is a journey that was not planned or thought about before, but that’s the fun, the journey is immensely satisfying and there’s so much to learn at every step. This may be less rewarding monetarily when compared to the advertising job but rewarding enough to satiate the artistic cravings and creative expressions!
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Using fabric, wood and plaster as the key materials the essence of Vienna coffeehouse was brought to life
I started Rang Sang’, just two months before the lockdown. Honestly, Covid did not really deter the operations, the only challenge was the timely procurement of the materials and shipping of the products, but I managed to paint more than 200 wall plates and other items like coasters and trays and ship them pan India and overseas when things eased up. Painting is a leisure activity and it actually helped not only me but also the people associated with me as they got to utilize the time they had in a constructive and creative way. I trained a few house maids who had no work due to Covid and that way they were able to help me and also earn while sitting at home. The world became one big online community, through the online art workshops which I conducted, I was able to connect with a large audience, train and teach them and also sell my products.
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In Conversation with Astha Bhatnagar
You started Rang Sang’ in a timeline when many businesses were delaying their product launches and services, while many went on a Co-vid induced holiday. How easy or complex was this part of the job?
Some of your product designs reflect an attempt to merge the traditional art forms with a contemporary design sense, was it a conscious effort or did it come to you naturally given your expertise in various artforms?
In Conversation with Astha Bhatnagar
Yes, my designs are an amalgamation of modernity and tradition. It was a natural process as I mentioned that I like to give my own spin and expression to my work. I do not take the authenticity away from the traditional art-form , but improvise on them, so that they can resonate with masses. I love the simplicity and the intricacy of our Indian art forms but being creative I also like to improvise through colors and mediums so that they look unique and exclusive.
In a timeline when modern day interiors vie for accessories which evoke a contemporary design sense what kind of accessories does the new age Indian yearn for? The new age Indian yearns for uniqueness and exclusivity. Statement pieces that shout for attention. Luxury is more a necessity and we see people investing a lot in art. Wall murals, wall art is trending and home accessories and accents are given equal importance as furniture and furnishings. Quirky, classy, stylish and innovative is what people go after these days. Things that are functional and that can be decorated or even gifted. Most of the contemporary homes in India have depictions of Ganesha and Buddha in various styles...these are traditional icons but are improvised and styled by artists as per their expression that appeal to both kinds of connoisseurs.
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What are the products you are offering currently? My product range includes hand painted Wall plates in different sizes, Coasters, Trays, Table and desk decor, Utility boxes, Theme based wall and table accents.
How has been the response to your products so far? The products have been well appreciated, people really like the attention to detail and finishing on my products and the response is fairly good. Although hand painted items are in a constant comparison and competition with ready-made or machine-made products, which sometimes cost less. What kind of strategies are you adapting to market your products?
Moving forward, what are the other products in the pipeline? What kind of products are you planning to design?
I am planning to create hand painted lamp shades. Hand painted jewelry, clutches are on the cards too! I am also planning to create a range of hand painted nesting tables, table tops and mirror frames. Connect Online@ www.therangsang.com
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In Conversation with Astha Bhatnagar
I am currently marketing my product through my website and also through social channels like Facebook and Instagram. I also have my products listed on various online platforms that specialize in this field. Most of my work is also promoted through word of mouth. As things are opening up, I am looking at participating in exhibitions and workshops.
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