DESIGN MATRIX • NOVEMBER-DECEMBER 2011
PEOPLE • LIFESTYLE • DESIGN • INTERIORS
November - December 2011 VOL. 2 • ISSUE 1 • `100
1 st
Hafeez
Contractor
ANNIVERSARY ISSUE
Sanjay
Puri
A Paprika Media presentation
Stalwarts who represent strength of conviction and forbearance A
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N G I S E D M A T R I X
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India ala. Printed at Print House at by Karan M. Jhunjhunw ed ed lish lish Pub Pub and and ia ,Ind ted Owned, Prin p (W ), Mumbai 400 078 ndu ), Bha le(E d, Par Roa r Vile t, ndi rke Ma Pvt. Ltd., 6 Dat ta Building, Agarwal Ma ., 201 Shyam Kamal ‘C’ n hna Kris ita Bab MRJ Creations Pvt. Ltd Editor: Mumbai 400 057, India. 4 DESIGN MATRIX • JULY-AUGUST 2011 ture
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S ’ R O T EDI N O T E
I
t‘s our first birthday and I’m glad to say that from baby steps we have moved on to walking confidently holding your hand. As Design Matrix completes one year, we look back at the tremendous learning curve that has been possible thanks to your encouragement, mentoring and critical appreciation, that has been guiding us with each issue. Right guidance and mentoring is critical and imperative in shaping the outcome of any product, and Design Matrix is no different. To acknowledge this we decided to share with you one of the most successful yet probably the least known mentorpupil relationships – that between architects Hafeez Contractor and Sanjay Puri. As I come to completing a decade and a half in the industry, I look back and reminisce how architecture has become synonymous with Hafeez. Having known Sanjay as a friend during this period of time, understanding and following Hafeez’s professional accomplishments and larger-than-life persona, I was really looking forward to witness their interaction, especially since individually they spoke about each other with such warmth. The chemistry and affection they share is hard to describe in words – and I have to admit it was one of my most memorable mornings. To say that this is the most befitting “Anniversary Gift” won’t be wrong. Each story in this issue reflects something special, diverse and enriching. Whether it is the creative excellence in corporate design, architectural photography, designing books for children, paper art or The Aga Khan Foundation’s relentless pursuit to conserve architectural traditional craft, like their work in Humayun’s Tomb. As we look forward to the various events waiting to unfold in our second year, beginning with the Design Matrix-Ultratech Paints Excellence Awards, our quest to be different and innovative continues. Keep coming back with views while we get ready for the birthday bash. Pictures and reports in the next issue. Till then happy reading and enjoy! Season’s Greetings and a Happy New Year!
Babita Krishnan
Now follow us on www.facebook.com/DesignMatrixMagazine
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Grescasa Ad
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JULY-AUGUST 2011 • DESIGN MATRIX 13
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CON TEN TS Design Matrix_Nov-Dec11.indb 14
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62
42
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20
121
• Cover featuring: Ar. Hafeez Contractor & Ar. Sanjay Puri • Photograph by: Prashant Bhat • Location: ITC Grand Central, Mumbai – a Luxury Collection hotel.
COVER STORY
RESTORATION
SET DESIGN
Unveiling the strong bond and warm vibes between architects Hafeez Contractor & Sanjay Puri Pg 20
The conservation & restoration of The Humayun’s Tomb is resurrecting some fastfading traditional skills while renewing architectural ties between regions Pg 70
The onus of a play’s success rests not only on the theme, acting and direction, but on the stage and ambiance created for it as well Pg 102
LANDSCAPE DESIGN
UNMASKING TALENT
Indoor landscaping can begin small via a salad garden in the confines of your home Pg 64
We visit Karen Bit Vajle’s Psaligraphy – the slow and painstakingly beautiful art of paper-cutting Pg 114
PERSONA DESIGN
PRODUCT LAUNCH
DESIGN PROMO Get your dream kitchen in 48 hours with Sleek Kitchen’s latest offering Pg 40
FUTURISTIC DESIGN Michael Brown of NAU Architects, Zurich perpetrates new design ideas for a globally mobile generation Pg 42
Deft artistic skills complete the daunting task of body sculpting Pg 80
All the news from the market this festive season Pg 121
LEGENDS Ar. Masud Taj relives his meeting with the legendary Ar. Hasan Fathy Pg 50
CORPORATE DESIGN Ar. Ninad Tipnis of JTCPL Designs on how to be dynamic & creative when designing for the corporate world. Pg 54
ARTY-TECHTURE
PHOTO FEATURE When not on the drawing board, Mujib Ahmed & Lalita Thadani of Collaborative Architects, follow a different creative pursuit Pg 88
MUSINGS We discover that creating books for children is no child’s play Pg 98
Origami throws up endless possibilities that can augment the practical world of design Pg 62 NOVEMBER-DECEMBER 2011 • DESIGN MATRIX 15
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M A T R I X
2011 September - October VOL. 1 • ISSUE 6 • `80
NTERIORS LE • DESIGN • I PEOPLE • LIFESTY
Reboni Saha „Sometimes a casual discussion could lead to brilliant designs‰
Dean DÊcruz „At Design Valley, we aim to create an alliance of creative minds for functional solutions‰
A
presentation
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Each issue, you have the chance to win a special gift courtesy
We would love to have your views, comments and/or suggestions on what you would like to see or read in our pages. Please email to: babitakrishnan@designmatrix.co or write to Design Matrix, MRJ Creations Pvt. Ltd., C-201 Shyam Kamal Agarwal Market, Vile Parle (E), Mumbai-400 057 or Call on 022-26187132.
16 DESIGN MATRIX • NOVEMBER-DECEMBER 2011
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INBOX
I loved the latest issue of Design Matrix very
Really loved the cover and the cover story, it
much and was really impressed by the team
came across as a very happy issue. What really
spirit and chemistry between Dean d’Cruz
caught my attention was the way you create
and Reboni Saha...when awesome people get
drama around a story visually, forcing the reader
together fantastic designs happen. I want to
to acknowledge each page and read it – espe-
wish the duo all the very best. I also liked the
cially the Tree House and Nils Ferber stories. The
feature Concrete Ideas, Green Design. As always,
magazine is truly a celebration of design.
the content is so well put together that it
Chanda Kalra,
keeps the reader engrossed. This is one design
Designer, New Delhi
magazine that impresses me with each issue and I’m happy to see it on my table. Way to go
I bought a copy of the magazine at the airport
Design Matrix team!
along with a few others on my way back from Bhavya Kenkare
Bangalore. Not only did I end up reading the
Architect, Mumbai
entire issue in one stretch, I even read a few
articles twice. The freshness of the magazine Shakespeare once said, “What’s in the name!”
is still intact as I don’t mind browsing through
I feel it is a paradox. Design Matrix – a perfect
it now and then a month after I had bought
name clearly redefining the magazine about
it. Hope you make it available in Dubai as well
– people, lifestyle, design and interiors. The
or else I have to wait for my next visit to India.
magazine is crisply combined with a perfect
Roshan Khatri,
flavour in each segment. It’s like a journey
Entrepreneur, Dubai
which every design lover would enjoy. I really liked the magazine. A special note that the
I was really happy to see a product designer on
photographs, paper quality, cover page and
the cover of the last issue. So many designers
not to forget the informative glossary and
in different fields go unrecognized, even if they
events are simply great. Eagerly awaiting the
are commercially successful, simply because
next issue. All the best!
they get no media attention. There is so much Ujwala Kumthekar,
more in the design world for you to explore.
Interior Designer, Mumbai
Wishing you the very best in your endeavours and looking forward to more diverse stories.
I think Design Matrix has beaten all national
Ramneek Singh Panesar,
magazines with its standard of content, pre-
Designer, Ludhiana
sentation and printing. Right from the way you design the covers and your uniqueness
I am avid fashion junkie and your story on eye-
in portraying the personalities, it makes for
wear trends really had me at hello. Kudos to
a wonderful read. All the best for the future
the Design Matrix for paying tribute to design
as well.
across genres. Rupana Reddy Nellari,
Abner Malik,
Designer, Hyderabad
Student, New Delhi
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Cover story
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KARMIC CHAKRAS Words: Savitha Hira; Images: Prashant Bhat; Location: courtesy ITC Grand Central, Mumbai
That they are institutions in themselves is well known to those even remotely connected to the cityscape of India, but that architects Hafeez Contractor and Sanjay Puri share an unusually warm vibe is a little known fact. NOVEMBER-DECEMBER 2011 • DESIGN MATRIX 21
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A
n aspiration impelled by self-initiative brings a classic example to mind: that of the legendary mythological Ekalavya, whose consummate skill was abruptly put
to shame through a disparaging guru-dakshina! Yet here was the perfect example of the guru-shishya parampara that is till date, well ingrained in the contemporary fabric, but so subtle that escapes the eye. Applying the tenet to architecture brings to mind two very analogous entities – architects Hafeez Contractor & Sanjay Puri. While Hafeez started absolutely raw with Ar. Khareghat, who initiated the young lad, uncertain of his career, into the dynamic field of architecture; Sanjay, too, began equally raw with Hafeez, but with a premeditated intent to be an architect. Both pledge their knowledge base to their respective gurus. “A lot that I know today, I have learnt from him” each of them recalls; both have tread a trailblazing path in the Indian architectural scenario; both are dynamic yet humble… amidst a host of so many other factors. “I saw the dynamic streak in Sanjay from early on,” says Hafeez, “He had his originality and would very carefully make a suggestion, ‘can we do it this way or that?’ and yes he was good with his work and I readily encouraged him. He was also very well-behaved; quiet…I don’t think I ever shouted at him.” “I remember after finishing my exams and having done with studies; when I went into the office, Hafeez immediately announced, “Arre, Sanjay is now an Associate,” recalls Sanjay, beaming even today at the memory. The pride in his eyes of having accomplished his dream is still alive and burning, as is the reverence for his mentor. Between the two stalwarts, we discover the strength of conviction and forbearance as it bears the fruit of success, journeying through the milestones and the milieu … Savitha Hira: You worked thirteen years with Mr Khareghat.
What was the most important lesson you learnt from him? Hafeez Contractor: He is the one who introduced me to architecture. I was going to become an army officer; he told me to drop everything and join architecture. Everything I am today is thanks to Khareghat. In fact, I had no place to stay in Bombay, so he let me stay in his house, I used to eat with him and learn little things from him every day - how to curtail costs, how to be simple in life and about spirituality… I even learnt to speak in English from him! I feel whatever I am today, after my mother, he comes a close second. SH: And Sanjay, you worked with Hafeez for nine-and-a-half years. What about you? Sanjay Puri: Learnt a lot… but the most important thing I learnt was ‘closure’; to finish a thing immediately; not to keep anything pending, so one saves a lot of time going back and forth between projects. He also taught me how to close a deal; no ‘I’ll revert to you’ or ‘let me think about this’. It was always complete focus on the project at hand – that means all the why’s, what’s, 22 DESIGN MATRIX • NOVEMBER-DECEMBER 2011
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‘‘The most important thing I learnt from Hafeez was ‘closure’; to finish a thing immediately; not to keep anything pending, so one saves a lot of time going back and forth between projects.’’
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how’s, when’s – at a given time and a closure of design and deal. This is part of the reason that you can do more work. SH: Did you see any qualities in Sanjay that were a reflection of yourself? HC: From early on, he was very polite, well behaved, and hardworking. Very good at his design and a good contributor. Very promising. I was also like that – very creatively inclined and I never bothered about the money; but I do hope you are taking care of these things and not making the same mistake I did – of realizing the value for money a little late in life. (Laughs) SH: How do you find the time to do everything? How much of design do you work on yourself? HC: Sometimes it is 70 per cent, sometimes 60 or 45 per cent, but my percentage is always there. SP: Of course, I don’t do the working drawings myself. But I devote my mornings to designing. SH: What are your other interests? HC: Work is my interest. From childhood, I have been designing things. It was my pastime – it became my profession. I read, listen to music, I used to do a lot of photography, but I think all of that is part and parcel of architecture. For me, the best thing to do is devote a lot of time to work. SP: Nothing comes a close second… SH: Apart from work? SP: It isn’t work, it’s my passion. There is no work happening. SH: Alright, apart from designing, what else do you do? SP: When I was working with him (Hafeez), he once asked me what I did on Sundays; and I said watch movies … and he had said, “Forget all that; go and look at the construction sites around your residence… Observe, ask questions and if you don’t understand anything, come and ask me. In those days, I knew almost everything about every construction site in South Mumbai! That grew into an interest and now I love seeing interesting buildings, places… SH: What about your painting? SP: Painting doesn’t give me that kind of satisfaction anymore. It, after all, is just a picture within a boundary that may elicit a ‘wow’ but doesn’t do anything to your behaviour, or senses… architecture does that; goes way beyond; because you’re creating spaces that are exciting, where somebody is interacting with so many aspects of what you’ve created. I’ve painted a lot; sketched a lot. But it doesn’t give you the high that designing does. It’s a totally different high putting everything together to arrive at a final structure; yet another high watching it being executed; seeing it complete is again a high…
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SH: And getting the award is… SP: Yet another high! (Smiles)
SP: What I need to better is my team where the overall output is better in terms of quality. When I was working with him, I was in the know of all the projects irrespective of what was given to me.
SH: What do you feel about the way Sanjay designs? Especially his award-winning spree of late? HC: He is doing good work. Regarding awards, I would say no award comes for a single design. It is a cumulative effort of many
This kind of enthusiasm and wanting to be aware of everything that is happening around you is grossly missing in the present times and I need to motivate my team towards this. You know you are here for the journey…so then learn.
things that have gone into making that design. Many factors contribute and then the project is worthy of the award.
SH: What would you say are your strengths and weaknesses as you see them?
SH: You must be facing criticism too. How do you take that?
HC: My strength is that I have concentrated on only one subject
HC: If I am honest about my work and I believe in it, then let the
– that is architecture. On the other hand, it is also my weakness. It is
criticism come. Many times, people are not capable enough and
taking up a lot of my time.
so criticize when someone else does it. When somebody can cook
SP: Strength is the ability to design fast in a contextual way and
one cuisine and not another, he says that he does not like it. Maybe
evolve; and weakness is that I haven’t got down to motivating my
he has not learnt how to do that. As architects, we are in a service-
office enough. I keep doing it on a one-to-one basis but to collec-
oriented field. One does not have to impose oneself on others. One
tively be able to gear them up… (shrugs)
has to serve the others. That is the basic difference between me and other architects. Other architects say that they are great and they show to the world what they want. I don’t think like that. I think that on certain areas like corporate jobs, we can put our foot forward and provide a design as per our sensibilities, but for housing, you have to do what the people are happy with.
SH: Any particular attribute you would say is your key to success? HC: There is no substitute for hard work; even brilliance will not pay by itself. SP: Luck to a certain extent… Ideas have always been there.
SP: Criticism is good. It is welcome. Most of the time you are
There are so many projects that I have conceived and designed for
own critic; it comes from within. So either you are changing things,
years and some projects that were designed long back got built
evolving or starting from scratch again… And whatever somebody
many years later due to various reasons; now those very projects
tells you stays within. You may say it doesn’t affect you, but it is
are being appreciated.
there… SH: Was there any project where the two of you have been SH: Anything specific to better yourself? HC: We learn from somebody else. We innovate. Demand and supply are the most important things. That is what keeps you going.
pitted together, against each other? HC: (Thinks) Not that I can remember… SP: Not just the two of us but the two of us amidst 4-5 others…
The demand is always right and what the market says is the most important thing. That’s it. So, if you are not sensitive to the market,
SH: So who took the project, you or he?
and you don’t listen to your clients, then you won’t be in the market.
SP: Feroz Kudienwala took it! (They laugh)
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“As architects, we are in a service-oriented field. One does not have to impose oneself on others. One has to serve the others” SH: What is next? HC: I want to work towards affordable housing for every Mumbaikar. The problem is that our politicians are not architects and …. SP: I want to do more, much more… mega projects...ground-breaking ones. Ask them about similar ‘disciples’ that they may have come across and the answer is a sombre ‘not really’. Times have changed, consequently so have circumstantial solutions. Yet, the inherent character traits of an individual do not change; they adapt. As Hafeez puts it, Kharegat did not instruct him to imbibe the way he did; and nor did he do that with Sanjay. It is up to an individual to respond to the wealth in front of him; how much and what parts of it he can hold, and how much he can let slip through. Like a sponge, soaking in as much as possible, but squeezing out in proportion to the pressure applied. Both are believers of destiny - the ultimate force to reckon with… the rest as we see here, is history-in-themaking
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Sanjay publicly thanked Hafeez for all that he had learnt fom him when they were both voted among the ‘Top 10 Architects of India’. Hafeez responded, “I wish someday someone who has learned with you says the same to you, then you will experience what I am experiencing now.”
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HAFEEZ CONTRACTOR
T
here is so much to do, says Hafeez, talking about his work, that he feels is no work at all, but a way of life. “One doesn’t have to feel that one is successful and one has to keep on
working. The day you feel that you are successful is the day of your downfall,” he emphasizes. Amidst handling vast projects that run into several thousand square feet, and necessitate multi-design options, the project closest to his heart is that of his social responsibility. That every Mumbaikar should have a home has been his long awaited dream. “I am no Archarya Vinobha Bhave or Anna Hazare that I will fast and lead marches; I am an ordinary man and believe in a balanced diet,” he explains. So despite globetrotting with projects, he poignantly questions the sorry state of housing in the country, “With the current rate of inflation, how are our people going to find housing for themselves?” With a categorical mathematical calculation, he goes on to explain a bleak housing future and expresses his desire to make a difference by positively influencing the policy makers. “Every Mumbaikar should be able to have his own house at an affordable price,” he muses. Influencing the architectural fabric of the country is a given with Ar. Hafeez Contractor. His name is synonymous with Mumbai’s Hiranandani township at Powai, Delhi’s DLF corporate park among others, which are distinctive landmarks and bear his indelible stamp. His has been a path-breaking journey, where he has become the ‘architect of the masses’ lending a sympathetic ear to builders’ woes whilst chiselling his design responses in tandem with peoples’ preferences. His designs and approach have evoked admiration and applause; likewise, blasphemous comments and controversies. His repertoire has changed with the times and Hafeez Contractor Associates has moved on to respond to the current rise of organic forms that conform to global iconic architecture. Dynamic as a livewire, one spots the genius behind the staid impresario as he commands a coterie of young architects and clients, effortlessly switching from project to project, answering queries while redrafting layouts; simultaneously, politely promising to call back in a brief telecon and yelling for his tea… all in the same breath. But that is the way it has always been with Hafeez. While his four-member office grew from a few hundred square feet to a massive multi-level buzz of design activity, his white-shirt demeanour has grown in the stature of his command of the subject and the business. Not every architect is a businessman but like M F Husain in the field of fine art, Hafeez has shown a marked affinity for the moolah, albeit a trifle late in his career. He recalls a conversation he once overheard between his clients, who seemed to think that he was a fool just because he craved creative satisfaction; that was a changing point in his career. Hafeez then began to comprehend that no matter what lay underneath, the facia had to glitter – that moolah when translated, meant success
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SANJAY PURI
T
hat lessons began in the cradle, so to speak, for him, is an understatement. Whilst Sanjay was just out of 12th grade, his fascination with being an architect led him to perform just
about any job that was given to him at Hafeez’s office. In fact, as the junior-most staffer, Sanjay was initially given all the ‘tedious’ work of correcting layouts, etc., which he would accomplish by working extra-hours into the night so that he was ready for a new assignment the next morning. Such enthusiasm, he reminisces, is grossly missing in the present day. Watching and working with Hafeez was a complete eye-opener, he recalls. From day one when he was asked to read W B Mackay’s construction book and within five minutes of opening and glancing at it, he was learning to trace a drawing, assimilating simple tenets of sticking paper to drawing board and drawing lines. Then came the site visits, and loads of observation that was directed by Hafeez and religiously followed by Sanjay. “It was one experience after another,” Sanjay recalls, “Hafeez taught me everything. The way a lot of architects could not have got it after getting qualified also.” Sanjay was a fast learner and Hafeez recognized the genius in the boy and encouraged him selflessly; instilling in him a strong quotient of self-confidence. A confidence that has precariously bordered on thinking futuristically and staying grounded, all at once. The spate of recognition in terms of 54 national and 16 international awards has brought Sanjay closer to global influences in a manner of actually experiencing different places, trajectories and environments. The young architect is naturally on a high and raring to accomplish many more out-of-box projects that will pit his wit and his design sense against the given programmes, taking the man to newer levels of design evolution. His fluid forms, almost sculptural of late, where the emphasis is always dictated by function, when examined under the fantastic visual overtures, are carefully meditated programmes in design and aesthetic sensibilities. Here is an architect who is waiting to push the envelope, evolving one winning schematic after another
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40 DESIGN MATRIX • NOVEMBER-DECEMBER 2011
Design Matrix_Nov-Dec11.indb 40
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NOVEMBER-DECEMBER 2011 • DESIGN MATRIX 41
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Futuristic ideas
LEAP
FORWARD Words: Savitha Hira; Images: courtesy NAU
In a globally mobile generation, one arm of design appropriates some serious contemplation into creations that express not only mobility, but new ideas of ownership/sharing and impermanent living. 42 DESIGN MATRIX • NOVEMBER-DECEMBER 2011
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THE LIVING ROOF is conceived as individual suites of an urban rooftop hospitality getaway – airlifted into most sought-after locations, condensing daily needs into a compact and self-sustaining capsule. The ultra-insulated shell and regenerative systems are equipped with a functional ring that vertically combines sleep, lounge and work areas, and rotates the desired module downwards, into operation. Integrated photovoltaic cells make it one of the world’s greenest structures.
Design Matrix_Nov-Dec11.indb 44
10/31/2011 4:49:20 PM
ECCO: Automobiles are as much about freedom as passion reinstates Ecco, compact, stylish and aerodynamic; associated with luxury, performance and safety. Riding closer to the ground, this designclassic camper is an all-electric vehicle with no emissions of its own; it can be quickly charged at a standard 240V station or its built-in photovoltaic panels and solar sail roof can charge directly from the sun. The exterior is a harmonious blend of precision aluminium and glass; its direct and sculptural form provides a vastly improved interior volume, wonderful sight-lines for passengers, and less wind resistance.
I
ized that architecture had little to do with
to seek out new, extreme experiences
in our dreams. Instead, it should transport
Aspria Hotel, a refurbished industrial build-
and not be tethered to the things that they
people to different corners of the world,
ing in Berlin. Three floors of an innovative
own,” muses Michael Brown, partner NAU,
with gourmet food, beauty treatments,
series of calming, highly modern spaces
a multidisciplinary collective of designers
climbing walls, and bungee jumping along
that blend harmonious lines, soft colours
in Zurich. NAU’s design interests embody
the way; it needed to have that level of vital-
and modern materials, the hotel has guests
the full range of diverse projects, where
ity, and that’s how we eventually came to
enter their room to view a panoramic win-
built architecture and interior projects
the solution of a lifestyle zeppelin.” And so
dow and a tailor-made pedestal bed float-
coexist with fully-digital designs for films
were born ideas like the Immersive Cocoon,
ing in the middle of the space. The bed
and commercials. With an eye on a future
which was conceptualized when CNN asked
unit conceals the wardrobe and minibar,
perceived as mobile, lightweight, and self-
Michael to contribute to their “Just Imagine”
and integrates reading lights and storage
sustaining, they have perpetuated a service
series with an idea on what the future of
niches. Nearly 3.5m overhead, the original
simply called ‘Future Design Series’ (FDS).
video games would look like. Designs like
ribbed concrete structure is visible, with a
Started almost accidentally with the first
the Ecco and Living Roof lie in this grey area
portion of the ceiling sloping down to pres-
project, which became the Stratocruiser, for
between product, architecture, and vehicle
ent a flat-screen television to guests in bed.
a book on ‘dream’ architecture, the series
design, and were born primarily because
View angles are calibrated to allow them
now has 5-6 concepts in the offing, ready
NAU had stories to tell about how people
to watch a film while sitting or lying flat in
for take-off.
could live in the future, and so on…
bed, while gazing out along the tree tops.
think many people are looking for ways to
sharper tool in their design thinking, NAU
increase their flexibility to see the world,
bricks and buildings that just sit around
has even perpetrated one of the ideas – The
Michael explains, “The series came
With research being an integral compo-
Carefully selected furnishings from Vitra
about when, once deliberating, we real-
nent of their regular practice and an even
appoint the room, and a custom-built desk
NOVEMBER-DECEMBER 2011 • DESIGN MATRIX 45
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IMMERSIVE COCOON : What began
along the window leans downward to form
intended to be completely assembled in
as a vision for the “future of gaming,”
a window seat.
factories before delivery to the consumer.
grew into a virtual world, where we
The premise of FDS is to imagine how
This ensures that size and weight are kept
physically communicate with digital, or
life might develop 10 years from now. So
at a minimum to allow transportation in
virtual space. This seemed to open up
most of the products are not invented
one piece.
possibilities that were not only for video
out of thin air, but are grounded in exist-
Elaborating on these defining factors
games, but a whole range of activities.
ing technologies that are combined in
of portability, modularity and a high coef-
This 4m sphere provides the gateway to
new ways. Intended on the one hand as a
ficient of aesthetics, Michael says, “I think
these worlds with a 360° interior dome-
provocation to a like-minded investor who
that society and our ideas of wealth and
display and sophisticated motion-sens-
may want to make them a reality, FDS also
accumulation are starting to shift. We are
ing software. Suddenly ‘virtual’ space
serves as a vessel to capture ideas that can
moving away from a model of “ownership”
surrounds the user in built form; naviga-
later inform some viable projects. With this
towards one of “access.” Wealth and status
tion is accomplished using simple hand
vision of a future, where luxury is intimately
will always involve some level of accumu-
gestures and intuitive body movements.
intertwined with ecology, NAU proposes
lation of exclusive goods; but for most of
The applications are nearly endless.
that the concepts make heavy use of car-
us, experiences matter more than objects.
bon fibre from the automotive industry for
We don’t need to go out and buy DVDs; we
the exterior, and fibre glass panelling and
can stream them when we want to from
leather for the interiors, keeping the materi-
Netflix.”
als lightweight to enable the structures to
And what is the response to this aspect
be air-lifted. Also, most of the designs are
of futuristic vision that the collaborative
46 DESIGN MATRIX • NOVEMBER-DECEMBER 2011
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STRATOCRUISER: The modern world and transportation in particular, is getting faster and cheaper, but more stressful in the process. Contracted as a study for future travel, the Stratocruiser proposes mini-cruises – with gourmet dinners, spa treatments et al whilst overlooking glaciers, tropical jungles or Mayan ruins. With its carbon-fibre skin, sectional helium chamber design and photovoltaic cells, the Stratocruiser’s construction brings new levels of safety, speed and ecology to travel. Its “doughnut hole” atrium reinvents the zeppelin concept with a sky lounge on top, the earthward viewing restaurant on the underside and a recreational climbing wall in between.
48 DESIGN MATRIX • NOVEMBER-DECEMBER 2011
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DOUBLE HORIZON CINEMA: Recalling the Bohemian cinemas of the 1920s, Double
speaks of? “Well,” laughs Michael, “We’ve
Horizon Cinema combines Kubrick’s futuristic vision with a rich décor. With cutting-edge
had a rather wide range of responses. Per-
technology and deluxe comfort, it creates a new mélange of bar, restaurant and the-
haps the most extreme example is the
atre. Conceived as a transportable structure, the core services are located in a modular
Immersive Cocoon. We were contacted by
podium. The spectacular roof and auditorium are made of a dual-layer pneumatic skin
real estate barons, who wanted to be able to
reinforced with light steel structure. Hosting film premieres and special screenings, the
walk their clients virtually through a proper-
cinema can be erected quickly by crane on urban rooftops or tranquil natural settings.
ty half a world away. Educators were looking to use a simplified version of the Cocoon as an interactive learning device. They were
ABOUT THE FIRM:
attracted to the idea of being able to take
NAU is an international, multidisciplinary design firm, spanning the spectrum from archi-
their classes through a virtual field trip
tecture and interior design to exhibitions and interactive interfaces with offices in Zurich,
through a recreated Pompeii, for example.
Berlin, and Los Angeles. As futurists creating both visual design and constructed projects,
At the other end of the spectrum, we were
NAU melds the precision of experienced builders with the imagination and attention-to-
contacted by the military, who I’m guess-
detail required to create innovative exhibits, public events and architecture. Distilled in
ing wanted to use the Cocoon as a training
clear, contemporary forms, the designs of NAU promote modern, flexible solutions that
device for their troops. The possibilities are
engage and welcome.
sometimes frighteningly broad” NOVEMBER-DECEMBER 2011 • DESIGN MATRIX 49
03_Futuristic Design_ NAUCOOP.indd 49
10/31/2011 6:05:40 PM
Legends
Noted poet, academician and architect H. Masud Taj reminisces the time spent with Hassan Fathy (1900–1989), the noted Egyptian architect who pioneered appropriate technology for building in Egypt, especially by working to re-establish the use of mud brick (or adobe) and traditional as opposed to western building designs and lay-outs. Fathy was recognized with the Aga Khan Award for Architecture Chairman’s Award in 1980.
THE VISIONARY
Words: H. Masud Taj THE CORD
on my schedule, I decided on impulse to
A flight of wide stone steps. Through the
visit it. I pull the cord again. Perhaps he isn’t
ages its centre has flattened into a ramp. By
at home but I decide to linger awhile. There is
the side, an ancient structure, the colour of
a serenity about this courtyard which I want
sand, and ahead in the hazy heights, the cita-
to soak in before facing the Cairo outside —
del touching the sky. Turning left into a short
chaotic, dusty, exuberant, abounding with
lane, dusty and unpaved — urchins playing
life and people. I pick up a piece of paper and
about in the nine o’clock heat. A little further,
address it to Fathy. I am a student in search of
a massive wooden door. There is no knocker
Architecture, I’m here for two days and will be
or bell so I push and it opens rather smoothly.
leaving tomorrow evening... I am engrossed in
It is dark and cool. My eyes adjust; I am in a
writing and look up to find him next to me. I
courtyard a Thousand and One Arabian Nights
greet him in Arabic and spontaneously hand
in its details. I call out the name of Hassan
over the note. He smiles. Although nearing
Fathy; no one answers. There is an earthen
eighty there is a childlike innocence about
pot in the centre and a low arch opposite.
him. Immaculately dressed in earthy browns,
Through it I emerge into another courtyard,
it is his eyes that impress — dreamy and very
cooler and less dark. By a stairway sways a slim
expressive. I was wrong about leaving the
white cord. I pull. Somewhere above a tinkling
next evening, I stayed for a month.
sound.
Design Matrix_Nov-Dec11.indb 50
Bells, I had heard them all through my
THE MUSICALITY
travels. In the remote islands of Yugoslavia at
The Garden City is a modern zone in
the stroke of every hour; the electrically-con-
Cairo. On the map it appears like a tangled
trolled bells in Ronchamp, France; low octave
mass of rope that some town-planner forgot
ones round the neck of Swiss cows, and the
to pick up. Once inside you lose all sense of
usually out-of-tune Big Ben. I pull again, and
direction, Fathy and I are heading for the Arab
again the delicious sound.
League’s Headquarters. What a mess, he tells
Yesterday I was in Athens, in the library
me. These streets, like the car, are ambigu-
of Doxiadis leafing through magazines and
ous — you can hardly tell the front from the
papers. I came across an article on bricks. It
rear For town-planning, look at the trees. See
was simple and refreshing. The author was
how the main trunk flows into branches twigs
Hassan Fathy. I got his address from the librar-
stems and veins of the leaf — there is hierar-
ian, it was in Cairo. Although Egypt was not
chy and you know where you are. He pauses.
10/31/2011 4:52:13 PM
Academic training is nonsense, schools turn
we would be strolling through breezy lanes
from a particular standpoint and in doing so
out student machines with no imagination.
and trees instead of being confined in a
imposes its own order. Things appear big or
It took me ten years to purge myself of it, he
machine for three hours.
small, important or trivial depending on the
says. Again the leaf, before it joins the twig
The house, like all Fathy’s houses, is
relative position of the viewer. It is subjective.
there is the stem — the stem is the transition;
remarkably cool. The mud-brick dome is
The miniature painting on the other hand is
like the musician who moves from the mode
pierced with round holes that have coloured
‘realist’ in the sense that it strives to capture
to the melody — there is a system of connec-
glass panes. When I climb to the top of the
the essence of things and not merely their
tion. In fact I’m trying to introduce musicality
dome, I find them to be merely coloured glass
appearances.
in the teaching of town-planning in schools. A
bowls that were fixed inverted, covering the
A week later Fathy gives me the keys to his
music composition has more to do with mel-
holes. I had seen them being sold in plenty
house in Gourna, where I stay for some time
odies than with scales; likewise, architecture is
by the street side, in Cairo’s crowded bazaars.
before moving in deeper into the Valley of the
more to do with space than with shape — it is
From dusty pavements to the top of the
Dead. There I come across the ramped Tem-
the space between the walls and not the walls
dome — such transformations are character-
ple of Deir D Bahri with a backdrop of a sheer
themselves.
istic of Fathy’s style. The interior of the house
rise of limestone mountains and the intense
Music is important to Fathy; someone
is bare. Fathy is asking the caretaker what has
blue sky above. In its colonnade I notice a
told me that he is an able violinist. In the first
happened to all the curtains, tapestries and
bas-relief. It shows Queen Hatsheput’s ship as
few days he said he had difficulty getting
carpets. The man gives evasive answers — it
viewed from the side with a row of oarsmen
accustomed to the musicality of my voice — I
is clear that he is behind it all, but Fathy does
dipping their oars in the water which with its
suppose he meant my accent. One night, after
not accuse, only his eyes show his surprise. He
variety of fish swimming in it all shown as if
dinner Fathy put a Brahms on the stereo. The
is hurt. And so it has been throughout his life.
viewed from above. Both viewpoints in the
western classical was not out of place in the
If it is not the officialdom, it is the petty thief.
same continuous scene...
Arab setting. He then sat down and contin-
When we leave, Fathy asks me what I think of
ued to work on a township he was planning
the house. I tell him also saying that it needed
around the oasis of El Kharga. He worked late
looking after. And yet noble, he adds. When
It is one of my last meetings with Fathy,
into the night. I watched. I began to under-
we reach the road, a short distance away, I
and he is rather silent the sun begins to set.
stand through his drawing what I had been
can no longer see the house. It is hidden by
Come, he says, I shall show you my piece
unable to grasp in his words.
a dune.
of sky. The sight from his terrace is stun-
THE TWILIGHT
ning. The house is at a height and we stand THE GLASS BOWL
THE NICHE
level with the top of the gigantic ancient
We speed towards the ancient city of
Fathy’s diet is ascetic but he dines like a
mosques. The sun’s rays are bursting from
Alexandria In a black six-seater, Fathy has
king. The cutlery is a good example of Turkish
behind a minaret. The Earth must meet the
designed a house there, which I think he par-
silver craftsmanship. The translucent dishes
Sky, he says, the body with the soul. Look at
ticularly likes. Perhaps that is why he wants
and bowls, I think, are Alexandrian. Chicken
the castings running upon the length of the
me to see it. We pass a factory, a concrete box
broth with bread-sticks, followed by sweet-
wall. The shape of their Earth-mass is a rep-
squatting uneasily in the desert sand. Fathy
ened guavas and a red sherbet from Sudan
lica of the shape of the sky-void between
looks away — he does not like what he sees,
made of dried petals. We eat in silence, his cat
them. The shape itself is that of a trl-foll lily
and I understand. There were certain areas,
Mish-mish at our feet. In the wall behind him
(‘brides of the sky’ the Arabs call them). With
however, where I tended to disagree with his
is a niche with a lamp. The niche is covered by
the cresting, the contact is made on an indi-
viewpoint. To give an instance, there are many
a hinged traditional wooden screen (mushra-
vidual level, with the minaret, it is on a com-
structures in the West which I have seen and
beya) which diffuses the light. When he needs
munity level. The sky was now a spreading
for which I have regard. I like Corbusier’s Ron-
more light he simply opens the screen. Next
red, the silhouette of the mosques and
champ Chapel very much and he does not.
to it is one of Fathy’s miniature paintings. My
minarets stood defined dark and powerful.
Fathy also feels strongly about the car. The
eyes are on it while I eat. I find it puzzling. It
See how the minaret accelerates your vision
man behind the wheel, he says, is reduced to
shows a dome and vaulted building as seen
upwards. It is divided into sections that
a mechanist being. But, I interrupted, were it
from the front, and yet the courtyard of the
rhythmically shorten the higher you go, like
not for the car it would have been impossible
same building is as if viewed from the top.
an accelerando, in music. And the sections
for us to go all the way to Alexandria to see a
Both viewpoints in the same scene. Is that
keep getting narrower and their shapes
house you’ve designed, and return the same
building in plan or elevation, I ask Fathy. He
also change — from square to octagonal to
day. Not so, he smiles. In that case, the house
does not like my question. That is irrelevant, he
cylindrical, adding to the acceleration. Fathy
would never have been that far, it would be
says. Through subsequent discussions I began
talked on till twilight merged into darkness
within a radius of half a day’s walk and then
to understand. A perspective views the world
and the stars gathered their intensity
NOVEMBER-DECEMBER 2011 • DESIGN MATRIX 51
Design Matrix_Nov-Dec11.indb 51
10/31/2011 4:52:25 PM
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Sanitation: 2320082; HARYANA: Gurgaon :- Aggarwal Paints & Hardware: 01244146332; Chawla Sanitation & Hardware: 0124-2330379; Bath and Light, DLF City Court: 0124-4307844; Kurukshetra:- Bathwell: 9896455582; KERALA: Aleppy:- SISCO, Kayamkulam: 0479-2445002; Madhuranshardwares Paints, Cherthala: 0478 -2820261; Royal Sanitary House, Aleppy: 0477-2264147; Somanadan Nair & Brothers, Harippad: 0479-2412215; Calicut:- Bright Electricals, Balussery: 0496-264489; Inter Dec, Vadakara: 0495 2526088: Kairali Traders, Mukkam: 0495 2295430; Mansoor Tile Centre, Nadapuram: 0496-2556212; Poonoor Traders, Poonoor: 0494-2222060; Power Traders, Kuttiyadi: 0496-2599739; Thomarakattil Tiles Gallary, Thiruvambady: 0495 2252128; Eranakulam:- Balak Traders, North Paravoor: 0484-2442129; Bissco Tiles & Sanitaries, Athani: 0484-2474099; Fancy Granite & Ceramics, Mulanthuruthi: 0484-3255068; Gem Light, Kalamasserry: 0484 3128088; Kay Bee Agencies, Vennala: 0484 2807236; K M Marketing, Aluva: 0484-2620828; Matha Agencies, Muvattupuzha: 0485-2831849; Matha Enterprises, Kothamangalam: 0485-2862605; Orient Corporation, Palarivattom: 0484 2341674; Thadikulangara Agencies, Perumbavoor: 0484-2525934; Idukki:Mundamattom Traders, Kumaly: 0486-9222557; Mareena Enterprices, Thodupuzha: 0486-2222451; Kannur:- AV Electricals, Panoor: 9846701240; Classic Tiles, Pallikkunnu: 0497-2747227; Kattumadam Hardwares, Peravoor: 0490-2444909; Kattumadam Tiles & Sanitary, Kuthuparambu: 0490-2380293; Masco Tile Park, Thaliparambu: 0460-2203203; M K Associates, Iritty: 0490-2494799; Nel-Tech, Thalassery: 9995529445; Pipe Land, Thalassery: 0490-2321093; Power N Shower, Kannur: 0497-2769166; Tile Zone, Payyannur: 0498-5229799; Zonic, Thalassery: 0490-2344402; Kasargod:- Euro India Sales Corporation, Kanhangad: 0467-2217477; Krishna Trading Company, Kasargod: 04994-230535; Mihraj Electricals, Nileashwaram: 0467-2282648; Kollam:- Nas Trading Company, Karunagapally: 0476 2625595; Karthika Agency, Pathanapuram: 0475-2352772; Thottukadavil Traders, Punalur: 0475-3264358; Kottayam:- Philips Electricals, Kaduthuruthy: 04829-283603; Mahe:- Pee Pee Traders, Chokli: 0490-2338904; Malappuram:- Asian Tiles & Sanitary, Perintalmanna: 04933-225739; Builders Field, Tirur: 0494-2423865; Ceramic World, Parappanangadi: 0494-3225150; Classic Tiles, Kottakkal: 0483-2747890; Hafco Tiles, Kottakkal: 0483-2751346; Johnson Ceramic Centre, Malappuram: 0483-2736762; NC Electricals, Puthanathani: 0494-2544782; Nadakavil Agencies, Puthanathani: 0494-2549152; Zenith Sanitations, Nilambur: 04931-220794; Palakkadu:- S & S Enterprices, Pattambi: 2212882; Clifton Sanitary, Kunnathurmadu: 0491-2540595; Pathanamthitta:- Panavelil Hardwares, Ranni: 04735-226250; Thrissur:- Asian Sanitary, Chavakkad: 0487-3291756; Atlas Sanitary, Kallettumkara: 0480-2881228; Classic Sanitary, Irinjalakkuda: 0480-2820885; Home Style, Kodungallur: 0480-2854256; Mannamthara Tiles House, Kodungalloor: 0480-2804439; Navaratna Tiles & Sanitaries, Mathilakam: 9846758489; Nova Collections, Choondal: 0485-242167; Paul & Sons, Ashtamichira: 984758426, Top Star Agencies, Kunnamkulam: 04885-224224; Trivandrum:- Ananthapuri Sanitiations, Trivandrum: 0471-2350921; Amsam Marbles, Trivandrum: 9846300011; A S N Enterprices, Nedumangadu: 0472 2801982; Bhavanam Enterprises, Chalai: 0471-2570498; Devi Agencies, Kanjirampara-tvm: 9387223838; Modern Agencies, Sasthamangalam: 0471-3018245; Naveen Enterprices, Kattakada: 0471-2290872; Nisha Agencies, Neyyattinkara: 0471-2224157; Padmanabha Agencies, Sasthamangalam: 0471-2312474; Royal Bath, Trivandrum: 0471-6578245; Senthil Enterprices, Muthada: 0471-2640401; S M Stores, Kaniyapuram: 0471-2750371; Sree Venkideswara, Valiyabala: 0471-2470779; United Traders, Vattiyoorkavu: 0471-2361546; Veenus, Attingal: 0470-2825831; Wayanad:- Punnackapallil Associates, Pulpally: 9447350347; Royal Sanitary, Mananthavady: 04935 243151; MAHARASHTRA: Mumbai: Style N Tile, Mira Road: 9820299266; Victor Ceramics , Borivali ( West): 28921106; M.R.Ceramics, Borivali (west): 28998267; Shree Shanti Enterprises, Borivali ( East): 28065943; Om Ceramics , Borivali( East): 28619466; Abha Ceramics, Kandivali ( West): 28637158; Vaibhav Metal & Hardware, Kandivali (west): 65936507; Delux Enterprises , Goregaon ( East): 26864453; The Bath Antique , Vile Parle ( West): 26129080; Cute Ceramics , Khar (west): 26054352; Ayesha Ceramics , Andheri ( West): 9820007383 PUNJAB: Ludhiana :- Rajkamal Marbles: 09216182821; Aman Supreme trading company: 0161-2760043; Gupta sanitations: 0161- 2410410; Amritsar :Shri Vaishno Pipe House: 0183-2212717; Kala Sanghian :- Krishna sanitations: 01822-230706; Khanna:- Dhand Sanitary Store; 01628-508806; Kapurthala:- Pammi Marble House: 01822-236038; RAJASTHAN: Jaipur :- Nector Overseas: 01412391841; Krishna Bath Collection: 9828154674; Om Manglam: 9829017628; Mangal Sales Corporation: 9829017629; Jodhpur :- Soni & Co: 0291-2431270; Udaipur :- Guru Nanak Sanitary Store: 0294-2522463; Good Will Enterprises: 9413318597; Beawar :- Radhey Krishnam: 9829071131; Jaisalmer :- Rathi & Co.: 0299-2254301; Ajmer :- Shree Nath Trading Company: 9829073098; Alwar :- Sangam Saint.: 9414016709; Balotra :- Marudhar Tiles: 9413524172; Hanumaan Garh :- J. K. traders: 9414093921; Sikar :- Unik Tiles, : 9783900947; Kishangarh :- Chordia Agencies: 9414213076; Fatehpur:- House Care: 230046; Bhilwara:- Sanitary House: 9414115282; Chittorgarh:- Maheshwari Sanitaryware: 9413047897; Bikaner:- Balaji Pipes: 9413013356; Shree Ganga Nagar:- Vikas Marble: 9414087130; UTTAR PRADESH: Noida :- Krishna Sanitation: 0120-3268817; Shri Krishna Traders: 9899588440; Ghaziabad:- Cement Syndicate: 09310020962; Radheysham Marble & Suppliers: 9313411340; Mathura :- Hindustan Tiles & Sanitary: 0565-2412122; Kanpur :- Sonu Ceramics: 0512-3294225; Adresh Sales: 0512-2584467; Lucky Sanitary & Tiles: 0512-3246201; Kapoor Sanitary & Hardware Store: 0512-3946289; Jaiswal Tiles & Sanitaryware: 9307686667; Lucknow :- Vishal Enterprises: 0522-2624501; Om Sai Interprises: 9415211115; Anuj Sanitary & Tiles: 0522-4025092; Jai Maa Bhagwati Sanitary & Hardware: 9236015727; Aashirwad Sanitary & Tiles: 0522-3250106; Moradabad :- CSS Enterprises: 9319053141; Muzzafar Nagar :- Dharmdev Tank Agency: 9412711458; Hapur :- Hapur Sanitary Store: 0112-2335515; Aligarh:- R S Sanitary; 0571-2525108; Saharanpur:- Super Traders: 9837262460; Behari:- Rakesh Trading Co.: 9259101264; Badaun:- Ram Asharay Lal & Sons: 9219563174; Bareily:- Ram Murtilal Jamindaar: 9259451265; Bhadhoi:- Sanitary Palace: 9838554808; Mirzapur:- Bharat Trading Co.: 9415232912; Gorakhpur:- Deepak & Brothers: 9451958814; Agra:- Bhavan Adhar: 9837040141; Leelavati Sharma: 9359327225; Agra Hardware & Tool Enterprises: 9319102282; UTTARAKHAND: Haridwar :- MaheshwariTraders: 01334-260302; Hardwar Sanitary Store: 9837083392; Dehradun :- Chandan Marbles: 0135-2625035; Manohar Lal & Sons: 0135-2787231; Kichha:- Mangha Ram Harish Chandra: 9837044226; Haldwani:- Shree Shyam Marble: 9359130442; Rudrapur:- Adlakha Bath Assets: 9837415757; Bajpur:- Ganpati Enterprises: 9412123228; Kashipur:- Shree Traders: 9897084560
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Corporate design
A DISCIPLINED
APPROACH Words: Babita Krishnan; Images: Prashant Bhat
A designer’s responsibility lies primarily in giving his client not just the best but also the most appropriate design solution. A case in point is the STCI corporate office in Mumbai designed by JTCPL Designs.
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H
ow creative can you get when
ing on your head, you have to make a mark
soon after they had completed the STCI
designing an office space? How
for yourself. It’s all about your actions and
office. “Typically we plan leasehold work-
can
work,” he says.
space developments for at least five years.
somebody
get
creative
satisfaction in doing only corporate
So what do you do when the need to
But since we had created this office space
projects? How does one decode this
recreate the brand image of your hi-profile
just a year ago, we challenged ourselves to
creative mind?
client comes shortly after you have done it
reuse as much as possible,” Ninad reveals.
Having earned the reputation of being
the last time? You challenge yourself and
This 20,000 sq. ft. office space is
one of the leading firms in the corpo-
offer an outstanding solution that would
very easy to decode as the fresh design
rate design sector, Mumbai-based JTCPL
not only grab maximum eyeballs but also
approach is concentrated on only three
Designs along with its Principal Architect
be the most viable. “We don’t restack plac-
areas – public interface area, cafeteria &
Ninad Tipnis provide the answers. “What
es, only those that we have done earlier,”
boardroom – everything else is recycled.
resonated within me, and I found com-
Ninad says and adds that there is a very
The widest spectrum of visitors to an
mon in the corporate sector, is discipline.
nice way of developing a method to the
office is at its public interface or reception
Here discipline is exercised in two verticals
madness. Your crazy ideas as a designer
area, and a part of its role is to represent the
– time and cost. Though you have a struc-
get disciplined into a method owing to
image of a company besides its work. “We
tured journey, there is a lot of play that you
the various constraints, as you always
decided that the reception should be very
can enjoy within that structure,” Ninad
crosscheck them to see if they are feasible
strong in its design language, explanative
explains. A corporate is essentially a body
within the time frame and budget.
and assertive without being in your face,”
of highly motivated individuals working
A case in point is the office of Securi-
explains Ninad. The design team used the
towards a common goal that depends on
ties Trading Corporation of India Limited
‘busy ceiling’ to visually convey the design
a strong sense of collaboration between
(STCI). It was important for a company
concept without obstructing the func-
different streams of work. “You learn from
like STCI, which has its own unique set of
tioning on the floor. They worked out the
them and then implement it in your studio
financial services, to have a brand image
progressions given by the curvilinear form
because an architectural studio is all about
that reflected not only by its values but in
on the ceiling and after resolving it in 3D,
collaboration. The biggest learning is that
the interiors of its office too. The challenge
decided to adopt one particular combina-
everybody is dispensable and in spite of
according to Ninad, was the fact that they
tion as a unifying element throughout the
having the sword of dispensability hang-
were asked to redesign the space quite
office space. Grains of the expressive Ser-
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ABOUT THE FIRM: JTCPL Designs is an ISO 9001:2008 certified studio, specializing in creating aesthetic workplaces and is today recognized as a design company with incessant creativity, discerning taste and for meticulous execution. The team is a diverse mix of Architects, Interior Designers, Engineers and Contractors that brings together an ideal mix of theoretical and practical knowledge. The studio focuses primarily on corporate office spaces ensuring deeper understanding of all design nuances, quicker response times, and flawless execution of all tasks at hand. Their designs are not only characterized by simplicity, but also by distinct lines and elegant forms incorporating a sense of movement, flexibility as well as scalability. Website - www.jtcpldesigns.com Facebook - www.facebook.com/pages/ JTCPLDesigns/150942528275885 peggiante marble flooring complement
tor Undertakings. “We knew who would
give a design solution rather than just
the ceiling and create a sense of depth.
use the space and the average age group.
provide a masonary wall in the middle of
Though Ninad would have liked to cre-
We tried to completely shed the image of
the structure. “We designed a storage unit
ate the cafeteria afresh, he felt it was not
a Govt. of India Undertaking, which does
and played with it graphically.” Also the
fair to make the client invest in something
not project a very desirous image,” Ninad
circulation of the visitors within the space
that was still relatively new. “Though it is
explains. It meant increasing the luxe lev-
was visualized and needed to be guided
not a LEED-certified project because of
els and so this area gets a fancy ceiling
via access control – the areas were then
the building, it is a highly sustainable one
and the concept of the “tree of prosper-
divided as pre and post access control. All
because we have a strong recycled ele-
ity” that runs on the ceiling and the ver-
that is pre access control definitely grabs
ment to it,” he smiles and reveals that they
tical panelling. Being one of the largest
more eyeballs in comparison.
decided to be very loud and excessive in
financial dealers of the country, they deal
These three areas reflect the image
terms of colours, geometry and the kind
in wealth – this motif gives a touch of Indi-
of the company – to the uninitiated it is
of elements used in the ceiling. Choosing
anness. With a very stark, dark and formal
glamorous; those who understand can
to use the existing air conditioning (cas-
look, everything has a place and reason to
read the study of the curvilinear form and
sette units) was deliberate as it provided
be here and only areas that highlight the
to others it is just a conscious effort of
the flexibility of use with minimum occu-
concept are lit.
shedding the existing image. A corporate
pancy. In a smart move to divert attention
“There was another challenge that
workspace has always been the micro-
from the not-so-new elements, a very
we had to resolve. An entity of STCI had
cosm of the market place, so the way the
expressive false ceiling was created to
grown from a fledgling into an inde-
workspaces have evolved tells us how
draw the vision away from the AC covers.
pendent function and we had to house
the economy has evolved globally. With
The vertical planes also work towards the
it as a separate unit within the whole
access to the best technology and mate-
same end with appealing graphics that
office schematic – so we created a verti-
rial in the world, the most important thing
were developed by the JTCPL team.
cal separation,”Ninad reveals. This meant
is achieving uniformity in design. The STCI
The third space with a fresh look – the
essentially two offices with shared servic-
office proves beyond doubt that corpo-
Board Room – is a unique study in itself
es – reception, cafeteria and board room.
rate design is not only evolving but can be
because it caters to a very high-powered
The challenge was to slice an enormous
as dynamic as one wants – discipline is the
Board that constitutes heads of Public Sec-
space into half and the team wanted to
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Arty techture
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ORIGAMI D ESI G N A N D B E YO N D Words: Udit Chaudhuri; Images: courtesy Hafeez Contractor Associates Paper Art: Pravin Pereira
Going beyond paper hats, butterflies or book-marks, Origami is a discipline that throws up possibilities as a means of exploring shape and form, besides standingin as an efficient and economical prototyping tool.
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No cutting or pasting is involved in single unit folding; yet, folds and surfaces show up a range of light and line effects as well as structural properties that make it difficult to believe that these are paper objects!
Possibilities increase as more forms of paper enter the market. Papermaking is catching on as a hobby, art form plus rehabilitative activity. With a progressive ban on plastics, especially treated and coated papers for a variety of purposes are being developed to substitute plastics. NOVEMBER-DECEMBER 2011 • DESIGN MATRIX 65
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A
lthough designers use a slew
in Bases - Waterfall the most commonly
using multiple layering, recycled packing
of computerized 3D modelling
known, beside Kite, Bird, Fish, Frog and oth-
and newsprint, pleating and creasing for
programmes,
computer
ers. Then are disciplines in folding, creas-
strength, not always in commercial interest.
monitors are 2D. Designers fear bugs,
ing, shaping, etc. Like Euclidean geometry,
A lead designer at a European auto giant
sometimes inevitable, despite the facilities
origami, too, has its repertory of postulates,
apparently found similar inspiration and
of revolving, animating and rendering
axioms and theorems, contributed by mas-
designed the first monocoque automobile
to simulate reality. This is why many still
ters over the ages. But, just as music and
shell. He folded a mini-bus body entirely
insist on at least one sketch-model prior to
geometry are light and recreational, origami
from a single sheet of steel. Complex and
refinement and prototyping. While most do
has its facets – pure fun, as a tool for math
costly in tool-up, this revolutionary design
a cut-and-paste job, select designers use
learning, analysis, design and as a great chil-
however, gave inherent strength on a
origami techniques, systematically folding
dren’s outlet. Websites like www.origami.
lighter weight and set the trend, followed
the component forms of any solid shape –
com, www.oriland.com, www.paperfolding.
world-wide.
cubes, cones, cylinders, prisms, pyramids,
com and David Mitchell’s www.origamiheav-
Likewise, several decorative lamp-
etc. This is not only fast, but also helps in
en.com are a feast to the eye and mind alike,
shades and danglers are improvised by art-
debugging and calculated modifications
as are the downloads and gallery pages at
ists and designers alike. Shapes vary from
via incremental changes, compared to
the Origami Mitra website. Courses are also
polyhedral forms to volutes and spirals, cre-
conventional surface development, cutting
coordinated by cultural-diplomatic bodies
ating a pattern of shadows from their folds
and pasting. Thus, they use paper to do the
including the Indo-Japanese Association.
and glow or reflection from the surfaces
our
Inspired by origami, architects for
that make you wonder if these are crystals
Albeit classically a Japanese art - ‘oru’
example, use multiple-folding as a stiffener
or jewellery, especially when a light source
for paper and ‘kami’ for folding – there are
in designing thin zig-zag walls, roofs and
is added therein. Not to be left out, math
variants. Just as classical music has its notes,
shades, greatly saving on material. Some
teachers have used origami as a teaching
scales, harmonies, melodies and sympho-
improvise thin-slab roofs and arches. Few
tool that breathes life into an otherwise dry
nies, origami has its elements beginning
have attempted developed paper homes
and dull subject, firing childrens’ imagina-
job of wire-frame models.
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tion. Student-teacher groups like Origami
Packaging, especially caters to the young
could help researchers understand how
Mitra (www.origamimitra.com) showcase
mobile professional, who gets a smart
proteins fold in our bodies, for example,
their collective talent periodically at Mum-
quick-setup solution on moving into an
to treat protein-folding disorders like Mad
bai. Practically any exhibition by serious ori-
apartment. A choice of colours with coat-
Cow disease. Origami may also help unclog
gami practitioners will have one display of a
ing makes this quite durable and attractive,
arteries by improving the traditional stents
rock, pile of books or a box supported by a
whereas with each (frequent) shift, this user
used in coronary surgery. However, Lang
hand-corrugated sheet of paper.
has the choice to change.
also makes elaborate models like those of
The packaging industry abounds with
Scientists are inspired by origami to
a reptile or insect, detailing each scale and
uses of origami discipline, from wrap-cov-
understand and analyse concepts and
antler with the same method. A programme
ers to paper-boards. Possibilities increase
some have made significant contributions.
called Tree-Maker is available for download
as more forms of paper enter the market.
Robert J Lang (www.langOrigami.com) a
from his aforementioned website.
Paper-making is catching on as a hobby, art
PhD from Cal-Tech and retired engineer,
Origami provides the wise one as much
form plus rehabilitative activity. With a pro-
made it possible to develop solid forms by
to think about as it proves a perennial toy
gressive ban on plastics, especially treated
writing algorithms inspired by origami, thus
to the playful – as a source of inspiration
and coated papers for a variety of purposes
evolving the art of Computational Origami,
as well as a means of expression. A lifetime
are being developed to substitute plastics.
along with Erik Lang and Erik Demaine of
may be too short to explore all its possibili-
Further, devising heavy-duty paper-
the Computer Science Lab at MIT. They
ties!
boards, improvising folding methods and
have proven that any shape can be folded
economical glue-free joints, designers have
out of a single surface and a single edge!
Udit Chaudhuri is a Mumbai-based full-service
developed entire furniture systems from
Lang’s algorithms have improved air-
product launch consultant, who has been part
garden chairs to full home systems. These
bags and expandable space telescopes.
of several design and manufacturing initia-
combine weightlessness with strength.
Bioengineers are using computational
tives since 1979. A design strategist and prolific
One range designed by Industrial Design
origami to understand physiology and
writer, he can be contacted at uditnc@gmail.
Centre, IIT-Bombay and produced by Jaina
improve medical devices. Lang’s method
com
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D ES I G N A N D B E YO N D Speaking of origami as a popular design tool is one thing and seeing the way these actice is folds can actually be applied in practice quite another! Words: Babita Krishnan; Images: courtesy Mansi Mehta
I
t is amazing to see a concept or design thought translated into actuality. Young designer Mansi Mehta, who had conventionally accepted paper as a mere writing medium during her growing years, was pleasantly surprised to discover its latent potential when she was
introduced to the Japanese fold of origami and kirigami. A product and furniture designer, Mansi soon decided to apply the methods of folding and cutting with an understanding of math. This scientific approach and a focussed application translated the inane activity into an inspirational art. “It was inspiring to see how sculpture of paper can be applied to design in life,” she says. The art of origami and beauty of shapes inspire her and she believes that simple things in life are the most extraordinary. Talking about her own origami-inspired furniture range, Mansi leads us through centre tables, pouffes, chairs, benches, consoles, TV units, etc. that are as remarkable in their design as they are simple. But is it really as simple? Apparently not… “It wasn’t as easy as I thought it would be to translate the model into a furniture piece. It was rather challenging to be creative while keeping the technical points in mind,” confesses Mansi. But given the newness of the idea, she found people responding to each piece of furniture as a work of art 68 DESIGN MATRIX • NOVEMBER-DECEMBER 2011
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Restoration
PRESENTING THE
PAST Words & Images: Baya Agarwal
The faint memory of a forgotten architectural marvel published in school textbooks came alive when a masterpiece stood commandingly tall on a drizzly morning, against the backdrop of an ash-laden sky.
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U
Islamic buildings in India. The decaying
with activity even at dawn.
conservation plan chalked out aiming to
full disappearance of the colourful tiles),
Located in Delhi’s Nizamuddin area, the site
recover the integrity of the mausoleum,
and replaced-with-cement canopies were
is undergoing major conservation work.
authenticity of design, form and material.
thoroughly studied via a series of physical
The magnificent mausoleum of the Mughal
The structure, which, over the years, was
and chemical analyses by the authorities in
Emperor Humayun was commissioned
robbed of its character by using 20th cen-
charge of the conservation. It was deduced
by his wife Hamida Banu Begum and
tury modern materials, is undergoing the
that the restoration mandated original pat-
designed by a Persian architect, Mirak Mirza
process of rediscovery, wherein restoration
terns to be recreated. Four craftsmen from
Ghiyath, illustrating the heavy influence of
of the original aesthetics of the monument
Uzbekistan with closest matching samples
Samarkand architecture in the construction.
is being carried out. For this, native crafts,
have then been entrusted the job to ensure
As soon as one enters the majestic
long-neglected skills and traditional tech-
the most accurate restoration of the tile
green gardens – lending the structure its
niques are being revived. Craftsmen trained
work at the tomb.
popular tag ‘first garden tomb of the Indi-
in specific skills are being called upon from
Under the leadership of architect Fark-
an sub-continent’. The red sandstone and
various regions to ensure that the conserva-
hod Bagirov, trained artisans Namandjon
white marble structure is a reminder of the
tion is as true to the original as possible.
Mavlyanov, Kurbon Melikov and Bakho-
nlike the rest of the sleep-washed
decoratively clad in glazed ceramic tiles,
city, Humayun’s Tomb is abuzz
structure was first inspected and then a
the now worn-out (leading to partial or
site’s splendid past. Efforts are now being
Though most of the craft traditions
durkhuja Rakhmatov, who have picked up
made by the Aga Khan Trust for Culture
used in the structure at the time of its con-
the traditional art form from their ances-
(AKTC) in partnership with the Archaeo-
struction continue to thrive in India, it was
tors, have managed to recreate the exact
logical Survey of India with co-funding from
discovered that the tile-making traditions of
shades of green, lapis blue, turquoise blue,
the Sir Dorabji Tata Trust to conserve the
the Mughals had long been abandoned. A
yellow and white on the tiles using varying
extremely significant archaeological and
fine example of reviving the long-forgotten
proportions of local soils. Cobalt, Copper
architectural heritage of the site.
glazed ceramic-tile technique is seen in
and Antimony are being used to create tile
The Humayun Tomb is part of one
a restoration of the eight small canopies
bodies matching the original. Dressed in
of the densest ensembles of medieval
on the roof of Humayuns Tomb. Originally
his traditional outfit, craftsman Namandjon
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Some interesting facts on the conservation project at Humayun’s Tomb : • Initiated in 2007 • A million kilos of 20th century concrete has been removed from the roof • 12,000 sq. m. of the mausoleum’s plinth got rid of concrete. • Plinth repaved with gigantic Quartizite blocks that can weigh up to 3,000 kilos each. • Over 100,000 sq. ft. of lime plaster carried out on the lower cells. (Source: AKTC)
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Mavlyanov is overwhelmed with the experi-
youth receive training, craftsmen from
ence of recreating what the great rulers had
other parts of the country have also been
originally made.
called to the site to start work on areas of
Architect Farkhod Bagirov, while try-
their expertise. The artisans tirelessly trace
ing to match the colours of the hot and
drawings of the original jaali patterns in the
baked hand-made tiles from the kiln, says,
Tomb using natural dye; and then cut out
“Tile-work is a complex, traditional art form
the lattice screen from the stone with their
in Uzbekistan, passed down from genera-
cutter tools. These lattice screens demand
tions. The tomb of Humayun, modelled on
extreme hard work and precision. It takes a
Gur-e-Amir, the mausoleum of his ancestor
minimum of four sandstone craftsmen, and
Timur in Samarkand, Uzbekistan, is the key
almost two months to carve a single screen
link between the Indian monument and our
to be installed in the doorways of the gates.
tile-making style.�
The sandstone craftsmen employ the
Local youth are being trained in tile
traditional hand-chiselling technique, rath-
production and the knowledge is being
er than using machine tools, as it allows the
passed on to them to ensure that restora-
finish to match the original and eventually
tion of the grandeur of a structure can also
result in a similar surface. Currently, around
facilitate resurrecting a craft tradition that
200 craftsmen are employed to prepare
has been lost in the last generation.
the required sandstone elements that have
As the tile work proceeds and the local
deteriorated beyond repair or to incorpo-
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rate new elements such as paving, benches,
fered partial or total loss is being repaired
etc., as part of the ongoing conservation.
by using the techniques and materials
Decorative and ornamental plaster-
close to the ones that were perhaps, used
work, buried under thick layers of cement
in the original process. A series of arches
is being revealed and redrawn to match
originally burrowed in the enclosure wall,
the authentic patterns. Concrete on the
are now being rebuilt. Restoration of
roof has been manually removed by metic-
the collapsed portions is also underway.
ulous chiselling. The dilapidated ceilings
Decayed water sprouts in the Charbaghs
are being re-plastered and the original star
(a Persian style garden) are being repaired.
pattern in the ceiling revived.
The conservation and restoration
Due to replacement and partial repairs
work of this architectural marvel when
carried out in the 20 th century, portions of
complete, is expected to bring back to life
the upper platform plinth faced water-log-
various traditional techniques involved in
ging; thus causing serious structural cracks
Islamic architecture. The Humayuns Tomb
in the ceilings of the cells below. To ensure
is a blend of various architectural styles;
easy rainwater disposal and to give proper
its conservation is indirectly helping in
slope to the paving, the existing red sand-
bringing together artisans and resurrect-
stone paving has been manually lifted and
ing some fast-fading traditional crafts in
replaced with stones of the same size.
India and renewing the architectural ties
The enclosure wall of the site, that suf-
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BODY BEAUTIFUL
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Persona design
Vanity or insanity, we aren’t sure; but the quest for the perfect body can be quite daunting. Words: Varun Godinho Images: courtesy Time Out
Y
T
he quest to gain that perfect body is anything but new. Body contouring cosmetic surgery, smile clinics that offer smile rejuvenation, nail art, tummy tuck, tongue, lip, body piercing in general, eyeball tattooing,,, you name it!
From models, who want less than a centimetre of fat removed from their thighs to
actresses, who need more than a couple of centimetres added to their breasts, it’s all in a day’s work for a cosmetic surgeon. Dr. Sandip Jain, a cosmetic surgeon, who practises at Breach Candy Hospital and Saifee Hospital in Mumbai, finds himself on speed dial for many from the glamour industry, who have just made it to the city. “Once I had the 26 or 27-yearold lady from the entertainment industry come to me. She was of absolutely normal weight and all she wanted was a very subtle improvement in the lower body. These are the most difficult cases to treat since what they are looking for is the transition from what they perceive as normal to what they perceive as perfection. So we require more artistic rather than surgical skills,” he says. NOVEMBER-DECEMBER 2011 • DESIGN MATRIX 81
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Even if nothing noticeably requires improvement, a wedding could just about be the excuse that brides use to get cosmetic surgeries done. While the role of Dr. Jain may swing from being an artist to performing as a sur-
layer of the enamel with the image pasted
they can’t pinpoint what they want done,
on it!
then I would discourage them from doing
geon, Hetal Turakhia of Beyond Smiles is a
Although procedures like tooth tat-
any procedure because they will never be
dentist who can also get you a tooth tattoo
toos are relatively harmless and complete-
happy with what we do.” Another telling
along with your root canal. Beyond Smiles,
ly reversible, cosmetic surgery is almost
sign that sets off warning bells in his head is
with centres in Pune, Goa and Mumbai have
always accompanied by psychological
when patients ask him questions like, “What
specialized in dental tourism and tooth tat-
baggage. Psychologists can play the role
is wrong with my face?”
toos. “There are two methods that I use to
of an arbitrator and ombudsman in the
Even if nothing noticeably requires
tattoo patient’s teeth. The first is the den-
scuttle for beauty incomparable. Body dys-
improvement, a wedding could just about
tal crown procedure. This includes a sticker
morphic disorder, where a person continu-
be the excuse that brides use to get cos-
pasted onto a sheet that then caps the
ously perceives an imperfection with their
metic surgeries done. Institutes like the
crown. The other is the airbrush technique,
appearance, is something that cosmetic
Cosmetic Surgery Institute, Mumbai, offer a
wherein a sticker is pasted on the enamel
surgeons often encounter. If a psycholo-
bridal package, which will give you the rea-
of the tooth,” she explains. For between
gist hasn’t stepped in and red flagged a
son to smile perfectly if everything’s going
`3,000 - 6,000, you could get a simple Ich-
patient intent on unnecessary, or at times
hunky-dory or even pout just as well, if the
iban (‘one’ or ‘first’ in Japanese), smiley or
dangerous, cosmetic procedures, then doc-
event manager can’t seem to figure out
any other symbol of your choice. The paint
tors do the job. Dr. Jain elaborates, “If there
what you want. Irrespective of age, reason
used is completely safe even if it is ingested
is a disconnect between what the patient
or season, remember that your rump and
and the procedure can be easily reversed -
is describing and the amount of concern
breast, arm and waist, tooth and nail, aren’t
all that needs to be done is to scrape off a
it is actually causing the patient, or when
beyond the reach of a perfect ten
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Photo feature
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ON A DIFFERENT
PLANE When they are not putting design concepts on paper for their clients, Mujib Ahmed & Lalita Thadani of Collaborative Architecture, are trotting around the countryside armed with a camera (Lalita) and a sketch book (Mujib), flirting with light and space through pinhole views and laced perspectives, and capturing their artistic inclinations on distinctive canvases. We unveil their latent talent‌
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Musings
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THROUGH A CHILD’S EYES Words: Priyanka Mathur; Images: courtesy Time Out
Creating children’ story-books is probably as fascinating as tapping into a child’s imagination. So what does it take to create these books?
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K W
hat was your favorite book
ing impression on their personalities. Thus,
Illustrations are as important as the
as a child? Was it Winnie the
most story-books that are created, impart
edit, she continues. As a lot of young chil-
Pooh series, a book of classic
a moral or a lesson, which will help in the
dren are learning to read, it is important to
fairytales, or Peter Rabbit? Some children’s
child’s development. (“And the moral of the
support the text with good visuals. The old
books never seem to lose their popularity,
story is…” still rings in my ears!) However,
habit of reading books has taken a back
no matter how old the stories become. But
this is done in a way that the child can best
seat in most households, where cartoons
have you ever stopped to wonder what
understand, especially with fun ‘tools’ like
on TV and DVDs have enticed young chil-
made them so popular in the first place?
talking animals and vibrant colours. For
dren into a more visual medium. But for
Was it the story or the visuals that made
example, stories from Aesop’s Fables, such
those who continue to rever books, there is,
you love it so much? Or perhaps, it was the
as the Boy who cried Wolf and The Hare and
what she calls, the Disney illustrative style.
imagination behind creating such a book
the Tortoise, make use of the natural tenden-
In an attempt to ingrain Indian morals and
that struck a chord with you?
cies of animals to focus on human traits and
philosophies among young children, this
Imagination is probably one of the
wisdom. The tortoise was shown as slow,
Western ideology is adapted to the Indian
greatest gifts that have been bestowed on
the hare as quick, wolves as cunning, and
context, where Radhika and her team of
children. The ability to look at anything – be
so on.
illustrators make use of Indian art forms in
it an object or one of life’s basic lessons –
Radhika Menon of Tulika Publications,
their visuals. They try and give a more folksy
from a completely different perspective
Chennai, explains, “Children’s books are all
appeal to their books, and work on devel-
is something only a child can possess. So
about fun and creativity. Most of the sto-
oping new illustrations in this vein.
in order to create anything for children to
ries have a moral ingrained in them, and
Citing an example, she says, “Tara
read, it is important to start thinking like
in order to draw the young reader’s atten-
Publishing is one of the few publishers of
them.
tion to it, we ensure that the message is
children’s books in India that makes illustra-
There is an elaborate thought-process
conveyed in an enjoyable and interesting
tions based only on Indian concepts. For
that goes into conceptualizing and creating
manner. Thus, we try and stay away from
example, our books have made use of Warli
a children’s book. Most children’s minds are
the didactic style of teaching, and ensure
art in one publication, which later went on
in a formative stage, and what they see in
that the books we publish are in no way
to become a huge hit. Till date, Tara Publish-
their daily lives, does eventually have a last-
preachy.”
ing has won two awards for its book arts at
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KIDS the Bologna Book Festival held in Italy.”
pler, the better,” she emphasizes. The fonts
Another publisher echoing the same
chosen are simple and readable, the imag-
sentiment is Sangeeta of the Mumbai-
ery easy to understand. After visiting the
based publishing house – Vakilsonline.
Bologna book festival, she realized that
Keeping in tune with the ideology of devel-
the books exhibited had left a lot of white
oping visuals that have Indian influences,
space on the pages, thus giving the reader
Vakilsonline goes a step further and ropes
the chance to appreciate and understand
in its corporate social responsibilities into
the imagery. Whereas, Indian books tend to
its artwork.
have several illustrations crammed up into
Sangeeta explains, “In India, the amount
empty spaces, giving the entire book a very
of talent is phenomenal. At Vakilsonline, we
busy, and often, chaotic feel. This, she feels
try to make use of talented disabled indi-
makes it difficult for the child to understand
viduals. For instance, we once had a boy
what is being conveyed in the image, and
from the NGO, Akanksha make an illustra-
as a result, the entire purpose of placing the
tion for one of our book covers. Because of
illustrations on the page is lost.
his young age, he was able to understand
With the evolution in book art and
the brief given to him and was able to make
design, new ideas have emerged. Keep-
artwork that aptly reflected what was being
ing aside the set formula of talking animals
said in the book. The overall result was a
and vibrant colours, pop-up books, books
child-like illustration, which turned out to
with moving images, 3D books, and books
be an instant hit with our readers.”
with audio facilities have been developed
Keeping in mind that the audiences
and have become equally popular. Just as
being targeted are children within the age
how a child’s imagination has no boundar-
group of 3 – 8years, Sangeeta goes on to
ies, creating a children’s book has countless
explain some of the factors she keeps in
opportunities… provided you unleash the
mind when designing a book. “The sim-
child in you
The ability to look at anything from a completely different perspective is something only a child can possess. So in order to create anything for children to read, it is important to start thinking like them.
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GET SET GO Words: Akhil Sood; Images: courtesy Paresh Daru & Time Out
Speaking from the realm of the behindthe-stage scenario, set designers Bhola Sharma and Chhel-Paresh talk about the different aspects of this very intriguing design discipline.
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A
single space holds you captive
that the play highlighted, as well as sus-
the requirements. However, due to trav-
– time and again – fashioned
tain a mood of suspense and horror. “We
elling plays as well as the dynamic nature
differently
diverse
tried to make the backdrop modern and
of theatre, a set is designed keeping in
narratives. Theatre in India has a rich
completely graphic. It was a very chal-
mind the size and dimensions of all the
history, with the earliest known form
lenging task,” Bhola reveals.
venues that the play will be staged at,
to
suit
being Sanskrit Theatre, dating back to
Partners Chhel-Paresh, stalwarts in
with minimal scope for alteration. It is
the 1st century CE. Till date, drama in its
Gujarati theatre with 50 years in the field,
also important to ensure that the sets are
multifarious forms rules the roost of
reveal some of their most challenging
cost-effective, mobile, easy-to-assemble,
cultural exchanges, social change and
tasks in the past, “For a play called Hat-
as well as convenient and comfortable
political comment.
amne Ojhal Maha Rakhma, we created an
for the actors. The other challenge is that
entire airport on stage. This was around
a change of set has to be accomplished
Elements of Design
20 years ago, and while the set was most-
in a limited time and hence versatility in
Bhola Sharma, who has been in charge of
ly created through paintings, the audi-
material and application is a must.
designing sets of productions like Broken
ences were also able to see the aircraft
Images, directed by Alyque Padamsee,
landing and taking off. We played around
Developments
and Sammy! directed by Lillette Dubey,
extensively with perspective and lighting
Set design has also evolved considerably
mentions abstract concepts such as cre-
to make it realistic. In fact, people used to
over the years in terms of approach and
ating moods to fit themes in a play, in
come to see the play especially for its set
methodology. The changes are notice-
conjunction with elements of practicality,
design,” says Paresh with a hint of nostal-
able, as painted backdrops made way for
such as the understanding of light, kind of
gia and pride.
the real thing in wood, cloth and metal;
This design was made possible
and more recently rampant use of acrylic
A lot depends on the production
through the use of a sliding stage, one
and plastic. The digital application is not
budget, the given space and how much
of the many tricks at the disposal of set
far behind. “We can even screen videos
room there is for interpretation. For
designers. He talks about creating sets,
on to the backdrop using a projector
Alyque Padamsee’s Broken Images, the
which allowed audiences to witness
these days, which is particularly useful to
play had to reflect self-deconstruction,
events such as floods and their after-
show one flashbacks.” Just as the logisti-
and had scenes where the protagonist,
effects. To create elaborate sets, which
cal side of set design has undergone tre-
played by Shabana Azmi, had to have a
change from scene to scene, designers
mendous changes, the visualization and
conversation with another version of her-
use sliding as well as revolving sets, the
execution of design allows a vast scope
self. The set had to reflect all the themes
jack-knife technique, etc, depending on
for creativity to the set designer.
props and furniture, etc.
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Qualities of a Set Designer
props and height are all in a day’s work
more realistic up until a few years ago,”
The highly-stylized and specific nature
and you can’t afford to crack under pres-
muses Bhola. “Back then, I would create a
of set design means that the learning
sure,” he concludes. The show, as they say,
basic box set and work around that. Now-
curve is very steep while on the job.
must go on.
adays, creativity is key.”
Paresh reveals that one of the notable
“I think sets were expected to be a lot
courses, which trains set designers, is at Light and Colour
the National School of Drama, Delhi; but
Many a time, the backdrop in a play
this generally is preliminary and theo-
doesn’t change at all; or there is no re-
retical training; the only way to grow as
quirement of a set at all, in which case
a designer is to be involved in the thick of
the lights and colours become important
things, learning through first-hand expe-
to portray a certain mood. Paresh states
rience as well as interactions with those
that in such cases, “The lights are alive
in the know.
A set is designed keeping in mind the size and dimensions of the venue. It is important to ensure that the sets are cost-effective, mobile, easy-to-assemble, as well as convenient and comfortable for the actors.
– where in lighting and the correspond-
A designer also needs to be cultur-
ing dialogue indicates change of period
ally aware, as designs are appropriated
or location.” Usually, the colours are dic-
to theme, language, regions, and other
tated by the mood and tone, with design-
socio-politic aspects incorporated in a
ers not working with any definite palette,
play. For example, if a family depicted in
being flexible with the requirements. “It’s
a play is Maharashtrian, then the design
necessary to ensure appropriate light-
and the external appearance and mood
What Lies Ahead
ing and to prevent any undue reflection
of the play will be appropriate to Marathi
“I feel,” says Paresh, “That with a growing
of lights,” he adds. The set designer and
culture.
number of tours and rising prices, set de-
lighting designer work in tandem to cre-
Also, the challenge lies in reworking
sign will undergo even further and more
ate a seamless blend that works. Paresh
existing sets and creating unique sets for
remarkable changes. Sets may become
cites an example: “If a set designer creates
new productions without compromising
more symbolic and suggestive, with use
something in yellow, while the lighting
on quality; so a set designer needs to be
of wooden wings and cloth likely to be
designer uses blue, then you get green.”
innovative and creative. “He also has to
replaced by aluminium, cardboard, and
So it’s important to communicate, and
have the ability to think on his feet,” adds
other materials.” It’s an exciting time to be
work with perspective to create “different
Bhola. “Last minute changes, quick dam-
part of this movement, with progressive
levels through light”.
age control and improvising with space,
changes on the horizon
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Unmasking talent
MYSTIC PAPER Words & Images: Karen Bit Vejle
Karen Bit Vejle is the creator of beautiful, luxurious and unique paper-cut designs, each one meticulously crafted by hand at her studio in Trondheim, Norway.
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There is a great degree of humour in Karen’s world of imagery; humour and the ability to identify joy in small things.
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M
y heart and soul are at peace when I have scissors in hand and the paper dances between the blades. If my scissors can manage to make you stop and
wonder for just one instant, I will be happy,” says Karen Bit Vejle, whose form of expression, psaligraphy, literally means the art of drawing or painting with scissors. Psaligraphy – the art of paper-cutting – requires time; both, when it comes to creation and experience of the work of art. Contrary to almost everything else in the world today, psaligraphy is a slow art. It takes time to master, plan and perform it. Karen creates images of air and paper. The works are formed from a large, continuous piece of paper, folded once, twice, thrice or more times, and then cut using only a pair of scissors. Every single scissor-cut is carefully planned, as the slightest mistake can have disastrous consequences for the finished result. This is a slow art of painstaking precision and patience that demands the utmost concentration – which part
“Psaligraphy is a slow and time-intensive affair,but I enjoy every minute of it, and time spent with my scissors and paper has become my catharsis!”
shall be cut out and which shall not. Her magical cuttings have chiselled out a personal style and technique that are entirely her own. For more than 35 years she has been absorbed, fascinated, and deeply committed to this art form that developed from small, simple snowflakes to unusually large and highly complex image cuttings. She is one of very few in Europe, who can cut at such an advanced technical and artistic level. There is a great degree of humour in Karen’s world of imagery; humour and the ability to identify joy in small things. Just as often, though, she confronts deep seriousness and themes intended to invoke involvement and reflection. Her works are captivating surprise packages. The decorative and almost ornamental aspect of papercutting makes psaligraphy an art that goes well both together with and applied to other materials. The artist is known to custom design patterns for exclusive woollen plaids, dinnerware, logos, etc., where each design evolves from facts and stories that create a foundation for her interpretation. “When I am about to do a cutting, I spend a very long time visualizing and memorizing the design of the cut. Both technique and image composition must be entirely complete in my mind before I can put scissors to paper. Once I have the image clear in my mind, I draw guidelines on the paper and then I begin working with the scissors,” she explains. “The most time-intensive cut to this day, however, is ‘The Fifth Season,’ which I spent six months working on,” she informs. Since the five-six years of her prominently opening up as an artist, Karen has held a travelling exhibition – ‘Scissors for a Brush’, the concepts for which are rooted in a tradition that has known a long journey through history. Interestingly, she is currently working on Danish poet H C Andersen’s fairy tale, ‘The Snow Queen’ – an exceptional 29 ft. paper cut that she proposes to finish in 2013
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120 1 12 20 2 0 DESIGN DES D DE ES ESIG IIGN GN MATRIX GN MATR MA TTRI R RIIX • MAY-JUNE MAYMA Y-J Y -JU -J UN UNE NE 2011 NE 201 20 11 1
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T C U D O R P
H C N LAU Washbasin from Dansa n
i
The Birka 100 from Danish Company Dansani is a por celain washbasin in clean per fect for a bathroom sparkling white, that needs an elegant and classic touch. The basin drawer vanity unit in a ple is comes with a asant shade of walnut. Cyl indrical lights and an in-b and pull cord complete uilt shaver socket the out fit. Two handy uni ts flank the basin ensuring aesthetic value. Dansan fun ctionality and i is the worlds largest ma nufacturer of bathroom 2000 designs to suit eve furniture with over ry interrior requirement. ww w.dansani.com
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Outdoor shoes from
Woodland
Woodland, the global adv enture-wear brand has launched yet anothe r revolutionary and innovative product-the wa terproof outdoor shoe. This innovative pro duct is a result of two years of extensive R&D and caters to the demand of adventure enthusiasts, who need additional protection to fight the cha llenges thrown by nature. The brand is kno wn for its environment friendly processes, which have been adopted for manufacturing all Wo odland products. The same processes are used for manufacturing the Waterproof outdoor sho e as well. The footwear is available at all Woodland stores. ww w.woodlandworldwid
Lunch Boxes from
e.com
Home Collective
Lunch hour will never be the same again. Home col lective has a range of lun functional but oh-so-pre chboxes that are tty. The clear lid locks to the container with a water itself has a sauce dipping tight seal. The container area and a sauce pot ide al for salad dressing (or ket your salad just before you chup), so you can dress eat it. An inner dish allows you to split different foo d so you can microwave por tion of your lunch, but a keep the other food cold. It also includes a fork Contact: (022 6655 5304)
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Home Accessories fro
m
Dreams Home Furnishing Dreams Home Furnishing s has a range of home acc essories that will ass a fes touch to your interiors. The tive Dreams’ Festive Flavours Collection which compris cushion covers and diw es an linen, is predominantly in hues like reds, maroo cream, and gold with trad ns, itional designs and a ble nd of rich metallics. Under tones of green and wine enhance the palette of this collection. You can also choose hig h quality fabrics in shim mering silk s, brocades, vel chenille to cot tons and pol vets, y-cot blends which var y from plain and pat terned embellished designs for to that per fect festive ambie nce. ww w.dreamsfurnishing. com
If you believe that the Disco shouldn’t have died, then you have to have one of NeXtime’s latest collection of Retro Clocks to spice up your walls and bring some funk into your room. Disco ball clocks, music clocks and pop art clocks are only a few of these creations and each one is zanier than the other. NeXtime clocks can make a perfect gift as it caters to even conservative tastes. (So you could give one to your bachelor uncle, who still has his Boney M vinyl records.) NeXtime also has 3D clocks, projection clocks, children clocks, flip clocks, skeleton clocks, floor clocks and cuckoo clocks.
Clocks by
www.nextime.nu
NeXtime
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One&Only- Flagship Furnishing store in
Gurgaon
One & Only will now hav e a store in Gurgaon. The brand specialises in Heritage interiors and Victorian furniture for hom es and offices having a classic line-up of mante lpieces, bars, wooden chandeliers, entrance doo rs, chairs and poster beds as well as a unique line of modern contemporary furniture. All the pie ces are designed, detailed and produced in the factor y of One&Only situated in Gurgaon, Ind ia, under the tutelage of veteran designer Sum an Saith, alumni of Sir JJ School of Arts, who has created elegant interiors for some of the finest nam es in the countr y. Every O&O piece bears his distinct signature style. Contact 99717 65333 for det
ails
ssories Home & Garden Acce from
Peacock Life
tive season for It doesn’t need to be a fes e with light and you to beautif y your hom you can pick up elegance. At Peacock Life ories for your ess acc exquisitely designed ories comprise ess acc The . den home and gar elegant candlebra of a range of lanterns and int mirrors. We as well as glass jars and qua dy, teal-coloured han the also fell in love with wheels. The on und aro s cabinet that roll the ear thy and products have a touch of an, fuss-free finish. traditional but with a cle ww w.peacocklife.com
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Bedroom Sets from
Furniturewalla If you’re looking to give you r bedroom a facelif t for the New Year, then you don’t need to look any fur ther. Furniturewalla places qua lity furnishings at top prio and has two new bedroo rity m sets designed with bot h style and functionality. you’re looking for a slightly If ornamental facelif t you can choose the Hengfeng Catalogue which compris es a king-size bed with a luxurious cushioned hig back, dresser with drawe h rs and mirror and a large four door wardrobe. Thi comes in a tasteful black s line polycoated finish with silv er leaf detail. Alternative you can choose the ligh ly, ter set-shades of walnu t with crisp black leathe bossing on a king-size bed r em , dresser and wardrobe. ww w.furniturewalla.com
This season give your bathroom a makeover with Bathline Sensations designer Faucets and Shower fixtures - GRAFF. These products embody the essence of refined elegance and satisfy the most refined tastes. The faucets have a sleek semiarched shape and look completely unisex. You can fix a facet to your washbasin or countertop or opt for free-standing faucets for bathtubs. The GRAFF line of faucets offers discreet luxury to any kind of interior space whether it’s dark stone or bright tile and will provide an instant touch of glamour to your bathroom this season.
Faucets from
www.bathlineindia .com
Bathline Sensatations
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House of RARO- Show
Delhi
room in
The luxury interior brand, House of RARO has a beautiful new store at Ne w Delhi’s DLF Emporio, Vasant Kunj. The 1000 sq ft space showcases the exquisite creations of House of RARO and is separated into two seg ments - individual pieces as well as high-end ensembles. The essence of grandeur and luxury, the store brings elements such as a Venetian mirror and wood of the highes t quality to create a conceptual space. Launched in 1997, RARO has car ved a niche for itself in the luxury home segment. A typical RARO design is truly unique and exquisite but with a dash of an heirloo m quality. The brand remains commit ted to the high-end nature of its products. ww w.houseofraro.com
Orthopaedic Bed Rang
e from
Spring Air
Spring Air has unveiled its new Premium Orthopaed ic Mattress Europedic Ma The mattress ranges on ttress for the first time in offer include “Perfect Com India. for t”, “Ultimate Comfor t” tresses use high density and “Majestic Comfor t”. open cell structured foa The se matm along with visco-elastic of 14 on the top in their memory foam with liste assembly to provide the d ILD rati ng slee per with the ultimate comfor mattress, a quality sleep t throughout the life of the sur face like none other, and for that per fect night’s slee accessories like memory p. Europedic also offers ess foam Comfor t pads in all ential sizes, memory foam Con tour pillows as well as clas sic comfor t pillows ww w.springair.in
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L AST
B Y T E
QUINTESSENCE
C
hange is constant; so is Design. The definition of design has been periodically debated and continues to intrigue with newer connotations emerging every day. Just as it means various things to various people, it also penetrates the minutest recesses across industries in absolutely diverse applications. Each time that I have met a design professional, I have felt good about my vocation and my connect with the prominent history-in-the-making mavens, who have touched a chord in me with their winning innings and their humility. Design Matrix was conceptualized as an attempt to touch the lives of designers beyond their work-front. It has been a pleasure to compute content that interlaces the warp and weft of the multi facets of design (big, beautiful, and widespread) and discerningly select contributions from a realm that is not genre-specific. The last one year’s issues have been an attempt to add the best to the floral bouquet of creativity; synchronize the musical notes. There is much, much more in store – evolving, shaping up, to be gradually unveiled, keeping you asking for more. We seek your appreciation, your grouses, your wants and your preferences. Let us weave this matrix… together.
Write in to me at savithahira@designmatrix.co
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GLOSSARY I F C: DANSANI Bathroom Furniture Ultramine Group For appointment call + 91 9874430000 (10.30 am – 6.30pm, Mon-Sat) Email: indiadansani@vsnl.net www.dansani.com
Pg. 1: Ebco Pvt. Ltd. 402-3, Hyde Park, Saki Vihar Road, Mumbai 400072 Tel: (022) 67837777 Fax: (022) 66920700 Email: info@ebco.in, www.ebco.in
Pg. 2 & 3: The Great Eastern Homes The New Great Eastern Mills, 25-29, Dr. Ambedkar Road, Near Rani Baug, Byculla, Mumbai 400027. Tel No. 022-22910764
Pg. 5: NSD Natural Veneers 307, Traffic Lite, Next to Bank of Baroda, M.G. Road, Ghatkopar (West), Mumbai- 400 086 Tel: 91-22-25114285/86 Email: info@naturalveneers.com www.naturalveneers.com
Pg. 6: Jalaram
Agar Bazar S. K. Bole Road, Dadar (W), Mumbai 400028. Tel: (022) 24318444/555 Email: Jalaram_timber@yahoo.com 9/b, k, Laxmi Ind. Estate, New Link Road, Versova, Andheri (W), Mumbai – 400053. Tel : (022) 26327733 / 34 Email: jalaramvnf@gmail.com
Pg. 12-13: Durian Industries Ltd. 401, The Chambers, Western Express Highway, Vile Parle (E) Mumbai 400057 Tel : (022) 26269000, Email: info@durian.in www.durian.in
Pg. 16 & 17: Le Cdeor 8/H, Laxmi Ind. Estate, New Link Road, Versova, Andheri (W), Mumbai – 400053. Tel : (022) 26327733 / 34 Email: jalaramvnf@gmail.com
Pg. 18: VITA Vitrified Tiles
Pg. 84: Delta Laminates Olympic Laminates Pvt Ltd Block No. 49-50, Village Karoli, Taluka – Karol, Dist. Gandhinagar 382721 Gujarat, Tel: +91 2764 281503 / 04
Pg. 85: Uniply ATS Plywood
Pg. 19: Fevicol Marine
Pg. 86: Le Cdeor
Pidilite Industries Limited Ramkrishna Mandir Road Off Sir Mathuradas Vasanji Road, Andheri (East) Mumbai - 400059 Tel: 022- 33087000; Fax: 022- 28357700 Email: pil@pidilite.com
MRJ Trading Pvt. Ltd. 201, Shyam Kamal ‘C’ Bldg., Agarwal Market, Vile Parle (E), Mumbai – 400057. Tel : (022) 26187132 / 26131442 Email: artifacts@mrjgroup.in
Pg. 31: Durian Home Furniture
Natural Veneers 307, Traffic Lite, Next to Bank of Baroda, M.G. Road, Ghatkopar (West), Mumbai- 400 086 Tel: 91-22-25114285/86 Email: info@naturalveneers.com www.naturalveneers.com
Durian Industries Ltd. 401, The Chambers, Western Express Highway, Vile Parle (E) Mumbai 400057 Tel : (022) 26269000 Email: info@durian.in, www.durian.in
Pg. 52: Dorset Luxury Faucets
Pg. 7: Bharat Floors & Tiles Pvt. Ltd 32, Mumbai Samachar Marg, Next to Stock Exchange, Fort, Mumbai 400 023 Tel: 91 (22) 4057 4444, 2265 4837
Pg. 53: Heritage Decorative Laminates
Pg. 8: Design Matrix Ultratech Excellence Awards Email: response@designmatrix.co
Deco Mica Pvt. Ltd. 306, 3rd Floor, Iscon Mall, Star Bazaar Bldg., Jodhpur Cross Road, Ahmedabad - 380 015 Email: decomicaltd@yahoo.in
Pg. 10: Geeta Aluminium Company Pvt.Ltd.
Pg. 69: Uniply Elementz Decorative Veneers
D/4, Ansa Industrial Estate, Saki Vihar Road, Saki Naka, Andheri (East), Mumbai – 400 072. Tel : +91 99308 06685 www.geetaaluminium.com
Uniply Industries Ltd #52, Harleys Road, Kilpauk, Chennai - 6000010. Tel : (044) 26605995
Grescasa Ceramics Limited 5-E, Laxmi Industrial Estate, New Link Road, Andheri (W), Mumbai – 400053, Tel No. 022-26313096/66992409
Natural Veneers 307, Traffic Lite, Next to Bank of Baroda, M.G. Road, Ghatkopar (West), Mumbai- 400 086 Tel: 91-22-25114285/86 Email: info@naturalveneers.com www.naturalveneers.com
Vita Granito Pvt. Ltd. 283 – A, Vasu Smiriti, Flat No.4, 1st Floor, 13th Road, Khar(W), Mumbai : 400 052. Tel : 022- 42367900/909 Email : cermalvisa@cermalvisa.com
A-88, Road No.2, Mahipalpur Extension, New Delhi – 110037 Tel.: + 91-11-46138800 Email : faucet@dorsetindia.com www.dorsetindia.com
Pg. 11: Grescasa
Pg. 79: Gemss (Solid-Wood Mosiacs)
Pg. 78: SHAH CREATION PVT. LTD. Building No.2, Gala No.8, Ram Mandir Industrial Estate, Ram Mandir Road, Goregaon (E) , Mumbai 400 063 Email: shahcreations@hotmail.com Hasmukh Shah: 9820228852
Uniply Industries Ltd, #52, Harleys Road, Kilpauk, Chennai-6000010. Tel : 044-26605995.
Pg.87: Advant Edge
Pg. 112: MRJ Flooring MRJ Marketing Pvt. Ltd. 201, Shyam Kamal ‘C’ Bldg., Agarwal Market, Vile Parle (E), Mumbai – 400057. Tel : (022) 26187132 / 26131442 Email: flooring@mrjgroup.in
Pg. 113: Surface Décor (India) Pvt. Ltd. Abdul Satar Lakdawala Compound, W. E. Highway, Besides TATA Motors, Jog-Vikroli Link Road, Jogeshwari (E), Mumbai 400060 Hasmukh Shah: 9820228852
IBC: Durian Office Furniture Durian Industries Ltd. 401, The Chambers, Western Express Highway, Vile Parle (E) Mumbai 400057 Tel : (022) 26269000 Email: info@durian.in www.durian.in
BC : Ultratech Paints & Textures F 213A/1, Lado Sarai, Old M. B. Road, New Delhi – 110030 Tel: (011) 46061549/50 Email: info@ultratechpaints.com www.ultratechpaints.com
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