DESIGN MATRIX • JANUARY-FEBRUARY 2013
PEOPLE • LIFESTYLE • DESIGN • INTERIORS
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S ’ R O T EDI N O T E
W
e are proud to be Indians and our culture is rich because it has the capacity and flexibility to adopt a foreign influence and make it its own! This holds good for our design and architecture as well. Through the
ages, visitors, merchant and even invaders have left their mark and we have accepted it all, making our heritage probably the most versatile in the world. From the paisley and domes of the Mughals to the French, Portuguese and British effects right up to the modern jet-setting Indian’s preferences, we find it all sitting comfortably with the traditional crafts that make up the very fabric of Indian design. Our New Year issue celebrates the large-heartedness of this design culture that adopts, adapts and accepts every good thing foreign and makes it an intrinsic part of the whole. While the entire issue will take you through the design mantras of different genres, our cover story tackles a different kettle of fish. One has noticed the
increasing influx of foreign design studios in India and it has been a topic discussed informally over many a coffee and teas. We decided to put it under the scanner by getting a few stalwarts together for a formal discussion – our way of birthday celebrations! What came out was interesting, enlightening and of course funny (our fraternity has a tremendous sense of humour!). We decided to share excerpts with you. And as you turn the pages, you will realize how truly global out outlook is. It is the time for new beginnings and as we unfold a new chapter in our lives and professions with the New Year, I hope that the powers that be wake up and realize – it is the time for design convergence! Happy reading & wishing you a fruitful New Year
Babita Krishnan
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CON TEN TS 16 DESIGN MATRIX • JANUARY-FEBRUARY 2013
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22 94
126
• Cover Illustration: Avani Parab
COVER STORY Excerpts from a formal discussion on the influx of foreign designers in India, between stalwarts of the industry. pg 22
68 108
ARCHITECTURE The Mahindra Research Valley in Chennai integrates all aspects of automobile engineering and design. pg 40
GLOBAL EYE Harsha Kotak talks to us about the colour trends for 2013. pg 49
RESIDENTIAL DESIGN Ar. Milind Pai’s contemporary twist on a duplex in Mumbai. pg 52
CONVERSATION
furniture by our handpicked designers. pg 68
INSTITUTIONAL DESIGN
Gayathri Desai talks about her beloved series of paintings based on gayatri mantras. pg 62
Designer Ali Baldiwala’s painstaking effort in creating a dental clinic for kids, making them Smile Forever! pg 94
DESIGN FOCUS
MUSINGS
The third edition of Fensterbau/Frontale India to be held in March 2013. pg 66
Dinesh Karekar’s love for tapestry design comes through in his work. pg 98
DESIGN INSIGHT
DESIGN PROMO
Check out some refreshing pieces of
Magppie enters Mumbai with a concept
store that redefines grandeur. pg 102
CREATIVE IDEA The Sudha car museum in Hyderabad brings to life mundane objects in the form of cars. pg 108
PRODUCT LAUNCH Keeping you up-to-date with products to woo your design senses. pg 115
ETCETRA Reviewing some stunning designs of installations, products and spaces. pg 121 JANUARY-FEBRUARY 2013 • DESIGN MATRIX 17
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DESIGN MATRIX • NOVEMBER-DECEMBER 2012
PEOPLE • LIFESTYLE • DESIGN • INTERIORS
November-December 2012 VOL. 3 • ISSUE 1 • `100
nd
2 2nd ANNIVERSARY ISSUE A Paprika Media presentation
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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.
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While it was fun to discuss, we are still too politically correct in our approach to sensitive topics. But this is a good beginning and we can really look forward to more such events. Ar. Aaron Schwarz, Mumbai One of the things I enjoy most about your magazine is the wide visual variety that you offer with each issue. As a reader that not only keeps me guessing but also makes each issue worth keeping. Not only are the stories not dated but the fresh approach to the presentations always keeps the monotony away. Keep up the good work. S. Srinivasan, Coimbatore It was great to be able to attend the panel discussion, specially a chance to hear and meet Ar. Kamal Malik, who can impart so much knowledge by just a small talk.
INBOX
It was really interesting to be a part of the panel discussion, though I would have preffered, if we had more time and we could get into discussing more in depth. But it was a really well put-together event and we need more of these. Ar. Ajay Nahar, Mumbai
I am indeed grateful to Design Matrix for giving me a chance to be a part of the discussion Roshan Rathi, Rizvi College of Architecture
I have regularly been reading Harsha Kotak’s column, and I must say it is overwhelming to see the effort people are putting in for design, across the globe. Thanks to Harsha and through your magazine, we get to know what is going on. I loved the coverage on 100% Design in your previous issue, however wished that it was longer. Saira K, New Delhi A very dramatic cover and a stunning cover story. I really enjoy the way you bring out the personality behind the professional. It is always fun to know that the people whose work we admire are also like us. It gives a different connect with them. I have been an admirer of Shabnam Gupta’s work for a while and have been following her growth through the different publications over the years, but reading about her in this issue of Design Matrix added a different dimension to her in my mind. Usha Tapke, New Delhi
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Cover story
FOREIGN DESIGNERS:
A part of the Indian Design Ethos Foreign designers bring a lot of value to the table, some agree and some think otherwise. As part of our second anniversary celebrations, we decided to get a few stalwarts to discuss this issue. Though short, we give you excerpts from an interesting evening moderated by Ar. Conrad Gonsalves that was supported by Dr. Art & Design, Pidilite Knowledge Series and Bomanite Paving Tiles. illustrations: Hetal Shukla
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CONRAD GONSALVES: I would like to welcome all of you who are
projects, and 2) with the need to get them built as of yesterday
a part of the immense design scene and the built environment and
there is a very small margin of error for experimentation and a trial
those who provide us with the tools to create the environment.
and error method! So, I start by asking the same question to one of
It is an established fact today that foreign architects and design-
the largest consumers of architectural services - the builders - what
ers have become an integral part of Indian design development.
is the value addition by a foreign architect?
Why are foreign architects, designers and planners required to conceptualize our projects? Reasons, according to architect and writer
AJAY NAHAR: I think foreign architects can handle massive scale
Gautam Bhatia are: 1) A dearth of technical expertise to figure out
and that is why builders seek them out. Besides, some may look at
the logistical and programming challenges that come with mega
them as value addition in terms of their brochure or to get sales
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moving, but being an architect myself, I look at the functionality
tional firm with the experience is always helpful. Also, their drawing
part of it and informed builders are looking at getting more func-
standards are far superior to their Indian counterparts. But I can see
tionality into the spaces, thus take their services.
a change in the drawings from Indian firms now.
ANUJ MUNOT: It is a very dangerous question to be answering
CONRAD: With your experience of working with foreign archi-
sitting on this platform. One of the major advantages that a for-
tects, I am sure you have something to add Kamal!
eign firm brings in is the sheer experience of having done it several times over. India has not yet built such massive scales and we are
KAMAL MALIK: The world is shrinking and we need to be collab-
just beginning to get there. So it makes sense to invite an interna-
orative, but we get defensive. Louis Kahn and Stien’s interventions JANUARY-FEBRUARY 2013 • DESIGN MATRIX 25
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KAMAL MALIK Kamal graduated from the School of Planning and Architecture in 1972. Before he set up his own design studio in 1975, he worked with Don Ashton (UK) from 1972 – 1973 and Willi Kaufhold (Germany) from 1973 - 1974. Kamal’s practice has won many design competitions through their entries, which include those for the Housing Complex at Delhi (Jury Stein + Kanvinde) and the institute of Nuclear Medicine and Allied Studies, Delhi with Siemens (Germany). The other prestigious projects won through competitions include the American school, Novell corporate building, Altana Research Centre and Unit Trust of India Ltd. Building, which are all in Mumbai and the Lupin Research Park in Pune.
VIVEK BHOLE Vivek Bhole, throughout his college years has been a topper in architectural design, and has innovated his style of design and presentation since then. The same enthusiasm and sincerity continued to form a new style, which he calls ‘Neo Modern’. Vivek Bhole Architects Pvt. Ltd. has a wideranging portfolio that includes projects in the commercial, retail, residential, infrastructure, and hospitality industries. Innovative concepts, insightful planning, and the high quality professional project management are the company hallmarks. Along with the strong technical resources under the flagship company Vivek Bhole Architects. Pvt. Ltd., the company has signed a merger pact with a leading firm From UK, William and Jones and has opened a joint office to operate in UAE and African countries.
CONRAD GONSALVES With exposure to studies in Science, Humanities, Architecture and Interior Design, Conrad is an Interior Designer and a fellow member of the Institute of Indian Interior Designers, where he served as President for the term 2002 to 2004. Conrad has been involved with Design Education and occasionally contributes to columns and publications on Design and has been an external examiner at CEPT, Ahmedabad and Greenside, South Africa besides weekly lectures for the Architecture programme in Mumbai. Some other initiatives he has been associated with are the Preservation and Promotion of the Artistic and Historical Patrimony of the Church in Mumbai, the Federation of Jesuit Alumni Associations of India and the World Union of Jesuit Alumni.
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in India are all sensitive benchmarks, Christopher Benniger is also
is where I see a little bit of divergence – so you may see a lot of
doing sensitive work. We need to borrow things from each other,
construction with designs that have been lifted from other parts
professionals within India should be sharing knowledge (which
of the world. But what is really required is to bring the true sense
they are not). So if you look at it objectively, you’ll find that there
of merger of knowledge of a developed construction and archi-
is no real transgression. We also need to look at the fact that our
tectural field and applying it to what India needs based on what
industry needs improvement.
construction technologies are available, what contracting is here and how do you bring it in so that you are actually adding value to
CONRAD: Ninad, will you share with us your experience of collab-
the local market and the people. That is where you will see a lot of
orations because it is only a matter of time before collaborations
development and true collaborations starting. It is not one vs the
become an integral part of Indian design firms.
other, but blending of the two.
NINAD TIPNIS: There are two points I wish to state before
CONRAD: Sanjay would you like to add to it from your experience
answering that question. Firstly, we shall not look at architects as foreign or Indian because as Ar. Malik said, it is a flat world and we are converging; and secondly, we should look at these practices as technologically and aesthetically advanced, sensible to the local surroundings and ethos and we should look at them as entrepreneurial firms coming to a foreign country and trying to set up shop. My second submission to the audience and the panel is that I would like to commend the Indian government as well, because India is one of the easiest places to set up shops. To answer your question, we specialize in bank interiors, and
of both working with others and
“If you look at some of the best architects in the world, they were master masons – people who understood how materials work well together, they were in love with the smell of cut wood and understood those aspects – that is not taught in architectural schools.” — Rohit Saxena
working with top banks in the
working out of this country? SANJAY PURI: Recently, at the World Architecture Festival there was a discussion about the winners and an Indian architect said that in India, we should get an award for simply having completed a project very close to the design brief and the way it was conceived. The problem is not with Indian Architects, it is with the developers and rules. Internationally, you have to submit the entire set of drawings and you cannot even change an electric point later. Here, there is no point in making complete sets as the minds will change then the rules will change and so on. The work-
world, we get the opportunity to work with practices from US,
ing environment is so much better, so I would suggest we should
Canada, France, China, Dubai, and so on. The one commonality
all go and work abroad.
in them all is their structure and processes. Though they are from diverse geographies, they have a common language in terms of
CONRAD: That is a point. But Vivek would you respond to that one?
deliverables, in respecting other technocrats in the team and in accepting solutions provided by us vis a vis Indian architects and
VIVEK BHOLE: I’ll agree with Sanjay. I have seen a few Indian col-
clients. There is a distinct difference and I would welcome foreign
laborations failing but whenever we have worked with foreign
firms with the intention of growing and expanding and improv-
firms they have been very supportive. Another point is that when
ing the perception.
we go out and work, we become foreign architects who have an upper hand due to our experience. Eventually, the local architects
CONRAD: Would anyone like to add to this point?
or consultant will come almost at par and this evolution of architecture, which we should accept and welcome.
ROHIT SAXENA: We as Indians have to be very confident of who we are and what we want. While there is a lot of value provided
CONRAD: I do a lot of work in a city not far from Mumbai and when
by foreign firms that bring specialized expertise that we need to
I thought of setting up a studio there, another architect advised me
develop infrastructure, I think at some level there is confusion that
against it and said that the day you do that you will be termed as
we associate modernization with westernization. We think that if
‘one of us’ and you will lose all your jobs. Well, we have been listen-
we had the glass towers here, in some way we have arrived. This
ing to a lot of reasons why these practices should be welcomed JANUARY-FEBRUARY 2013 • DESIGN MATRIX 27
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ANUJ MUNOT Anuj Munot, Director - Commercial with Kalpataru Limited joined the company in 2002. Through his keen insight and multi-tasking abilities, he has galvanised the procurement, contracts, interior designing, IT and administration functions entrusted to him by the company, and has developed forward looking business strategies for the organisation. Under Anuj’s guidance, Kalpataru is one of the earlier real estate developers in India to extensively implement sustainable and environmentally responsible design concepts in the residential and commercial developments. In addition, Kalpataru is also a founding member of Indian Green Building Council which is actively involved in promoting the green building concept in India.
NINAD TIPNIS Ninad Tipnis started JTCPL Designs in the year 2002. An alumnus of the Academy of Architecture, Ninad’s personal design philosophy is characterized by simplicity, distinct lines and forms that incorporate a sense of flexibility as well as scalability. JTCPL Designs has won the coveted M.K award for excellence in Workspace design as well as the Artists in concrete award for space planning and functionality. As a step towards creating a sustainable work environment, Ninad was instrumental in making JTCPL Designs a member of the U.S. Green Building Council in 2010. Ninad’s other passion include mentoring students of various Interior Design institutes, and he is actively involved in guiding students at the School of Interior Design, Rachna Sansad.
SANJAY PURI Sanjay Puri graduated from the Academy of Architecture in 1988 and established his firm Sanjay Puri Architects in 1992. Completing an extensive range of projects including townships, software parks, residential buildings, retail malls, hotels and entertainment centers, the firm strongly believes in exploring new territories of design. In March 2009, Sanjay Puri Architects became the first Indian architectural firm to win an Award at the International MIPIM Architectural Review Future Project Awards ‘09 held at Cannes for their office building project, Cubes at Pune. In a survey by MIRVAC, two of their buildings have been included in the 47 most exciting architectural projects coming up in United Arab Emirates, making them the only Indian architects to be included in the list.
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“One needs to understand the ethos, the art, the philosophy and not just be bothered about mathematics and languages, but the reason why they are at the bottom of the education triangle is that our education system was invented to meet the demand of the industry at the time of the industrial revolution.” — Conrad Gonsalves and the more we learn from them the more we do not do! But is
KAMAL: Chairman Mao banned the movement of people from
there something special about the Indian designer?
the countryside to the city and there was tremendous wisdom in that because you can never solve the problem of urbanization.
KAMAL: I always give the example of Japan which has evolved
We create the problems and then try to solve them. We need new
from the past hence there is a certain purity in that development.
infrastructure and then get hi-rises in, but more importantly, you
Rest of the world was colonized so the architecture you see here
should know how to run, operate and maintain them.
or in China is characterless – the very need to design vertically is questionable! We talk about sustainability completely in vain, while
CONRAD: What are then the strengths of collaborations?
fundamental and commonsense sustainability has been thrown to the winds. I am working across India and the amount of traditional
SANJAY: We have more understanding of our environment so we
knowledge available is outstanding. If I am working in stone then
bring more to the table definitely. We might not be very struc-
I have to learn from that guy with a hole in his shirt. I see a huge
tured, but look at the malls that have come up in the last few
cache of talent in some of the youngsters in small towns. So what
years in Mumbai, amongst them Phoenix in Lower Parel is prob-
needs to come together is that the developers need to be far more
ably the worst planned, yet there is a certain character to it and
perceptive and sensitive to these issues and you certainly need
it has the highest footfalls and this works better than ‘planned’
assistance and collaboration whenever its required but it is not to
malls. We have a better understanding than the people coming
say that there is a dearth of talent in our country.
from outside.
CONRAD: Kamal has given us an entire picture of the riches that
VIVEK: In commercial architecture their experience is more but
we can encash. But when working with other architects what does
for structures that are organic in nature we are more sensitive and
an Indian architect brings to the table?
knowledgeable. I noticed when working in collaboration with foreign firms, that they are very good at planning and getting into
AARON SCHWARZ: There are good architects and not so good
details and with this comes focus. Here every architect multitasks
architects, there are good buildings and not so good buildings and
so we are not able to develop specialists within our practices, but
I think that the problem is that what we are importing and export-
with a staff strength of more than 200, we have now been able to
ing is some of the worst — we are importing the aesthetic that
achieve it to a certain degree. So you learn as you grow and col-
we see in a magazine as opposed to the process with the thought
laborate over a period of time.
and idea. So what we really should be importing and exporting is the knowledge and the process and then bringing it into the context of India. Our office here has predominantly Indian architects trained in the US and they understand the concept much better. So thinking about making spaces that we want to make in a collaboration way is really where the answer is but it is not in creating Bandra-Kurla complex. Why are we building glass office buildings that don’t make sense! India can be the benchmark for the rest of the world. Demographics indicate people are moving from the rural farmlands to the city across the world and we also know that living in a denser environment can be more sustainable. So if we start to use and share our resources and build planned environ-
“Not even 1% of mainstream successful practicing professionals contribute to education today and the lack of sensitivity towards this factor is what is contributing to the output.” — Ninad Tipnis
ments instead of suburbia, then it will be okay. JANUARY-FEBRUARY 2013 • DESIGN MATRIX 29
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ROHIT SAXENA Rohit Saxena, former Senior Vice President and Managing Director, HOK Planning and Design Services, India, has over 25 years of international expereience in design, architecture that includes design, planning and management of complex technology-oriented projects. While his tenure with HOK he has to his credit projects such as Brij Mohan Lal University, Gurgaon; Nandi Hills Residential Township, Bangalore; Corporate Global Headquarters Building, Reliance Industries, Mumbai; Indu Biotech Park, Hyderabad, amongst others.
AJAY NAHAR This scion of Nahar Group is an architect from the Academy of Architecture, Mumbai with a Masters Degree in Construction Project Management from UCE, UK. He adds a new dimension to Nahar Projects with a multi-faceted role of a developer, planner and designer. He is a vocal citizen with strong views on city’s infrastructure and ideologies in the construction industry. Nahar Projects is a team of qualified & dedicated professionals with commitment to excellence in covering every aspect of the business of construction.
AARON SCHWARZ Perkins Eastman is a 700-person architecture, interior design and planning firm with 13 offices around the world. The firm was founded in 1981 and is now one of the largest and most respected design organizations in the world. Aaron Schwarz heads the vibrant design studio of over 20 that does the work in Mumbai, though for some speciality building types they do bring in planning and programming assistance from other resources from within their US offices.
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ROHIT: If you look at the automobile industry, it is comparable
between some liaison person and the government official. We all
with the best in the world because it has grown to that level of
must talk about safety especially at construction sites and not just
expertise. We are talking only about architects but the entire con-
for people who will inhabit the building. All we want to talk about
struction industry is not in sync with each other. The fallacy comes
is sustainability, but we don’t want to talk about the beginning of
when you expect a very hi-tech building to be implemented cor-
sustainability which should start from the moment we start dig-
rectly because there is no bidding and trending process or a con-
ging at the site where there are people living. There is a complete
struction or maintenance process that is in sync. If there is a higher
apathy and lack of respect and then we wonder why the concrete
involvement of the entire construction industry to reach that level,
wall has not turned out right? But the issue is we don’t ever give the
the problem will solve itself. And then you will see less differen-
guys living at the site a decent bathroom or good food to eat, why
tiation between an Indian and an international architect because
should he build the perfect concrete wall? There is a whole level of
there would be convergence.
respect that has got to change.
AARON: One major difference between the automobile and the
CONRAD: Thank you Aaron for showing us the mirror on this one.
architecture industry is that there I will make 10,000 of that particular model so if I get a first couple wrong, I can work on get-
KAMAL: I went recently to Anantpur Sahib (I am a Sikh) where
ting it right. Every building that we do has to be perfect and you
they have built a beautiful memorial designed by none other than
are not going to do it again. I think that the entire industry here
Moshe Safdie and built by government agencies. I asked one of the
has got 2 problems- one where it hasn’t completely evolved so there is intense lack of coordination skilled labour; and second, the demand for new buildings is unbelievable but nothing in place to support that. CONRAD: I am reminded of a quote a client had shared with me, “there isn’t sufficient time to do a job right but there is plenty of time to do it all over again’. Does anyone want to respond to this? BABITA (FROM THE AUDIENCE): There are so many good designs
civil engineers how they did it. His
“As a developer I feel that the foreign architects probably because of their system are able to give more options to us which most Indian architect do not and even if they do, they will push for only the one they are convinced about.” — Ajay Nahar
part 7 to 8 times, as each time they constructed it, the Israeli team would come and break it, because the fellows would not accept the lack of a single straight line or detail. Even today in Chandigarh, you can admire the concrete work of the secretariat buildings that was all done by Indians and half a dozen French engineers. Today, we can’t get even one-tenth of that quality of work with all technology – it is shocking! AARON: I have just completed this building in Chandigarh and I
which never see the light of day because of regulations which never get implemented. Why?
reply was that they rebuilt each
am Jewish not Israeli because I didn’t break it enough (laughs). I look at the building going up in beautiful stone and suddenly see
KAMAL: I call it the shifting goal post hearing – you are ready to
black tyre tracks on the stone that has been put on the wall – no
kick and someone shifts the goal post. We just have a confused
one protects anything. There is no pride in your work!
mess, virtually no codes on structures. We have a very underdeveloped construction history. The whole system needs to be changed
CONRAD: Even if one artisan starts respecting his own work then
and the architect is only a part of the system.
respecting the work of others will follow naturally. I think it comes from the fact that we can afford someone to clean our mess. There
CONRAD: Let’s hear from Aaron what he feels can be done in the
is lack of discipline in us. This is something that we really need to
area of regulation? Where are the road blocks you’ve encountered?
learn along with safety of the people on site. I think as architects and designers this is one thing we need to insist – safety and happy
AARON: Clearly the government has a role to play to clean this
conditions if we expect good jobs from them. Before we move on,
up. But we as architects also have a professional responsibility.
let us touch upon education.
Just because the developer tells us that he will save money and the code will allow only one staircase in a building 6-storeyes tall,
A STUDENT (FROM THE AUDIENCE): The world of education has
doesn’t make it right. So I think that there is lack of negotiation
moved to creative ways of learning to support and enhance creJANUARY-FEBRUARY 2013 • DESIGN MATRIX 31
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“All we want to talk about is sustainability, but we don’t want to talk about the beginning of sustainability which should start from the moment we start digging at the site where there are people living.” — Aaron Schwarz ativity. The prevailing system of design education employs methods that are far from the need of the hour. What are the plans of moving in this direction? AJAY: Last years I was teaching the 3rd year architects in JJ College. I feel the entire system of education does need a change, because after reaching 3rd year the students are half architects already and they should be more creative, exploring more options and be able to do more alternatives for design and I don’t think I’ve seen that in a single student. With due respect to the academicians, the curriculum is not allowing them to explore. So when they become professionals like us, there is so much pressure of competition that creating options take a backseat. As a developer I feel that the foreign architects, probably because of their system are able to give more options to us which most Indian architect do not and even if they do, they will push for only the one they are convinced about. KAMAL: Education system is a massive subject and needs to be addressed at a different forum, but just a few words. First they should be taught how to sharpen a pencil – they don’t know how to sketch. It is impossible to work with a person who goes only clickty click with a mouse. Secondly, you have to understand that the quality of inputs is going to result in the quality of output and therefore the people who come to teach particularly the visiting faculty are the key. You need to get these people in the realm of philosophy, you need to be the driver, you need them to be grounded, thinking laterally – which is not happening. You are into a marking system where getting your grades is the end! According
“We talk about sustainability completely in vain, while fundamental and commonsense sustainability has been thrown to the winds. I am working across India and the amount of traditional knowledge available is outstanding” — Kamal Malik
to me, there has to be a radical shift in understanding the word ‘design’ and how really it ought to be taught, otherwise you will get only inferior stuff. Engineering has suffered the worst fate because every person in the last two decades wants to do either electronics or electrical and only those who didn’t get through opt for civil. This is a joke! We are a very lopsided industry with very few competent civil engineers; hence we go chasing a Canter or Arup. Also, the architects know pretty much nothing about structures and vice versa. JANUARY-FEBRUARY 2013 • DESIGN MATRIX 33
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“When we go out and work, we become foreign architects who have an upper hand due to our experience. Eventually, the local architects or consultants will come almost at par and this is evolution of architecture, which we should accept and welcome.” — Vivek Bhole ROHIT: I have an observation to add to what Kamal said. I think
in for – he just trusts the system and gets in. So it is up to us to go
architectural education is a problem not just in India but through-
back and contribute.
out the world. There is tremendous emphasis placed on design and if you look at some of the best architects in the world, they were
AARON: There is a huge explosion in education and part of the
master masons – people who understood how materials work well
issue with architecture is that you have to bring a lot more to the
together, they were in love with the smell of cut wood and under-
table than just the technology. One is cross-disciplinary learning
stood those aspects – that is not taught in architectural schools.
that has not been in India until recently – being able to study
The difference is that in India after graduating from SPA, I paid Rs.
Shakespeare along with architecture is not only okay but crucial!
50/- and got registered with the council and I was an architect
Second, that it is a team sport. There is a huge shift from a didactic
ready to practice. In the US, you have to take an exam and there is
teaching methodology to one of a learning methodology and it is
a one in four chance that you will pass and you can take that exam
all changing emphatically across the globe and in India too.
only after working for 3 years with a firm post your graduation from an architectural school and after having a mentor and recording all
CONRAD: One needs to understand the ethos, the art, the phi-
that you have learnt in terms of construction, technology, history,
losophy and not just be bothered about mathematics and lan-
etc. This process exposes you to the fact that there is a lot more to
guages, but the reason why they are at the bottom of the educa-
design and if we started implementing some of these techniques
tion triangle is that our education system was invented to meet the
here, then the students will realize that they have a task ahead to
demand of the industry at the time of the industrial revolution. But
obtain and earn their license. It is not about just designing these
now we need people who can think. Big corporate houses have
clever buildings and expecting that someone will figure out how
moved into education to fill that need – to educate and encourage
to build them. I can design beams and do mechanical systems only
people to think. But surprisingly, the very area that is supposed to
because I had to study really hard to pass the exam.
be creative is not using these methods.
NINAD: I would like to add a point here – and this is common across the globe – not even 1% of mainstream successful practicing professionals contribute to education today and the lack of sensitivity towards this factor is what is contributing to the output. How does one expect quality output from the institutes when you yourself as a part of the successful ethos of architecture and design don’t contribute to education? The only way the system will change is if mainstream contributes and pressurizes the exciting system to change. The kid who enters
“One of the major advantages that a foreign firm brings in is the sheer experience of having done it several times over. India has not yet built such massive scales and we are just beginning to get there. So it makes sense to invite an international firm with the experience is always helpful.” — Anuj Munot
school doesn’t know what he is
AARON: I think we are being a little idealistic, because I have spoken to many people and world over, the first and most important goal that parents and students claim is their reason for selecting an institution to get a job – it is not to learn. So the fundamental problem is that we are not going to continue education to learn set skills and so long as everyone is only interested in the return on investment in their pocket, we’ve got a problem! KHOZEMA
CHITALWATA
(FROM THE AUDIENCE): Get good grades and get a job, when this motive gets incul-
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cated in a child he carries forward the same culture and values
CONRAD: That is really commendable and we hope more peo-
even as a professional. Somebody wrote me a mail asking what
ple come forward in doing similar things which will help lift the
would you expect out of fresh graduate from a design school?
standard of the industry as a whole. Sanjay would you like to share
And I wrote a one word answer – Attitude. I find that when we
something with us.
invite someone to come and learn the process of being practical after having been creative as a student, they get into a shell and
SANJAY TOSHNIWAL (FROM THE AUDIENCE): We are trying to
feel that they have learnt enough to become a successful profes-
bring technically advanced paving material to the Indian market,
sional. I feel that you continue learning till the last day of your
which can be applied directly on concrete.
life – continue carrying the pencil to learn something every day. We don’t find the attitude even within the fraternity and we need
CONRAD: So we do have companies committed to corporate
forums like this where we can share and understand. World over,
social responsibility and to bring material of international stan-
this kind of forum participations are a must to keep your practic-
dards into India with collaboration to put us on an even platform.
ing licenses live, which is not a condition in India. People here feel
Anand from Pidilite wanted to add something.
that after a certain stage in their career, they have done and learnt enough and I have seen senior practices collapse because they
ANAND JAIN (FROM THE AUDIENCE): India has gone through
have stopped learning. This is the attitude – willingness to learn
a change in the last decade and I have been a part of the build-
–that needs to be a part of our DNA as professionals. NIELESH KENKARE (FROM THE AUDIENCE): I would like to add here that unless we make our education more aspirational, the attitude of both parents and students will not change. We need to change our fee structure so that a greater value is attached to it. CONRAD: To complete the picture, we have people who have been helping us put our designs together. We have Sanket Parekh from Pidilite and Sanjay Toshniwal from Bomanide. Please share with us what you are doing to establish International standards to your products?
ing material industry and have
“The problem is not with Indian Architects, it is with the developers and rules. Internationally, you have to submit the entire set of drawings and you cannot even change an electric point later. Here, there is no point in making complete sets as the minds will change then the rules will change and so on.” — Sanjay Puri
SANKET PAREKH (FROM THE
worked with both Indian and foreign architects. The difference I found working with them as an engineer is that when you work with international architects, you get complete specifications and drawings so you are clear about what they want. But with Indian architects everything is evolving, changes are made till the last minute. Thankfully, it is changing now. Another thing is with education which actually begins after college when you learn more. It is more about cross learning and collaboration than a competition which will lead to improvement. CONRAD: Yes and that is my cue to say that when you fin-
AUDIENCE): There was a good point made that such panels are
ish your formal education in college, the first course you must
rare and we don’t get opportunities to learn from you. So we at
undertake is a lesson in knowing what you do not know – in both
Pidilite want to create such forums on a high frequency basis to
personal and professional life. If we do that, then the way we live
allow people to have access to some sort of a continued educa-
and the way we design will be a great experience. What is very
tion through discussions on various pertinent points. At the same
heartening is to see this great turn out which means we are all
time we are also working at the bottom of the Pyramid with con-
willing to take that first step.
tractors. How do you address the typical Indian jugad – ho jayega sahib attitude? We have a Fevicol Champion’s Club which is a social
BABITA: Thank you Conrad for being the perfect captain to the
club for the wood working contractors and we have about 45,000
ship today and to everyone on the panel and in the audience for
members. The aim is to impart education to them in whatever pos-
making this forum a true exchange of experience, information and
sible manner – increase their skills and quality with the hope that
shared knowledge. We hope to have more such platforms so that
it will help the output.
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Architecture
f o m l a e R e h t In
Y T I V I T A E CR
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es: Co khar V; Imag Words: Shek
urtesy MRV
Chenna i in ra d in h a centre of M of T he d e s ig n w a free flow o ll a to d te rea ha s been c erg ie s. creative syn
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A
utomotive R&D requires close co-ordination of various Test Labs, Prototype Labs and the Design Centre, with compact planning and efficient circulation and utilities. Mahindra’s burgeoning Auto and Farm Sector (AFS) needed a dedicated
R&D centre comprising common test labs for Engine Development, a Fatigue Lab, a Noise Vibration and Harshness Lab, System Evaluation Labs (SEL), Tear Down Lab and large store. Before moving to Mahindra World City in Chennai, the AFS Sector had scattered test labs between Nashik, and Mumbai which slowed down the development of new products.. The company selected the site for Mahindra Research Valley in its Mahindra World City on a land of 125 acres in New Chennai, to integrate all the aspects of Automobile Engineering and design to speed up the development of automotive R&D and to reduce
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The MRV design office building has a large footprint split into three storeys with a central courtyard that is designed as a rain forest visible from all areas of the design office. JANUARY-FEBRUARY 2013 • DESIGN MATRIX 43
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costs. In the design created by architect Charles Corea and executed by the in-house team at Mahindra, there are three concentric work zones divided by two ring roads. While the central zone houses the design office and rainforest, the second ring consists of workshops, Test Labs and Prototype areas and the third ring includes all supporting services and utility
In the design created by architect Charles Corea and executed by the in-house team at Mahindra, there are three concentric work zones divided by two ring roads.
buildings like the Electrical Substation, LPG, CNG and fuel storage, water tanks, pump room, STP, ETP, Scrap yard, Product Libraries and Data Centre. The inner road encircling the design office gives access to various entrances for offices and workshops, and the outer ring provides access to heavy vehicles (trailers, pickup trucks, etc.). The north east zone of design office is reserved for future workshops and all existing workshops, it has been provided with scope for future expansion. The MRV design office building is designed to accommodate 1800 workstations, cabins and conference rooms and has a large footprint split into three storeys with a central courtyard that is designed as a rain forest visible from all areas of the design office. The design office has a spectacular internal glass faรงade with each pane measuring 3.6 m in height and 2.4 m in width. Workstations are arranged keeping in mind the 8x8 m grid the building follows. So each table has a customized size of 2x2 m, which is then placed together to form clusters of 11, 22 or 33 tables. These clusters also help in demarcating areas for various MRV teams and a special table for the team leader. A path created within the building is used to approach these workstations that are placed around the outer periphery of the building. The cabins and conference rooms (which need to be enclosed spaces) are kept next to the glazing looking into the courtyard. Some of the areas between the enclosed cabins have been opened up as break-out spaces for
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designers to unwind on a sofa with a garden view. These break-out spaces not only give wonderful picture-frame glimpses of the courtyard, they also add a surprise element to the overall interior layout. The basic colour palette used for the flooring and furniture is black (for the floor and storage units), beige (for the partitions) and cherry (for the table tops). This allows the use of varied colours like red, orange, brown, yellow, blue and purple for specific walls. The rest of the volume is kept white. Full-size murals have been put up on some of the walls which act as landmarks for people to find their way within the huge building. The main design office is placed in the centre of the facility and is connected by overhead bridges to workshops on three sides; and on the fourth, to the main entrance and driveway. The design office has three main levels. At the periphery of each floor plate are workstations laid out in an organic fractal pattern. This geometric
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pattern dissolves into a casual pattern of glass walls as people cross
view of the courtyard as well. This space is also used to display some
the floor plate towards the garden.
Mahindra SUVs and tractors. Main aim while designing the interiors
Glass planes at the edge of the garden are set at varying angles to allow constant reflection of the greenery into the main building.
was to focus on the garden and use the natural light which filters in through the glazing – this rain forest is the soul of the project.
For people working in the MRV facility, it promotes a deep sense of
“Building the MRV was an enormously complex task where the
harmony between human habitation and the natural world. The
project team was responsible for the execution of a facility that
entire facility is a giant catalyst encouraging their creative genius
required close collaboration between diverse groups of people
to flow. There are many places within the building where they can
both inside and outside the Mahindra Group,” says Prochie Mukherji,
interact in formal meeting rooms and casual spaces that lead from
Senior Vice President and Chief of Staff, Mahindra & Mahindra Ltd.
one department to another and in the open-air retreats located in
who headed a 14-member project team led by Cdr. Rajeev Vaidya
the very heart of the garden itself.
(Retd). Talking about the design of the MRV, she adds, “The space
Keeping in mind that this was to be Mahindra’s flagship R&D
at MRV has been consciously designed to enable people to meet
centre, the design approach was to integrate every part of the
and interact informally. Everything I read about creativity told me
structure – buildings, furnishings, and surroundings – to become
that that great ideas emerge in unexpected ways, when people
part of a unified, interrelated composition – that encourages
from disparate disciplines talk to each other in non formal settings
Mahindra’s R&D specialists to let their engineering creativity flow.
– in the corridors, next to water coolers, in cafeterias. It is at times
The library has a double-height volume facing the garden and
like these that people bounce thoughts off each other, those ideas
is approachable by two bridges at the entrance level. There are two
collide and innovation takes root. So MRV has plenty of informal
cafeterias, one at the garden level and the other on the terrace – both
niches where people can sit and talk, a lush garden for them to
with the option of using outdoor areas for spillovers. The reception,
stroll, colourful and airy workspaces and beautiful paths and
again at the entrance level, is partly double height with a spectacular
landscapes and waterbodies to fuel creativity and inspiration”
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Main aim while designing the interiors was to focus on the garden and use the natural light which filters in through the glazing – this rain forest is the soul of the project. 48 DESIGN MATRIX • JANUARY-FEBRUARY 2013
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Global eye
Colour Alert
2013!! H
ope you all have a delicious feeling
can include the entertainment industry and
of contentment for 2012 and are
films that are in production, travelling art
looking forward to a wonderful (&
collections, hot new artists, popular travel
colourful) 2013.
destinations and other socio-economic
Everyone has a personal opinion
conditions. Influences may also stem from
about colours. But if you are in a colour-
technology, availability of new textures and
sensitive industry, your personal reaction
effects that impact colour, and even upcom-
should not influence the final selection.
ing events that capture worldwide attention.
Therefore, like every year, I have been anx-
This expert prediction influences product
iously waiting for the experts to predict
development and purchasing decisions in
the colour trends for 2013.
multiple industries, including fashion, home
These colour experts quite literally comb the world looking for colour influences. This
and industrial design, as well as product packaging and graphic design. January-February 2013 • Design Matrix 49
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Harsha Kotak
“Citing its association with “renewal and rejuvenation,” the colour experts at Pantone have christened Emerald the latest “it” colour, replacing Tangerine Tango.”
Pantone is regarded as a bible for
ine Tango (that orange tone is so 2012).
designers from varied fields, as they pro-
Leatrice Eiseman, executive director
vide professional colour standards for
of the Pantone Colour Institute says: “The
design industries. Their global author-
most abundant hue in nature, the human
ity on colour makes their forecast for
eye sees more green than any other colour
the colour of the year, highly awaited
in the spectrum. Symbolically, Emer-
by designers.
ald brings a sense of clarity which is so
Pantone has announced ‘Emerald
important in today’s complex world. This
Green’ as the colour for 2013. That’s right;
powerful and universally-appealing tone
this lively radiant colour is crowned as the
translates easily to both fashion and home
Colour of the Year. Citing its association
interiors.”
with “renewal and rejuvenation,” the colour
I think it will be a challenge to use this
experts at Pantone have christened Emer-
colour which has a very strong personality.
ald the latest “it” colour, replacing Tanger-
But I am ready to put my creative cap on
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and give 2013 a fresh start with this pre-
this colour for 2013 will need to coax and
cious colour.
cajole, soothe or astonish, renew and
With jewel-tone complexity, Emerald
replenish. At the same time, there will be
Green can be a statement-making accent
the consumer’s expectation of practical-
or a versatile complement to exotic, color-
ity – which colours will have staying power
rich environments.
and can be relied upon as a steadying
Here are my mood boards for two
influence in unsteady times. These skilfully
palettes that I predict will hit the bull’s eye
balanced colour palettes that play to their
this year:
practical side, while satisfying their aspira-
Palette # 1: The Calm Palette: Neutrals with splashes of striking Emerald Green. Palette # 2: The Royal Palette: Emerald Green with Gold as an accompaniment. In order to create the “magic” in the market place that ultimately leads to sales,
tions, hopes and needs for something novel, will remain key to enticing the would-be consumer or client Write in your ideas and thoughts about this colour forecast for 2013 to harshakotak@ designmatrix.co JANUARY-FEBRUARY 2013 • DESIGN MATRIX 51
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Residential design
Contemporary SOJOURN
A Scenic Duplex in the Mumbai Suburbs has been given a contemporary twist by architect Milind Pai. Words: Shekkhar.V; Images: courtesy the designer
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W
ith a scenic mountainous view
were combined to create this duplex of
and overlooking the beauti-
about 2,000 sq. ft. for a very successful dia-
ful Mahindra complex and the
mond jewellery dealer in an enviable loca-
famous Indira Gandhi Memorial Institute,
tion in the noisy Mumbai Metropolis!
this duplex apartment in suburban Mum-
The client was very clear about what
bai had to be created with equal aesthetic
he wanted – a very subtle overtone for the
appeal. Two flats on the 11th & 12th floors
house, which would flow right from the
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beginning till the end. He also clearly stressed on using a major component of bought-out furniture to save on the execution time. The main challenge faced by the architect Milind Pai in this project was to hide the beam ceiling structure that was exposed after walls were demolished to create bigger spaces. Being a time bound project, the challenge was using high technology and modern furniture in a bit of a compact space available while keeping it elegant and classy. “Faced with this challenge, we decided to follow a minimal theme that would give a clean cut and fresh feel without using too many elements
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The winding staircase blends with the contemporary theme and becomes a conversation element here. 56 DESIGN MATRIX • JANUARY-FEBRUARY 2013
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in the background,” reveals Milind Pai. Thus the project revolved more on the proper choice of the selected items imported from various parts of the world to create a complimentary background. Most of the furniture was branded and hence the elements made on-site had to be perfectly matched in shades and finishes – in fact, it is difficult to now distinguish between the two. “We have played with only three or four colour palates so that it doesn’t create too much contrast with the modern theme of the furniture and artefacts,” he continues. The elegant smooth veneer finish of the main entrance is contrasted by a rustic stonewall that holds the nameplate in a niche with cove lighting. The lobby has been left relatively clutter free so that the focus is on the temple, a few artefacts and seating area. A glass sliding door leads to the living room that has been divided into two distinct sitting areas with the help of L-shaped sofas that blend with the minimalism theme. A subtle colour and texture as the dining table backdrop add a touch of contrast to break the monotony. The interesting wooden cove ceiling in the living area is the result of overhanging beams which needed to be carefully blended in the overall scheme. The beau-
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Overlooking the scenic beauty, the aparment has been given a subtle look so that one can enjoy both — the outside & the inside. JANUARY-FEBRUARY 2013 • DESIGN MATRIX 59
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tiful winding staircase creates an imposing element in this setting. The lower level also has a guest bedroom, a powder room and the kitchen. The bedroom on the lower level follows contemporary lines with only white and cream colour tones. Wooden flooring creates a likely contrast to the red chesterfield sofa. An interesting open-and-close dressing mirror has been put up on the wall next to the bedside table compelled by the shortage of space to create a sepa-
ABOUT MILIND PAI
Established in 1987, Milind Pai – Architect and Interior designer, is a professional design firm specializing in residential and commercial interiors, headed by Chief Architect Milind Pai. One of the most valued aspects of the team’s service is the business knowledge they bring to project development, adding to their design creativity and cross industry insight and you will see the substance behind the reputation for excellence in designing all kinds of interiors.
rate dressing area. The personal areas on the upper level reflect the contemporary identity, though Milind has given each room a distinct identity of its own in keeping with the occupant’s personality. While the master bedroom reflects a mature classiness, the son and daughter’s bedroom show the spunk associated with youth. But in creating the required ambiance, nowhere has the designer let go of the design concept. A truly contemporary dwelling for a family that has a modern lifestyle! JANUARY-FEBRUARY 2013 • DESIGN MATRIX 61
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Spiritual CALLING Conversation
Spiritual artist Gayathri Desai, talks about her priced possession – the collection of paintings based on the 24 types of Gayatri Mantras.
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Gayathri Desai with MF Hussain
rt has been in our blood. My great
A
My work has always been spiritual,
grandfather was the pioneer of
since at a very early age I realized that this
the block making industry in
was my calling. In early 2000s, while I was
India, followed by my grandfather who
living in Dubai I was working on a series of
was a processing artist. My father was
paintings of goddesses that incorporated
into textiles and I, too, was gifted with this
mantras. While trying to study more about
knack for art, which thankfully my parents
it, through a friend I received a photo
understood at a very early age.
copy of the twenty four gayatri mantras,
After graduating from JJ School of Arts
before which I had no idea that they
I majored in textile design owing to our
existed. The power of the twenty four
family business. However, after the textile
gods and goddesses put together form
industry got a big hit in the 80s, like most
the gayatri mantra. The more I pondered
textile designers I moved to fine art. I have
over them, it dawned to me that I need to
also tried my hands in sculpting and have
be the mediator to convey these mantras
sculpted over 500 ganesha idols. However,
to the world. And that’s how began my
for the past almost a decade I have been
quest of understanding these mantras in
only painting.
complete depth. JANUARY-FEBRUARY 2013 • DESIGN MATRIX 63
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The power of the twenty four gods and goddesses put together form the gayatri mantra. The more I pondered over them, it dawned to me that I need to be the mediator to convey these mantras to the world.
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These mantras were in Sanskrit and English and I also had their significance. After this I got hold of the gayarti sadhana, and then came the Beej mantra aka seed mantra, that was explained to me by my guruji, along with the significance for all the twenty four gods and goddesses. After the understanding of all of this I wanted to represent these in my paintings in a symbolic manner with the paraphernalia of each god. For example, goddess Saraswati is identified with a book and sits on a lotus. Similar to this I started doing further segregation for each god. And then I realized that reciting the gayatri mantras means coming from darkness to light. And thus, all paintings show navgrahas. The blue tilak represents the Vishnu tilak, since Vishnu is the leader and everything begins from him. In a span of just about 4 months in the year 2004, I completed these paintings. I completely believe that I had the divine hand above my head and that’s only why I could complete them in such a short span of time. It is very important to have the support of the super power. When you are working for the lord, the energies change. Any kind of work that is spiritual needs a little bit of sadhana, i.e. sincerity and meditation done in the morning. It is important to evoke the energy and ask for help from the super power. This series of gayatri mantra paintings are available as canvas prints and can also be customized to specific dimensions for a painting. The original ones, I am sure, will be going to a museum. After this I am working on a series inspired by auras, with the help of a healer in New Zealand Gayathri Desai can be contacted on ddneroygallery@gmail.com JANUARY-FEBRUARY 2013 • DESIGN MATRIX 65
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Design focus
Fensterbau/Frontale, INDIA 2013 Fensterbau/Frontale India to be held in March 2013, in Mumbai.
N
ürnbergMesse in cooperation
huge investments largely in the real estate
with their representatives in
sector. The show is supported by IFT
India – Indo-German Chamber
Rosenheim in Germany and the Interna-
of Commerce are pleased to announce
tional Fenestration Forum in India. Other
that the third edition of Fensterbau/
supporting associations include Glazing
Frontale India - International Trade Fair
Society of India, Confederation of Con-
Window, Door and Facade Technologies,
struction Products and Services, uPVC
Components, Prefabricated Units, will
Windows & Doors Manufacturers Associa-
take place from the 7th-9th March, 2013
tion and Indian Green Building Council.
in Mumbai.
The last edition held in Bangalore saw
Mumbai - India’s financial capital and
participation from over 9 countries and
the largest consuming market attracts
was visited by more than 3,500 business
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visitors. The exhibition proved to be an
as well at create a knowledge sharing and
cess - an Architect, a Builder, a Consultant
effective platform for wide display of prod-
networking platform.
as also a Fabricator.
ucts and technologies complimented with impressive networking opportunities.
The Industry Meets are also an effec-
The fenestration Industry in India though
tive forum to discuss and highlight impor-
fraught with challenges is now slowly and
The exhibition is further enhanced
tant fenestration topics such as the role
gradually finding more acceptance as the
by an extensive conference programme
of hardware in enabling functionality, the
common man becomes more aware of the
focusing on current trends and develop-
role of opening and closing devices, chal-
importance of good windows and doors.
ments and a detailed examination of the
lenges in design and construction of high
fensterbau/frontale India aims to raise further
Indian and international fenestration mar-
quality facades amongst other relevant
awareness about quality windows and doors
ket. Furthermore a series of industry meets
issues. The panel discussions during the
and take the concept to the grass root level.
are also being organised across all major
Industry Meets see representation from all
cities in India to promote the main event
those involved in the decision making pro-
For details visit www.frontale-india.com; rucheeka@indo-german.com JANUARY-FEBRUARY 2013 • DESIGN MATRIX 67
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Design insight
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Furniture
First With a growing demand for exclusivity, one finds an increase in the number of designers who are developing special furniture pieces – just for you.
I
nteriors play a major role in our lives. It entails not just furniture but the entire look and feel of one’s home. Each and every piece makes a statement about the person so it is important that furniture
should be designed with utmost care keeping the individual style quotient in mind. We pick some of the designers who are giving a refreshingly new feel to the way we look at our furniture.
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Punam Kalra
the adventurous, the bold and those with a
An engineer turned designer, Punam Kalra
distinct personality.”
has been designing furniture for the past 14
Her latest collection features a var-
years under her brand I’M Centre for Applied
ied collection of furniture which include
Arts in Delhi. Punam describes herself as a
pieces like Forms that is a combination
shy child, who generally prefers to live in
of natural solid wenge wood with highly
isolation; hear music and watch films which
polished stainless steel with the top and
are fast and intelligently humorous. Though
base in flowy and abstract shapes. The
being nurtured in a traditional family envi-
addition of steel automatically lends the
ronment, Punam has kept herself abreast
piece a futuristic character. It is a table
with contemporary culture developing a
that could be used to play cards or as a
strong sense of scale, balance and colour,
compact dining; Cheese Ball chair which
along with an appreciation for clean lines
is a tallish chair with large circular cut-outs
and natural materials. I’M, as the name sug-
immaculately finished in metallic leather &
gests, is for those who know exactly what
highly polished steel. This can be used in
they want because they can identify with it
sets of two or even as a solitary piece in a
and is willing to experiment with their own
larger setting; Sofa Chair that is typically a
ideas. Here furniture takes on a whole new
grandfather chair also called a wing chair
meaning where each design is an assertion
with studs and very bright upholstery;
of the self with individualistic style and sub-
The pyramid is an entrance console with a
stance. According to the designer, “I’M
charcoal finish in high gloss complete with
Centre for Applied Arts is the perfect
the walking figures mounted on top that
home interior design choice for
are an intrinsic part of the composition. JANUARY-FEBRUARY 2013 • DESIGN MATRIX 71
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Shilpa Gupta Though Shilpa Gupta is not a designer by qualification – only by vocation and passion – a hands-on practical and technical training over the last 10 years has enabled her to understand client needs and market demands perfectly. Customizing spaces and individual pieces for clients over the last several years lead to her retail platform & design service cell Mosaic in Mumbai. Located on the ‘high street’ and housed in a beautiful bungalow, the store has style and design sensibilities in perfect tandem — original, understated and elegant picks with just that little quirky twist. The stylish new Furniture collection – Blanco Negro y Oro – comprises of the essential pieces for a living and dining area; a crockery unit, bar, dining table, coffee table, chest of drawers and mirror options, JANUARY-FEBRUARY 2013 • DESIGN MATRIX 73
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with metallic finish and accents giving it
clients. “We customize and deliver to a
an understated look of shimmer and ele-
personalized level of detail and are able
gance. Mozaic also has a bespoke design
to innovate in terms of design and finishes
service for customized pieces designed
and execute the pieces exactly as they are
as per specifications and requirement of
visualized”, says Shilpa.
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Anemos
and quirky designs. Timeless transfor-
founded by school bestfriends, Nipoon
A unique assortment of high quality
mations incorporate both classic and
Agrawal and Rajkumar Jain, who had
home furnishings to satisfy even the
contemporary styling, original and rep-
established the company to change the
most discriminating shopper, Anemos is
lica pieces, and only the highest qual-
outlook of people towards fans. They
a treasure trove of new and restored fur-
ity materials and that is what you get at
believed that fans can and should be as
niture along with lamps. The chairs are
Anemos. In 2005, inspired and named
sophisticated and stunning as they are
unique and one of a kind, made from
after the mythological Greek God of
functional. Slowly they moved to other
various products like old time barrels,
Winds – Anemos was launched in a
decor accessories and the latest venture
hath gaadis and also some in unique
900 sq. ft. space in Mumbai which was
is focused on furniture.
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Asad Firdosi In the times of modernization, it’s a tough task to retain traditions and originality in design for a market that is crowded with material from all over the world – yet survive! After graduating in architecture from VRCE, Nagpur, in 1992, Asad Firdosi joined his ancestral business of furniture making as a junior architect. With dreams of modern designs, it took him years to understand the behavioral patterns of the most commonly used material — Teak Wood. Growing up surrounded by wood and traditional styles of furniture making, he dreamt of reviving the legacy of handcrafted teak furniture by the craftsmen of
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Central India. Asad’s designs not only do that but also reflect his talent, originality of thought and creativity while retaining traditional values. He strongly believes that furniture should speak of its quality and purity of style – and one finds Art Deco & Art Nouveau reflected in his work. A meticulous approach to detailing has helped him in sculpting furniture pieces from the best quality Indian teak. Now, as head of Firdos Furnishers, Asad is developing “a progressive vernacular modernism by pairing uncompromising traditional constructional techniques with the abstraction of
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everyday industrial and natural form”. After showcasing his works at various exhibitions in India (in Delhi and Mumbai), some of his designs and furniture pieces have also been featured in Miami & Frankfurt for their design & finish. Living and working in a small town, Nagpur, with limited market has never stopped Asad from thinking out of the box and develop new vocabulary in furniture designing, he always says “with my new designs. I want people to feel excited, curious, anxious and not just nostalgic”. 80 DESIGN MATRIX • JANUARY-FEBRUARY 2013
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Anjali Mody Anjali Mody graduated from the Rhode Island School of Design in 2009 with a Bachelor of Fine Arts in Industrial Design. In 2010 she founded Josmo Studio, a boutique furniture design studio, creating individualist, bespoke furniture that caters to the specific needs of the buyer. Despite being a young studio, Josmo has managed to take leaps and bounds in the furniture industry, having collected a reputable clientele base extending throughout the country. Her work ranges from designing eccentric bedside tables for personal homes, to fashioning designs for mass operations for hotels and casinos. “Drawing inspiration from everyday life, I choose these opposites from the contrasts and segmentations I see around me and develop them into my personal aesthetic. I like to play with JANUARY-FEBRUARY 2013 • DESIGN MATRIX 83
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the familiar and turn it upside down, using exaggerated shapes and unconventional materials in a imaginative way. In essence, the magic lies within transforming radical ideas into purposeful furniture – pieces that, in fact, speak to you. Pieces custom made to fit together, but more importantly, to fit you,” says Anjali. A showcase of furniture inspired entirely by the manic world of Mumbai, Double Decker is an experience and dynamic adventure as seen through art, culture and design. An exclusive presentation of works in an eclectic design by Anjali celebrating the vivacity of the city, the collection aims to capture Mumbai’s interconnected eccentricities. The furniture takes perspective into design, as an extension of her individual experiences in this bustling cacophony of honking cars and wailing vendors. 84 DESIGN MATRIX • JANUARY-FEBRUARY 2013
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Dining Chair & Table Occasional Chair & Table Leisure Sofa Custom-Made Furniture Artefacts, Sculptors Suite No. B-4, Hind Service Industrial Estate, Dyaneshwar Mandir Road, Off Veer Savarkar Marg, Shivaji Park, Mumbai - 400 028. India Tel./Fax : +91-22-2444 6177 E : info@kunstkarigar.com gjparmar@gmail..com W : www.kunstkarigar.com
Contact : GAURAV PARMAR - +91 98208 77745
Office Seating Lounge Seating Bar Stools Cafe Seating Cafe Tables 377, Amarkunj, Veer Savarkar Marg, Shivaji Park, Mumbai - 400 028. Tel.: 2446 1472 / 2446 3043 E : pdsmumbai@rediffmail.com gjparmar@gmail.com W : www.parmarinteriors.com JANUARY-FEBRUARY 2013 • DESIGN MATRIX chairs, chairs and chairs...
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Kanchan Fagwani After a successful and satisfying career as an interior designer, Mumbai-based Kanchan Fagwani has earned a reputation of being a professional with not just an eye for detail but also someone who likes to create everything for her sites rather than sourcing. Armed with a strong knowledge of furniture crafting, Kanchan has now forayed into manufacturing exquisite furniture for people who want to add to the aesthetics of their space with just that slight addition. With each piece crafted to near perfection, there is one for almost every area of the house (irrespective of its size). Right from seats and consoles to tables, beds and stools, you will find the furniture of your choice with kinteriors . 86 DESIGN MATRIX • JANUARY-FEBRUARY 2013
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As the workshop in mumbai is also a part of the showroom premises, a visit will also give you the rare chance to see the karigars at work, crafting and honing each exclusive piece that might end up being the conversation piece of your decor. JANUARY-FEBRUARY 2013 • DESIGN MATRIX 89
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MOVA1 Studio MOVA1 began its design practice in 2009 and opened its Gurgaon studio in 2011. MOVA1 has to its credit various design projects that have given them an enviable reputatiopn for a studio so young. Varrun Motihar, the founder of MOVA1 is an interior & furniture designer, has trained at KLC School of Design, London. Interior Architect Gaurav Jain, who currently leads the design team as the Creative Director in the firm, is a post graduate from CEPT University, Ahmedabad and is assisted by Architect Jyoti Sharma, Interior Designer Shikha Modi and 3D Visualiser Sumit Kanojia. MOVA1’s maiden furniture collection in Gurgaon “The Beige Collection” used woods approved by the Forest Stewardship Council. The design and techniques employed, followed a commitment to stay as close to the materials’ origin as possible. The finished pieces were thus a celebration of the “Tree” in its beauty and simplicity. Its latest offering - Barasingha collec-
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tion, follows continuity in thought. In these pieces, the designer has used flora and fauna to reflect both the rhythmic beauty of the forest and its fierce and dominating aspects. “My interest in design is particularly informed by a consciousness of the way interior environments influence human experience. I am always aware of how a meticulous design selection can promote and support spaces for harmonious interaction. This interaction is what motivates my practice,” says Varrun Motihar
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Institutional design
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S E L I SM VER! E R O F Informati
o
es: cou n & Imag
rtesy the
designer
cility is no fa l a ic d a me designer g Designing n u o y y as the project. is h t h it child’s pla w d ala realize minutmeant that Ali Baldiw unt ndly, which
e to acco to be kid-fri be taken in it to n e h ad h w ating, ils d e ta est of de rners for se get petrifi padded co ost of us tist — s, n e e , etc. g d d m e a o ft ro g like so visitin recovery e n th ve in e n g comes to ’s n it s hti a receptio indirect lig mes to kid prises of in m ly , co n when it co o ea ic t ar in o The cl m, play e was n inic e challeng n washroo cl o th ea m g ar in m So . as co ry re le , to mo opera cally p waiting f the ion room, an aestheti with at tention o y, sterilizat designing tr rt e an ea for kids iv p d ar to ry st to t, e ra rs b e fi p w t o o “A h d . e for conbut also phobia for adults an a small spac treatment ic d e in cl an th a l m ta m o n o e fr ro kids allenging in recovery gning a d was a bit ch e b ut ht of desi e h g m ic th u y h o b at “w th r th ai n e s th tine aff sultatio maintain ered a rou in ver – a space.” Ali re p f e o Fo . ke ft s . ile to was consid sq 730 d Sm g was g designe ults – my ile designin for the af ter havin riority wh kids and ad p uirements g q n ti re ea re al tr ca ic h ic n lt in ch hich ea cl te h l ta e a d en aterials w gning mind th d using m wards desi s the it to an m ne. k ts o ie ad n o e yg ,” tl h d u m o tune equip ce and been fine maintenan Mumbai asts sy f o o b ea d a ea e al d ar space has iw vi n pro er Ali Bald d receptio n an g si g all, e n d ti w ai g d youn T he w cladde eer, mirrorgroup. ll as n e ti ve w an ya h ri Ta it o as C d w s e d ki bas of luxury sol, plush ic caters to le d and Barri b o sitive to o n ar w m se As the clin in e a b g in ceilin ia Mar had to cc e re n an B o , te d s, sk p ea e an cr d grown-u s forms eded to reception fas. Variou th nce Ali ne o so e b d h re ss d te re an ls d both would ad and upho ad nt which the space h , o environme ls A . ts n s of patie age group
M
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shapes are used in glass, table and wall panelling creating the
ent hues, which act as a library cum display
drama required by the concept. The waiting overlooks the
for toys and curios. The Midmark dental chair
play area with an unusual-shaped glass partition to enable
stands out with bright yellow upholstery which
parents keep vigil over the tiny tots at play. The play area wall has random sized boxes which act as
contrasts well with the other schemes. The furniture in these operatory areas is in
storage – few of them also have some display to add interest.
white lamination, Corian and wood finish laminate
The panels are covered with cartoon graphics right from
which look classy. Windows have a ledge in marble
classic characters to the new icons of today’s time. Further
which overlaps on the wall giving a photoframe look
delights were added by a lego table, a hook-shaped fun
to it. The ceiling in the operatory areas has cove light-
seat, scribbling board and play station. “Dr. Akanksha
ing in different shapes to ensure that patients are cool
Gulati, who owns the facility, is involved in arranging
when they rest and look above. The bathroom has been
field trips for schools to the facility and has around
completely designed in grey William marble with etched
20 kids at a time, to watch interesting but important
mirror continuing the linear pattern on the marble walls.
visuals on TV. This helps foster better dental care she feels,” reveals Ali. With so many things to be looked into, the designer sure had his hands full. In the pediatric operatory area, the decor is vibrant with revolving tall cabinets in differ-
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The client’s desire to have a sophisticated ambiance with state of the art paraphernalias at the same time being away from the routines of a clinic was met. Ali has been able to create a facility that would put a smile to your face despite the pain!
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Musings
Weaving WONDERS Information & Images: courtesy Dinesh Kurekar
Technology will come and go but the romance of weaving dreams is forever.
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I
ndia has had a long tradition of textile
Every medium has its own charm and
design while tapestries come from
distinct appeal. Tapestry is generally mis-
a rich tradition in Europe. From the
understood as a piece of art decor, a wall
renaissance period, masterful artists have
hanging just to decorate the walls. But
produced tapestries collaborating with
some distinguished artists in India have
weavers and have decorated the walls of
established tapestry as an independent
castles and palaces all over Europe. In the
art form through their work and is gaining
1930s, French weaving ateliers produced
acceptance. Dinesh Kurekar from Aurang-
modern art images of great masters. It
abad is one of them. He has explored this
came to India as a craft first. The weavers’
form with a passion of an artist and the
service centres were set up in different
patience and skills of a master weaver. He
Indian cities after independence.
belongs to the group of ‘artist weavers’, a
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The composition is first conceived as a painting before getting composed as a tapestry. rare combination of art and craft where
acquires additional sense of depth and a
the tapestry artist has full control over the
physical existence of its own, through the
execution of his innovative ideas. Dinesh
textural richness of tight weave and knots
has practiced this art for the last thirty
all over the surface. Kurekar cuts the wool-
years and has exhibited his work in solo
en strands to create an illusion of plain
exhibitions all over India. His tapestries are
surface. He prunes certain forms at a raised
now in collection of prestigious art galler-
level to give a sense of relief. The unequal
ies, business corporates and individual art
distribution of raised surfaces reflects light
collectors.
differently and adds a new dimension to
Kurekar is basically an artist and the composition he conceives in his mind takes
the tonal values of colour. It becomes a new visual experience.
the form of a painting on the canvas first.
Kurekar’s tapestries usually give a
Then he meticulously weaves and trans-
feel of landscape. They are abstractions
forms it into tapestry, giving it a new sense
of nature, a complexity of organic natural
of physicality and scale. Herbert Read has
forms reduced to minimal basic forms such
divided the visual experience into two
as rectangles, circles, with horizontal float-
categories: sight-space and touch-space.
ing forms of waves and birds. The vertical
Painting is an art of sight-space. On the
rectangles dividing and multiplying them-
other hand, sculpture is an art of touch-
selves create a register and narrative space
space. You have the tactile experience of
of their own. Glowing colours of different
solidity and form in sculpture. Tapestry,
hues add the fourth dimension of time
though two dimensional in character,
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www.dinesh-kurekar.com
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Design promo
Luxury REDEFINED!
Magppie has started its journey to give Mumbai their own taste of luxury at Raghuvanshi Mills.
H
aving luxurious homes goes a notch easier now, with Magppie’s luxury M home. “For us, M home is
all about emotions and feelings that define the real meaning in our lives,” says Vinod Jain, Director, Magppie. With a modest entry into modular kitchen segment in 2007, Magppie now maintains a strong presence in the modular kitchen space backed by a state-ofthe-art manufacturing unit and designs from French, Italian and German designers. Magppie maintains a fine balance between design and functionality, bringing together the best materials and technology from all over the world, to create kitchens, wardrobes, bars and bedrooms for Indian homes.
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“It is great to see such highend options for residences. I would love to associate myself with Magppie.” — Ar. Sandeep Shikre
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“This is a very well laid out store with lovely options. It is a must-visit for an informed buyer.” — Ar. Bijal Doshi The recently-inaugurated store at Raghuvanshi Mills, Mumbai, is a 3,000 sq. ft. space that offers a window to the exquisite creations of three luxury concept kitchens, home bars along with their display of a walk-in wardrobe and a bedroom. The store showcases individual set ups for each concept. Magppie’s conceptual store redefines grandeur. Beautiful elements come together to create a stunning space of top-most quality and style. Magppie promises designs that will touch your heart and possessions that will add meaning to your lives JANUARY-FEBRUARY 2013 • DESIGN MATRIX 105
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DRIVING
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Creative ideas
CREATIVITY! Vrroom away in a car of your choice. Quite literally! Words & images: Natasha Bohra
T
he brainchild of Mr. K. Sudhakar, the Sudha Car Museum in Hyderabad is known to be the only handmade, whacky car museum in the world. It has a host of
Guinness World Records as well as a host of entries to the Limca Book of Records to its credit. It is by now probably a proven fact that some people are just born with talent. Mr. Sudhakar got hooked onto the hobby of making handmade cars at the tender age of 14 and he designed his first bicycle then, after which came an ‘easy rider motorbike’. In his second year intermediate, he attempted to make a four-wheeler and created a stunning, rugged-looking dune buggy. All the cars displayed in the museum are hand designed by Mr. Sudhakar himself and are all in complete working condition. On display one can see cars in the shape of a brinjal, camJANUARY-FEBRUARY 2013 • DESIGN MATRIX 109
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era, cricket ball, golf ball, basket ball, tennis ball, snooker table, shivaling, cup & saucer, helmet, computer, double bed, mug, shoe, hand bag, stiletto, lipstick, cricket bat, suitcase and bikes in the shape of fountain pen, condom and many more. Every car model has modestly been displayed with its year of manufacturing, time taken to build it and engine strength. For example, the stiletto shaped car was manufactured in the year 2012 over a period of 15 months, has a 60cc engine and can be driven at the speed of up to 60 kmph; the handbag car is a three-wheeler that was also manufactured in the year 2012 over a period of 14 months, has a
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Mr. Sudhakar has by now designed over 500 types of cars, 50 bicycles & 12 motorcycles.
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100cc engine and can be driven at the speed of
motorcycles, the smallest being 13 inches high
up to 50 kmph; a six-seater cycle train on display
which can travel at the speed of 30 kmph.
was designed and manufactured in the year 1986
Participating for a social cause, Mr. Sudhakar
over a period of 5 months, and can be driven at
built a condom bike in order to spread awareness
the speed of upto 20 kmph; the three-wheeler
for AIDS. The bike has a built-in player that gives
helmet car was manufactured in the year 1997
a brief history about condoms and AIDS aware-
over a period of 10 months, has a 60cc engine and
ness. There is also the Cigarette-shaped bike
can be driven at the speed of up to 45 kmph.
encouraging smokers to quit the deadly act. And
Mr. Sudhakar has by now designed over 500
then is a bird cage car to discourage caging birds.
types of cars, 50 different designs of bicycles from
The cricket ball and bat car were specially built to
single to multi-seaters, including the smallest
cheer for team India during the 2003 and 2007
bicycle in India which is just about 6 inches high.
World Cups with a tape briefing, on the Cricket
He has also designed about 12 different types of
World Cup history.
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He has also created a Guinness World Record for the largest tricycle in the world that is 41 feet and 7 inches high, and weighs about 3 tons, with a wheel diameter of 17 feet. It is 37 feet and 4 inches long. The tricycle is powered by the pedal, chain sprockets and gears. It took him over three years to build this giant. The smallest double-decker bus which is on display at the museum has been recorded in the Limca Book Of Records as well as the Guinness World Records. This beautiful place in Hyderabad will leave you with a high adrenaline rush, with the creativity at a complete high! 114 DESIGN MATRIX • JANUARY-FEBRUARY 2013
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T C U D O R P
H C N LAU IDUS introduces outdoor collection Idus, the furniture store has launched the outdoor collection that comprises of garden chairs, tables, benches, loungers, hammocks and swings. A classic Scandinavian design, the collection is maintenance free and is made up of UV resistant fibre which is mounted on a stable hot galvanized frame. It endures all kinds of weather, and requires a wipe-off with a moist cloth. The pieces of furniture come in black, white and brown. 011 45888000
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Ekseption
unveils transformable furniture CLEI Ekseption recently launch ed its first flagship store in Mu mbai. It showcases technological collections of furniture that will ser ve as a sofa, dining table or study tab le during the day and will open up to be a bed during the night. All products can be independent and also integrated with your exi sting decor. The Italian furniture is for those who want to upgrade the ir existing space. 022 26361479
House of Marley launches in India
new world a to a brand di In g in uc Introd arley makes e House of M th d, un so of of superior a collection its debut with e-minded friendly, caus quality, earthat embody o products th di au l na so per of equalit y, mily‘s value ing Bob Marley Fa arity. Follow bilit y and ch d an br unity, sustaina e thes Bob Marley, and. the vision of osts of the br p er rn co e th cal rm fo Fo is es n lu va terrai to the Indian or ut rib st di Bringing them le e so s Pv t Ltd., th e ng ra Audio System e Th a. Marley in Indi g of House of odels rangin m of ty rie va a s se ca es ow sh phon d on-ear head from in-ear an ll of these A s. ck do r eake , to por table sp ble materials na ai ade of sust m e ar r ts io uc er prod the sup promising on n without com , and a por tio gn si de und and h ug ro th quality of so ck ba ds are given of the procee arities. ch ed ov pr ap 1Love.org to ofmarley.co w w w.house
m
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Homehero, a new
address for your customized furniture HomeHero, a recent ent rant to the Indian furniture market redefines your concepts of personal craftsman. The website provides customized furniture from the existing collection or handcrafting completely to a new design. As much as possible, HomeHero uses reclaimed materials and the commonly used materials are wood and iron. All products are made from scratch and thus size and dimensions of all furn iture are made to suit specific requirements . ww w.homehero.in
ludes spar, Ethereal Spaces, inc The new collection by Ma also et covers, quilts and cushions, bed covers, duv ury, w yourself in the sof t lux Dra els. tow bathrobes and that ces spa g livin r you lling up feel the mild sensation fi The . t the harmonious woods gently paves its way pas , and around you, saluting you g day’s roughness meltin in its you ulf eng to ning, ready making way the calm eve comfor table arms.
Maspar’s
new collection
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Peekay Farm
Equipments launches garden ornaments Peekay Farm Equipment s have launched a range of garden ornam ents in attractive shapes and colours. The range consist of animal-shaped plante rs and pots, all designed with superior cra ftsmanship, using the high quality ma terials and durable finishes to furnish your home and garden or pool and patio areas. In these planters, there is a circular section in which you can place the plant, and then a car ved head and neck. Als o on offer are an exquisite range of water cans, mini bonsai decoration and garden sta kes. 011 26811996
Prayag
Polymers goes green
uced the ers has introd Prayag Polym ls to suit the shower pane of s rie Se 7000 ing norms of Green Build ts en m ire qu re ng a unique er while addi and save wat . Further, with elegance functionalit y ings and friendly build oec e ot om to pr the with and to match s fulfill the dem Polymers ha iteria, Prayag oec re the usage cr tu ac uf itiative to man e m ro taken this in ch e es th assets. Th friendly CP ba ade from panels are m er plated show ess steel, that ade of stainl the finest gr h resistant n and scratc io os rr co h, is toug ance free. and mainten ndia.net w w w.prayagi
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IFB
introduces Theodore Alexander International Furniture Bra nds has introduced an exquisite collection of furniture from Theodore Alexander. The Theodore Alexander brand is synonymous wit h classical furnishings and a hint of the unexpe cted. Designs draw inspiration from original 16th to 20th centur y pieces, yet speak to today’s lifestyles in ways that excite and entice. The brand is renowned for its innovative use of wo ods and veneers and the furniture is magni ficently crafted in mahogany, satinwood, ros ewood and other highly decorative veneer s and finishes. ww w.if brands.in
de its retail pew ter maker, recently ma Royal Selangor, a global itage in The brand has a long her debut in India in Mumbai. living, and e with products in hom design and craftsmanship tributed dis is or ang ns’ gifts. Royal Sel wine and dine, and childre res sto ne fi at le ilab ava ide, and is in over 20 countries worldw retail has also It . ges frid Sel is and such as Harrods, John Lew tralia and ore, China, Hong Kong, Aus gap Sin ia, lays Ma in res sto the United Kingdom. ww w.royalselangor.com
Royal Selangor
enters the Indian retail market
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PEOPLE • LIFESTYLE • DESIGN • INTERIORS
September-October 2012 VOL. 2 • ISSUE 6 • `100
Suntosh Baheti
“Trust of the clients is my real earning in so many years as a designer and I cherish it the most.”
A
presentation
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installation review
F
loated by the sewing machine giant Usha International, The Hab is an experiential store that invites its customers to take a fresh, youthful and contemporary perspective to
the art of sewing and accessory making. It not only offers a wide inventory of accessories, embellishments and sewing tools, but also offers a plethora of new experiences, encouraging learning through creative demos, sewing and design workshops and store exhibits. The Hab is the short form for haberdashery, a fairly well known concept internationally. Through The Hab, the company wants to inspire people to create, innovate and experience
THE
HAB According to designer Manish Arora, The Hab window installation for USHA signifies how beautiful life is.
the art of sewing and the store offers a variety of sequins, stones, beads, threads, buttons, laces, borders, patches, brooches, rivets, zippers, embellishments, wool, do-it-yourself kits, sewing tools, sewing patterns and other miscellaneous items that allow individuals to add a personal touch to their garments, home decor items, crafts and accessories. The Hab is designed to inspire urban audiences to rediscover the art of sewing in a contemporary context. The store along with displaying sewing related inventory, has various activity zones to engage visitors in getting a hands-on experience in sewing. The store is conceptualized and designed in a manner to provide a perfect modern setting for creative sewing by Pinakin Patel and design firm Grandmother India. Ace designer Manish Arora has created a window installation for the store which has become a talking point. The Manish Arora installation is inspired by the vibrant colours of the playful festival of Holi and symbolizes energy. Bursts of colour and vibrant motifs are inspired by the annual Jaipur Elephant Festival, accentuated using a mix of sequins, buttons, heart shapes and different coloured pichkaris. There are nature inspired design elements from Manish Arora’s previous collections juxtaposed on a curtain to create a fantasy world. Continuity of life is depicted through a set of footprints running throughout the curtain and onto the ceiling. Indian goddesses shown on the curtain depict the beauty in our culture and religion, and the festivity connected with it. There are motifs on the ceiling that are inspired by our Indian environment. The entire display is an amalgamation of the infinite and beautiful world of embroideries that can be created using Usha sewing machines, also depicted through an embroidery laden sewing machine structure central to the installation. All in all, a colourful world by Manish Arora!
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Space review
Silver Beach CAFE
The new French bistro in your neighbourhood!
T
his pretty little, French bistro in the
little plantations, which are an inspiration from
leafy lanes of Juhu, Mumbai, is actually
Switzerland.
a restaurant built for the locals, foodies
The two-level eatery has a regular diner
and gourmands. Filtering sunlight through
area on the ground level and an attic-like more
banyan trees, just like you see it in the post
intimate eating area on the first level. While
cards, has turned out to be the perfect location
the booth seating is dedicated to the movie
for this little café.
Godfather, including the hanging table light,
The swanky glass façade welcomes the
it also adds a very warm feel to the existing
sunlight like a solarium. And supporting this
decor which is primarily wood. The furniture
look is also the fifteen-feet-high wine rack at
completely flatters the neat and clean layout
the entrance.
of the restaurant and sets an eclectic sense of
Dimly lit by a French-styled yellow lamp post, welcoming you to the café, the lamp post is a Parisiene symbol. Complementing this are the hanging logs that are used for
style. Go ahead, flatter not only your design senses but also your taste buds For reservations call +91 9967827777
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Product review
Shivering Bowls
Bowls that shiver at the touch of a light breeze… Nendo’s interesting interpretation of the exhibition at Triennale Design Museum.
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A
set of bowls is designed for the Triennale Design Museum in Milan as part of the exhibition
– KAMA. Sex and Design, which is about the relationship between eros and design. The title refers to the Hindu God of sexual pleasure, human love and desire. The exhibition wants to investigate how sexuality incorporates itself in the things and makes them medium of knowledge – not only for the designers, but also for the users. The heart of the exhibition is a survey, curated by Silvana Annicchiarico, from historical, mythic and anthropological roots until today, with more than 200 among archeological finds, drawings, pictures, objects and artworks by International artists and designers. A wide and multi-faceted selection, far from the easy stereotypes of pornography,
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“pruderie” or scandal: from Etruscan vases
eros in design from ancient times to the
to Roman phallic amulets, from drawings
present, from a cultural anthropology and
by Piero Fornasetti to pictures by Carlo
mythical perspective.
Mollino and Ettore Sottsass, from Mae
Nendo located the intersection of
West Sofa by Salvador Dalí to the amazing
eros and design in the spiritual pleasure
and provocative The Great Wall of Vagina
provided by an object’s touch, and
by Jamie McCartney, comprising plaster
decided to make an extremely thin bowl
casts taken from the genitals of 400
out of silicon for his contribution. The
different women.
bowl resembles a ceramic one, but with
At the same time, in order to enlarge
a tension to this perception, generated
the points of view and have a choral and
by the extreme thinness that would be
collective tale, eight international designers
impossible to achieve with clay. The bowl
- Andrea Branzi, Nacho Carbonell, Nigel
changes shape as easily as liquid when
Coates, Matali Crasset, Lapo Lani, Nendo,
it is touched, and continues to quiver
Italo Rota and Betony Vernon - deal with
momentarily in response to the outside
this theme and present their personal
force. “We wanted to express eros through
interpretation with brand new site-specific
a design that invokes desire - a design that
installations. The curators asked them
viewers simply can’t bear not to touch,”
to create an object, in conjunction with
says the designer. An interesting take on a
an exhibition that explored ideas of
theme that is as old as life itself…
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GLOSSARY IFC: Fensterbau Frontale India 2013 Indo-German Chamber of Commerce (IGCC) Tel: (011) 4716 8888 Email: rucheeka@indo-german.com www.frontale-india.com
Pg. 9: Prayag Prayag Polymers (Pvt.) Ltd. Customer Care: 9310002486 mail@prayagindia.com www.prayagindia.net
Pg. 1: Ebco Pvt. Ltd. 402-3, Hyde Park, Saki Vihar Road, Mumbai 400072 Tel: (022) 67837777 Email: info@ebco.in www.ebco.in
Pg. 10: Bharat Flooring 32, Mumbai Samachar Marg, Fort, Mumbai 400023 Tel: (022) 40574444
Pg. 75: LG Hi-Macs New Patel Sawmill Group 204/B, Vertex Vikas, Sir M V Road, Andheri (East), Mumbai – 400069 Tel – (022) 26833377/0952 Email: decorexsol@gmail.com
Pg. 12 & 13: Uniply Elementz Decorative Veneers Uniply Industries Ltd. #52, Harleys Road, Kilpauk, Chennai – 600 010. Tel: (044) 26605995 Email: info@uniply.in
Pg. 85: Kunst Karigar Suite No. B4, Hind Service Ind. Estate, Dyneshwar Mandir Road, Shivaji Park, Mumbai 400028 Tel: (022) 24446177 Email: gjparmar@kunstkarigar.com www.kunstkarigar.com
Pg. 14 : Kalingastone Classic Marble Company 15, Bhandup Village Road, Subhash Nagar, Bhandup (W), Mumbai – 400 078. Tel: (022) 41404140 Email: info@kalingastone.com www.kalingastone.com
Pg. 93: MRJ Flooring MRJ Trading Pvt. Ltd. 201, Shyam Kamal ‘C’ Bldg., Agarwal Market, Vile Parle (E), Mumbai – 400057. Tel : (022) 26187132 / 26131442 Email: flooring@mrjgroup.in
Pg. 2: Travette Engineered Hardwood Flooring MRJ Trading Pvt. Ltd. 201, Shyam Kamal ‘C’ Bldg., Agarwal Market, Vile Parle (E), Mumbai – 400057. Tel : (022) 26187132 / 26131442 Email: flooring@mrjgroup.in Pg. 3: Cera Cera Sanitaryware Ltd. Madhusudan House, Navrangpura, Ahmedabad 380 006. Tel.: (079) 26449781/26449789 Email: marketing@cera-india.com www.cera-india.com Pg. 4 & 5: Durian Door Durian Industries Ltd. 401, The Summit, Western Express Highway, Vile Parle (E), Mumbai 400057 Tel: (022) 26269000 Email: info@durian.in www.durian.in Pg. 6: KiTEC Potable Water KiTEC Industries (India) Limited C-18/11, Jeevan Bima Nagar, Borivali (W), Mumbai – 400 103. Tel.: (022) 2895 1144 Email: sales@kitecindia.com www.kitecindia.com Pg. 7: Birla White Ultratech Cement Ltd. Gr. Flr, Ahura Centre, 82, Mahakali Caves Road, Andheri (E) Mumbai 400093 Toll Free: 1800111717 www.birlawhite.com
Pg. 15: Astral ALCA Astral Poly Technik Limited 207/1, Astral House, B/h. Rajpath Club, Off. S. G. Highway, Ahmedabad – 380 059. Tel: (079) 66212000 Email: info@astralcpvc.com www.astralcpvc.com Pg. 20 : Armstrong Armstrong World Industries (India) Pvt. Ltd. B2, G-01, Marathon Innova, Off Ganpatrao Kadam Marg, Lower Parel, Mumbai – 400 013. Tel: (022) 3048 0800 Email: helpdeskindia@armstrong.com Pg. 21: Durian Laminates Cedar Décor Pvt. Ltd. F/2, Shapath-1, Nr. Cargo Motors, S. G. Highway, Ahmedabad - 380015 Email: mail@cedarindia.com www.durian.in Pg. 38 & 39: Uniply ATS Plywood Uniply Industries Ltd. #52, Harleys Road, Kilpauk,
Chennai – 600 010. Tel: (044) 2660 5995 Email: info@uniply.in
Pg. 106 &107: Le Cdeor MRJ Trading Pvt. Ltd. 201, Shyam Kamal ‘C’ Bldg., Agarwal Market, Vile Parle (E), Mumbai – 400057. Tel : (022) 26187132 / 26131442 Email: artifacts@mrjgroup.in IBC: Geeta Support System Geeta Aluminium Company Pvt.Ltd. D/4, Ansa Industrial Estate, Saki Vihar Road, Saki Naka, Andheri (East), Mumbai – 400072. Tel: 09930806685 www.geetaaluminium.com BC: Jalaram Veneers • Agar Bazar S. K. Bole Road, Dadar (W), Mumbai 400028 Tel: (022) 24318444/555 Email: jalaram_timber@yahoo.com
•
9/B & 9/K, Laxmi Ind. Estate, New Link Road, Versova, Andheri (W), Mumbai – 400053 Tel: (022) 26327733 / 34 Email: jalaramvnf@gmail.com
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May the ocean of knowledge flow longer May your doors and windows get stronger It's time to learn something new Move ahead as the world does too! An initiative by:
Join us for a workshop to learn more about the latest techniques in door and window installations.
Day: 09/01/2013
Time: 11:00 am to 04:00 pm
Place: Hall 2, Bombay Convention & Exhibition Centre, Off Western Express Highway, Goregaon, Mumbai 400 063.
D / 4, Ansa Industrial Estate, Saki Vihar Road, Saki Naka, Andheri (East), Mumbai 400 072, Maharashtra, India. Tel: +91 22 2847 1124 / 4013 / 4019 Fax: +91 22 2847 4067 Email: info@geetaaluminium.com
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