nov-dec 2010

DESIGN MATRIX • NOV-DEC 2010

X I R T A M

Nov - Dec 2010 VOL. 1 • ISSUE 1 • `80

SIGN • INTERIORS E D • E L Y T S E F I L PEOPLE •

Brinda

“

Somaya

 INAUGURAL ISSUE 

My mother always said you’ve got to pay your rent on earth, and since you are working, you will not have the kind of time I had, so you have to do it through your profession A

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S ’ R O T EDI N O T E

W

e all enjoy design — it is an integral part of our daily lives, from the most prosaic to the most crucial. But how many times have we tried to know the source of that design, the thought process? Being a “people” person, this is one aspect that I always wanted to bring forth. It is amazing how a coming together of like-minded people can suddenly get the wheels turning.

This magazine is the result of one such synergy. A design writer of repute, Savitha Hira understood the concept and took up the challenge of creating the content that would not only be interesting but also different! Having been professionally associated with the design industry for so long, Mr. Manohar Jhunjhunwala of MRJ Group understood and supported this vision whole heartedly. An association was forged that eventually led to the conception of our new venture, Design Matrix.

I looked up the meaning of matrix in the dictionary and it said, something that constitutes the place or point from which something else originates, takes form or develops; hence, an apt name for our magazine that aims to get to know the designers, their creative genius and their creations much better. Though in its inchoate stage, Design Matrix is trying to look at and present design and its source from a different perspective. It’s about getting to know these beautiful people a little better and making them a little more kenspeckle. And we start with an architect who needs no introduction as a professional — Brinda Somaya. In our inaugural issue, we also get to know Brinda the person.

As you sift through the pages, you’ll find some things new and some not so; but all are informative and fun, never deviating from the core objective of design. So enjoy and let me know what you would like to see in these pages. Who knows, some of you just might win a surprise gift as well!

Do write to me at babitakrishnan@designmatrix.co with your valuable inputs.

Babita Krishnan

Issue Partners: Location: Le Sutra; Jewellery: Anmol Jewellers; Make-up & Hair: Farhin of Rudra Spa

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8 Featuring: DESIGN MATRIX NOV-DEC 2010 Somaya Sampat • Photograph by: Sameer Chawda • Make-up: Archana Sunil Ghadi Cover Brinda •Somaya & Nandini

COVER STORY

Brinda Somaya and Nandini Somaya Sampat on the journey so far and the way forward at S&K Consultants. Pg 12

AR. AAMCHER

Ar. Aamcher experiences designs for people and shares them with us. Pg 26

RETAIL DESIGN

Teresa Sapey creates a retail space that converses with the shoppers. Pg 28

ARTY-TECHTURE Le Sutra has a theme for each room and we visit the Karna Room this time. Pg 38

EXHIBITION DESIGN

Collaborative Architects creates space with a box as the design base. Pg 42

DESIGN ASPECT Dhimant Vyas unravels the animation of Taare Zameen Par & more. Pg 46

RESIDENTIAL DESIGN A bungalow that is a gem of a design by Archaid.

Pg 52

TECH DIARY The latest from X-Box. Pg 64 CONVERSATIONS Nalini Malani on her work and inspiration. Pg 66 GREEN SPOT

The Druk White Lotus School in Ladakh is an ideal example of sustainable design. Pg 72 Lighting and its use could affect the way a design

DIMENSIONS is perceived. Pg 80

Diana Linda and her kitch designs vibrate

UNMASKING TALENT with colour. Pg 84 CREATIVE IDEAS

N.L.Architects on their design for the Amsterdam seafront. Pg 88

INFRASTRUCTURE DESIGN We look at Stadiums and celebrate their designs. Pg 92 PHOTO FEATURE

A photographic journey on Step-wells, a little known architectural heritage of our country. Pg 98

PRODUCT LAUNCH What’s new and happening in the product market. Pg 105 ETCETERA Information and news on various design aspects – Events, Jitesh Kallat, Simran Lamba, Eco-pods & Paper Eyelashes.

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Journey A Creative

Words: Babita Krishnan Images: Sameer Chawda

A career spanning three decades, a portfolio of commendable projects, a team of dedicated colleagues, Brinda Somaya has put S&K Consultants on the world’s architectural map. As daughter Nandini Somaya Sampat adds a new chapter to this legacy, we chat up with the mother-daughter duo to discover women of strength and determination. (Behind their bewitching smiles.)

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Babita Krishnan: Coming into a profession that was and, to a large extent, continues to be male-dominated, how difficult was it to be taken seriously?

Brinda Somaya: I think it depends on the kind of person you are. I grew up in Bombay of the 1960’s & 70’s, came from a highly educated family and hence did not grow up with a notion that there was anything that I could not do, or that I was in any way less or diminished because I was a woman. My school, the Cathedral & John Connon School, also contributed to my self-worth as a person. I just knew that I wanted to be an architect. I enjoyed it and that was what I wanted to do. I didn’t look for negatives in the way ahead. In the initial 10 years of working, I was quite self contained and did not socialize much with other architects, nor attended conferences, etc. In a way it was good as I introspected and it gave me the time to build my own portfolio.

BK: But a lot of young architects and designers nowadays feel that networking and PR are very important…

BS: It never was my philosophy and I still don’t encourage it in my practice. For me, it is your body of work that would give you the next project. You have to work with your clients. It is like any other profession.

BK: …And Nandini, do you also follow the same philosophy?

Nandini Somaya Sampat: Absolutely. That is one of the foundations of the practice and not just me, all of us in the organization follow and believe in this philosophy.

“

The person closest to you has achieved greatness in the chosen field and you get to learn from them first hand.

I hope that through my work I can create my own identity and make her as proud to be my mother as I am of being her daughter

”

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BK: Architecture is a very demanding profession and your husband, too, is in an equally demanding profession being a Doctor. So how did you, as a woman, balance your time between home and work?

BS: Looking back even I wonder (laughs). Working in India certainly makes a difference, as we have a lot of support. I certainly had the support of my mother as far as the children were concerned. If there was anything connected with work, I had the support of my father, who was an engineer. Most importantly I had the support of my husband. Without family support, it would have been very difficult. That gave me the peace of mind, without which one cannot function. Then in the office, I had the support of Mabel, my secretary, who has been with me ‘forever’, not just organizing my schedules at work, she would also fill in when I was so involved in something that I would forget to pick up the children from some school event.

“

Women labourers should not just be carrying concrete, but become painters, masons or welders like they are in Western countries

BK: But in the changing face of society, how would a young professional cope today?

BS: We have an immediate example. I can’t help Nandini with her baby the way my mother did for me, as I am so involved in my work. I think each generation finds its own way and works around the problem.

BK: Talking about women brings me to another very important aspect of your professional personality. You have done a lot of work for the women working at your sites. Tell us something about it.

BS: My first experience with women labourers was on my very first job. That was the Bombay Presidency Club.

I was nine months pregnant with my son, they were casting the roof slabs and I wanted to be at the site. My mother was worried but I was insistent and she came with me. I remember climbing up to the roof with the women labourers looking at me. There was empathy in their eyes and I think they felt good. From then on somewhere at the back of my mind I decided that they (the women labourers) were very important. In the last three decades I have tried to do whatever I could for them -- to ensure that they have proper toilet and bathing facilities, crèches and playgrounds for their children on site. Not just that, I have tried to encourage them to upgrade the type of job they do. They should not just be carrying concrete, but become painters, masons or welders like they are in Western countries. But this has to be a societal change. There are many organizations, who are actually training women to become masons, like Seva in Ahmedabad. There is still a long road ahead.

BK: Nandini, from management and law to design. How did this transition happen and why?

NSS: I went to my mother’s alma mater and there you get exposed to far more than the course that you are pursuing. I went to London to study Law and thereafter I worked with corporate law firms, which meant long hours and hard work which every profession has. But there was a lack of job satisfaction.

Having grown up in an environment where my parents are extremely satisfied professionals who enjoy their job and are very passionate about it, I realized I won’t be happy with my work 20 years down

”

the line. After marriage I got the opportunity to travel and when you are in a city like London, which is full of culture and surrounded by design, I started thinking about pursuing it. And as always, my mother encouraged me to take my own decision. So I went ahead and enrolled for a Post Graduate course in London, completed it and joined her.

It has been a very satisfying journey thus far. I am very happy with what I am doing and as my grandfather and mother say, education is always enriching.

BK: So how do the two of you gel at work?

Is it Moms word or the daughter gets her way?

NSS: It’s not like mother and daughter at work. We work as professionals together and it is not as if mom is always right or that she gives in because I say so.

BS: But we have a blast!

NSS: So much that I ask mom, are we working? I even tell my husband that we have great fun in the office. A lot of people claim that they have fun at work but we actually experience that feeling. And work never seems like work.

BK: How does the hierarchy in office work?

BS: I have a lot of people who have been with me for decades now. They are very senior people who look after projects with my help and guidance. There are senior project architects who work under them followed by the junior architects for each project. I like to give everyone a sense of ownership in the project they are working in. That way they tend to be more involved. I don’t restrict them to be stuck in office and encourage them to visit sites, meet clients, make presentations, etc. to understand how the entire profession works. Seniority is important, but we encourage the young staff to have their say and put it across without fear. We look at everyone’s holistic involvement in each project.

BK: It’s a huge legacy that Brinda has created and now that you have joined her, do you feel the pressure to live up to a certain image or expectations?

NSS: I have been working with her for three years now and yes, it does come up sometimes. Whenever a child is working with the parent, there are certain advantages, the greatest of them being learning from them. The biggest burden that one has to carry is the preconception about your talent and that everything comes easy. In fact, NOV-DEC 2010 • DESIGN MATRIX 15

“

Women in architecture, as in any other profession should be proud of being women, the moment you feel you have to diminish your worth as a woman to prove being a professional, it is not worth it

”

we have to work harder to prove ourselves and find our own niche. Another advantage is that, the person closest to you has achieved greatness in the chosen field and you get to learn from them first hand. I hope that through my work I can create my own identity and make her as proud to be my mother as I am of being her daughter. Her achievements are her own and I don’t necessarily think I need to live up to them.

While I am proud of who she is, I need to find my own way.

of not just mental, but physical involvement too.

We have worked on projects spanning the entire country and I wonder how I travelled to all these places, helped build all these structures and what an effort it must have been! I don’t know if I could have done anything differently. You do things depending upon the type of work that comes your way and the kind of person you are.

BK: Brinda, you are keenly involved in community projects. I would specially like to mention your work in Bhuj for rehabilitation of earthquake victims that got you nominated for the Aga Khan Award. Tell us something about this aspect of your practice.

NSS: I am with my mother and I love the academic side of it. I have come at very special and exciting time for the practice. Like mom says, her most exciting projects are still coming and I am glad that I will be part of them and that will be my journey.

BS: I must add that young people come up with a lot of ideas and that has come into my practice as well. However democratic you might be, others don’t open up as much, whereas a daughter can tell you many things as they stand. A lot of changes, innovations, introduction of new technologies have come about after Nandini’s joining the firm. I also feel that the younger architects are more comfortable interacting with her and that helps communication. So the synergies are in place.

BS: Community work is very important and it comes from your background. My mother was very involved with charitable institutions. “You’ve got to pay your rent on earth,” she always said, “and since you are working, you will not have the kind of time I had, so you have to do it through your profession.” The very first project I did on my own was a pro-bono project and that’s what started me on my career. Luckily, not only have I done a lot of commercial projects for my clients (some of whom are big corporate houses, industrialists, etc.), I have done plenty of their community projects as well. I strongly feel that some section of your work should either be pro bono or probably be at cost. And these are very enjoyable, because they are people-connected, much more down-to-earth, hands-on, and thus, the rewards very different and satisfying. It is amazing, looking back in time, that some of these projects are what people know, talk about and appreciate. Though, this is not and cannot be the intent when you take up such a project.

BK: Looking back, are there any regrets or would you like to change anything?

BS: I don’t know why but I don’t think like that! I just did what I needed to do and when I look at my portfolio, I wonder how I managed to achieve all this. In our profession, like in many others as well, you need a lot 16 DESIGN MATRIX • NOV-DEC 2010

BK: Within this legacy, Nandini, how are you finding a footing for yourself?

BK: Finally, what would you like to say to the young women architects and designers?

BS: There are no shortcuts to success. Everybody needs to be a professional in the true sense. Women in architecture, as in any other profession should be proud of being women, the moment you feel you have to diminish your worth as a woman to prove being a professional, it is not worth it. We have our own inherent strengths and weaknesses just like men. It all depends on the individuals we are.

You are first a person, you are also a woman and you are an architect. That confidence comes from within and you have to work towards success. No excuses!

NOV-DEC 2010 • DESIGN MATRIX 17

“Ma n is... .” .. is n ig s e d , re fo re the ga cy of the Ind ia n The a rchitect ura l le su ra b le. We ca nnot ea m im is t en in nt su bco er, yt hi ng a new. Howev affo rd to b ui ld ever futu re fo r b ui ld ing s a e b y nl o n ca e er th ent co ns er vatio n movem e th if st a p e th m fro p la nn ing a nd wo rks in ta nd em with g ie s. O nly then ca n d evelo p ment strate nted lea d ing to the ve re p e b n tio ra io d eter n tio n a nd reha b ilitatio fina l step s of re sto ra

S

s quiet teadfastness define n. And ma wo tenacity in a quality on mm co un when this a soft-spoken is complemented by silent, commitdemeanour and a pects of implicit ted deliverance, as ilit y naturally ab nd trust and depe inda Somaya of fall into place. Br Consultants deSomaya & Kalappa aid. A persona lineates the afores inda is one of Br , of many shades ed architec ts the most accomplish ationists on the and urban conserv ay.

Indian scenario tod to dissect an ble It is impossi ent. Likewise, it emotional attachm e a professionis dif ficult to separat when love and n al from her vocatio are the drivrk wo r passion for he orn meant to be ers. From a little ac two sister archithe partnership of Kalappa – is totec ts – Somaya & h practice with ric r be day a 60-mem d Bengaluru. offices in Mumbai an the architec t The silhouette of of her muse p against the backdro developing a of y ac – the rich leg parallel facets country – reveals d in the woman in the economy an lm of a malearchitec t at the he Savitha Hira n. tio ca dominated vo ya’s evolving traces Brinda Soma ys as a young mindset from her da -decade old ee go-getter to a thr n wielding sig de ing ild mistress of bu eye on securing her baton with one global map and her country on the eparable fac t ins the other on the design is...’ ore ref the that ‘man is...

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Her first architectural assignment was to create the swimming pool and recreational facilities for the Bombay Presidency Golf Club, Mumbai in 1975. From there to housing and corporate design, institutional works and community projects, hospitality design and commercial projects, the practice soon began to leave its mark. One of the oldest hospitality havens – The West End, Bangalore – was a princely project for S&K. Lending a unifying style to this best known example of colonial architecture via restoration and renovation with due respect to traditional salient architectural features was a distinct feather in her cap in the 1980s. It also paved the way for several other restoration and conservation projects in the future like St. Thomas Church (winner of the UNESCO Asia-Pacific Heritage Awards), the Cathedral and John Connon School, etc., that involved diligent interventions to be successfully captured in the pages of Indian architectural history. Connoisseur of art, Late TP Issar, in his book The City Beautiful has stated of the West End, “…its recent additions are a model of architectural integra-

tion, displaying a studied regard for the value of the setting”. This indeed is key terminology in the S&K portfolio – ‘studied regard for the value of the setting’. Majority of the projects disburse this maxim and due accolades have come early in the practice. The firm has time and again borne testimony to their combined skills in architecture and interior design, the two areas - symbiotic and overlapping, balancing the delicate scales of innovation with professionalism.

And especially so since the S&K focus has always run parallel with urban planning, conservation and contemporary design simply because the practice has grown with corresponding social, cultural, political and economic changes in the country. Decidedly, the last three decades have seen an emerging India, a people who were initiated into a self-confidence mode that took its inspiration from the stalwart leaders of the nation and manifested their positive energies in the seedlings of all-round de20 DESIGN MATRIX • NOV-DEC 2010

velopment. The company, too, proves its prowess under three major categories: community, conservation and contemporary projects.

A pride that she has passionately manifested complemented by oodles of talent and joy in giving back to society: It was the year 2001, when the massive earthquake hit Bhuj in Kutch district, Gujarat. A disaster of this magnitude necessitated a massive rehabilitation programme for the village of Bhadli, 40kms west of Bhuj. S&K headed the rehabilitation within two months, on the same land and on the footprints of the existing houses and lifestyles. The earthquake, a tragedy, was turned into an opportunity by sensitizing people into building their own sustainable environment.

The design criteria included issues like caste and

religious sensitivity, proximity to the fields, reuse of recoverable materials - mainly doors and windows from the rubble. The facilities of basic sanitation in each house, watershed management and photo voltaic cells for the village were also taken care of. While a new school with the Community Center and the Women’s Center was planned and built, a temporary school was set up interim to prevent children from dropping out of the educational system. The school is featured in the Phaidon Atlas of 21st Century World Architecture – 2008 under ‘All the greatest buildings of the 21st century’.

Humane aspects of architecture have been an integrated part of S&K projects and continue to seep through the fabric of generic and individual needs in the practice. At Bhuj, the use of appro-

priate materials and construction techniques influenced the process of design evolution with an attempt to address materials and structural issues with contemporary techniques and a sense of history. Rehabilitation in the true sense, resurrected for the villagers, their original though evolved lifestyle. It won the honorable mention of the Union Internationale Des Architectes-UIA-Vassilis Sgoutas Prize 2008 for Alleviation of Poverty.

Community issues like improving the facilities for and skills of women labourers were initiated by S&K in their projects as was a healthy respect for local crafts and artisans. Even today, although village crafts are gradually dying out, S&K

ensures their manifestation into the contemporary scenario in a bid to establish an aesthetic vocabulary that is distinctly rooted in the rich heritage of our country. The Nalanda International School at Baroda, for which S&K won the Leaf Award by the Leading European Architects Forum in 2006 in a highly commended category for the use of traditional methods of environmental control and was nominated for the Aga Khan Award for architecture in 2007, is the perfect example of inclusive architecture spread on an area of 8,71,000 sq. ft. With this project, S&K successfully established that the relationship between architecture and environment has historically been and continues to be a complex interaction of site, technology, climate and other natural forces, building materials and human presence.

Sustaining her belief that development and progress must proceed without straining the cultural and historic environment, Brinda’s involvement and contribution to developing technology has manifested

through her projects on Educational and IT campuses. Zensar Software Technologies Campus is a green field project of 10.9 acres. Designed for 3,500 executives, the concept was to link individual buildings through landscaping comprising stonewalls, sunken courtyards, an open-air amphitheatre, waterbodies and greenery. S&K worked this through a simple integrated premise by accomplishing a sense of harmony and balance using clean lines and contemporary detailing.

On the one hand is S&K’s distinct flair for the traditional, and on the other, its fast paced progress in installing and maintaining technological and state-of-the-art engineering systems in place.

S&K has piloted a course across the gamut of building design from aspects of individuality and project specific solutions to massive IT campuses. Landscaping has been an integral facet as has the application of local crafts and materials; women empowerment has been the third; but these are only a lining on 22 DESIGN MATRIX • NOV-DEC 2010

National Awards •

India’s Top 10 Architects - Construction World Architect & Builder Awards 2010 & 2009 Hettich Award 2010 - Icons & Reflections of Architecture

•

VM & RD Retail Design Awards 2008 for Alapatt Heritage

•

The Wienerberger Golden Architect Award for Life Time Achievement from the Architecture + Design & Spectrum Foundation Architecture Awards 2007

•

Urban Heritage Awards 2007 (Indian Heritage Society – Mumbai) for Banyan Park, TCS, Andheri, Mumbai

•

Urban Heritage Award 2003 (Indian Heritage Society – Mumba1) for St. Thomas Cathedral, Mumbai

•

Outstanding contribution towards Interior Architecture – 2003, Magna Publications - Society Interiors

•

J.K. Cements’ – AYA Award 2002

•

Indian State Architecture Award for the Jubilee Church at Sanpada, Navi Mumbai

•

Women Achievers Award - 2001

•

Women Graduates Union (Indian Federation of University Women)

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The Designer of the Year – 1999 Interiors & Lifestyle India – Millennium Edition

•

Indian Institute of Architects - Kitply Award 1998 for “Conservation” for the Cathedral & John Connon Senior School 1998.

•

Journal of Indian Institute of Architects Award 1994 for “Shelter Category” for the Garware House (Residential) 1994.

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Indian Institute of Architects - Kitply Award 1994 for “conservation” for the Cathedral & John Connon Middle School 1994

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Urban Heritage Award 1990 for Progressive Conservation - Indian Heritage Society for the NRK House (Corporate) 1990.

•

Urban Heritage Award 1989 – Indian Heritage Society for the Colaba Woods & Sports Complex (public spaces) 1989

24 DESIGN MATRIX • NOV-DEC 2010

Today in the world of architecture, as in the world of business, how well we cope with change depends entirely on our willingness to change too and on our ability to integrate different kinds of knowledge and to pool resources. This complex challenge belongs to a creative and technically competent architectural firm leading a consortium of technical experts

the vast portfolio of this amazing legend in the making.

Each project stands out for its materiality and conceptuality, its contextual relevance and its up-to-the-minute contemporaneity.

Brinda has traversed a significant journey with ‘man’ as the loci in every domain. Today, her legendary practice has a newer path being carved alongside; with daughter, Nandini, a lawyer who has finally found her calling as a budding architect and interior designer, joining S&K to lend the brand her individualistic chisel. The inherent philosophy stands tall: “The Architect’s role is that of guardian - his is the conscience of the built and un-built environment”

International Awards The Phaidon Atlas of 21st century World Architecture - 2008 All the greatest buildings of the 21st century The Bhadli Village School, Bhuj Uia – Vassilis Sgoutas Prize 2008 for alleviation of poverty – Honorable Mention - Rehabilitation for Bhadli Village, Bhuj Leaf Awards 2006 winner: The leading European Architects Forum, for Nalanda International School, Baroda

UNESCO Asia-Pacific Heritage Awards for Culture Heritage Conservation Award of Merit 2004 for St. Thomas Cathedral, Mumbai.

Best Practices Award – 1999 CAA-IIA International Conference on Urbanization & Housing - II

International Nominations Nominated for the Aga Khan Award for Architecture - 2007 for Nalanda International School, Baroda Nominated for the Aga Khan Award for Architecture -2007 for Rehabilitation of Bhadli Village, Kutch

NOV-DEC 2010 • DESIGN MATRIX 25

BEST... really

?

ea nt ok ing fo r d es ig ns m lo s oe g er ch m a A Ar. the Th is time it is a rid e in n. a m n o m m co e th fo r a i a nd ST b us es of M um b BE d ne ig es d ly w ne . g rowl. H ere is a look a ith w ck a b es m co

A

refreshingly new look in the interiors of BEST buses uses in Mumbai am aadmi when came as a welcome treat to the eyes of the aam a fairly new-looking bus first started out from the depot; until alized its acute the moment when one really occupied the seat and realized e crunch as the discomfort, and then gradually experienced the space clock touched the peak hours and the bus reached its overloaded capacity…

The original twin-seater bench-type arrangement of BEST buses dly-ergonomirgonomi is now replaced by two very well-attempted, supposedly-ergonomifortab ble when cally designed single seats, which prove rather uncomfortable occupied by even a single slightly overweight person; moreover it is rather an effort for the occupant of the window seat to actually move out of it. ed in st trengthWith a host of engineering modifications incorporated strengthtotype es being ening the first lot of the seats, which were perhaps prototypes e lab ttest, est, we tested by the daily travellers, instead of the requisite e muc ch more seemed to have traversed a long way. The seats are much sturdy now and do not get plucked from their foundation any more; at best, it is only the handle-like arrangement on top that comes apart, if at all.

What’s more, in an effort to comfort the seated occupants of the bus, in the second lot of buses, the designers decided to borrow some space from the only available area - the aisle – and to add to the thus created sparse space, they planted some additional poles with a very prominent STOP button on them all.

Was this perhaps the foresight of designers that one day when our population is much in control, we would be in a position to activate these buttons and perhaps indicate that the driver needs to pause at the coming stop? Or did the designers consider the limitations of the space and propose that the commuter activate this button, given his inability to move even after having overshot his destination by a couple of stops?

On a more positive note, the hapless public has had to participate only to obtain field testing results of the new seats; the larger components like windscreens, etc., have passed the qualitative tests prior to even the moulds being developed - at home!

A prime example this of mindless copy and inept design To share more such designs or experiences, positive or negative, contact Ar. Aamcher at aamcher@designmatrix.com 26 DESIGN MATRIX • NOV-DEC 2010

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Teresa

SAPEY

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Retaildesign NOV-DEC 2010 • DESIGN MATRIX 29

S t yle B ou leva rd ic The Ita lia n love fo r ch m boya nce noth ing s in veiled fla new ta ke s cha rg e at the rid...

Aspes i sto re in Ma d

Words: Savitha Hira Architect Images: Courtesy the

“W

n e specialize in ‘desig o‘em with feeling’, in architec ture’,” tional she sits back as says Teresa Sapey, r old retail ea e-y on to survey her prime luxury projec t Aspesi in the anca, Madrid. retail district of Salam of Estudio de ct As Principal Archite ain, Teresa Sp d, dri Ma Arquitectura, a singularly exis known to create ducts through ceptional aura for pro ns in the pubsig her commercial de lic domain. up Aspesi’s Working on setting , ain the archiflagship store in Sp has combined r tec t and designe t-garde in an an av the the elite with where simplicexclusive ambiance overt mantra, ity in design is the ling (similar tai de whilst hawk-eyed duct range) pro ir the to the likes of “We want the its special appeal. an ac tor in our visitor to become nt him to just wa t projec t; we do no breathe, to to , ch tou walk, but to in the space,” participate ac tively she enthuses. an d inn ovaQuali ty, simplicit y of As pe si, ark llm ha tio n are the bout Italian the mu ch-talke d-a women’ clothi ng brand of men and g their ma rke ts tin and acc ess ories. Tes ail outle t is a ret st fir ir in Spain, the rey boutique stand-alone two-sto in the be autiful sans a sh op -fr ont, tigiou s his tor ies cour tyard of a pr tes back to the cal building that da th ce ntury, an d be ginning of the 20 private garde n overlooks the be st a. Unlike any are in the sh opping re, an d in sync glitzy upmarke t sto

with the brand image, this outlet is designed to caress the senses into appreciating the unparalleled. It extends the warmth of a cocoon to its shoppers as they leisurely pick from casual and formal choices across an extensive fl oor plate of approx. 8,000 sq. ft. on the ground and first fl oors.

The interiors are characterized by roominess with displays spread across open shelving units, display tables, wall-hung racks and free-standing hanging racks. The merchandise is deliberately put on show to promote customer interaction; it simultaneously accentuates the feeling of freedom that an open and spacious interior promulgates. Since the mix of fashion products, objects, creams

32 DESIGN MATRIX • NOV-DEC 2010

and accessories are always better left exposed, only a restricted number of closed displays are organized for some jewellery. The design adapts to a touch of modern in an elegant and traditional environment, as it easily cohabits with the changes in the fortnightly displays.

A neutral material palette predominates as the shell.

Large openings and tall arches scooped out of the walls usher in the outdoors and create an ambiance of warmth and bonhomie in tandem with the historic architecture.

Clear glass and metal railings juxtapose with a decidedly contemporary touch in a strictly no-frills setup.

Simplicity lends character to the outfit. Fittingly so, the styling is taken care of by Dirk Van Dooren (Creative

Director - Tomato). Select pieces of graphic murals on the walls by New Zealand painter Derek Cowie, woollen carpets on the fl oor by the Milan-based Altai firm and especially crafted and brightly upholstered furniture lends a youthful and fresh feel to the decor. The fl oor is in distressed natural oak, a contrasting rough finish to the clean, smooth cement shell. Furniture finish is in varnished iron for the sideboards and the shelves are painted in white enamel.

The ‘wow’ aspect is subtly introduced via a monostringer staircase with oak wood treads and iron railing that regally coerces one in the exploration of the store;

and a single shimmering curtain of flattened metal circles joined like a dress by Paco Rabanne that augments the entrance and instantly sparks off an element of surprise.

The architecture and accessories are accentuated by cove lighting as well as focal spotlights and principally by the spaciousness around. “I always say ‘a good project is made by a good client’,” says Teresa.

“I can only add - people, customers love the environment at the store; they go there to buy but also to stay and saunter in the space, as people would go for

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34 DESIGN MATRIX • NOV-DEC 2010

a walk in a park, an architectural park!”

The silent adulation that one commands in this simplest of manners is perhaps the ultimate accolade that a creative can look for.

The Spain-based Italian architect Teresa Sapey’s design journey has always admirably impacted the built form; at times, by simple interventions to make it people-sensitive; at others, quite blatantly, transforming the areas into ‘spaces with soul’. She is prolific and an extrovert – an aspect that manifests in her design philosophy.

An intense designer, Sapey has put in 18 years of unreserved creativity into her practice – from transforming dull parking spaces to blueprinting the gamut of high-end design projects

About the Firm Estudio de Arquitectura is a Spanish firm led by its principal Teresa Sapey, a dynamic architect and designer. Renowned for her extroverted designs and enhancing a project with a characteristic pep, Sapey has rejuvenated several parking lots in Madrid – noted amongst them being for the Hotel Silken Puerta América. A metaphoric grandiosity and human connect are marked tenets of her design. The firm has been prolific in the retail, residential and hospitality sectors for almost two decades.

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SON

OF

SUN! Arty techture 38 DESIGN MATRIX • NOV-DEC 2010

Le Sutra, the world’s first Indian Art Hotel in Mumbai, weaves thousands of years of Indian ethos and narrates it through contemporary Indian art.

Words: Shekkhar Viswanathan Images: Courtesy Le Sutra

T

he gunas in Indian philosophy are tendencies and attributes that exist within people, nature and things so essential to the evolution of consciousness. It is also a way of qualifying an artefact or a being. There are three gunas, namely Tamas, Rajas and Sattva, each one an epithet of what it tries to communicate. While Tamas embodies the “colourful, opulent, intricate and erotic, Rajas symbolizes the “vibrant, passionate, vivacious and stylish”, and the Sattva represents the “minimalist, celestial, ethereal and aesthetic”.

The 16 rooms at Le Sutra are based on ‘characters’ (Ravana, Karna, Buddha) or ‘characteristics’ (sensuality, love, purification) inspired by Indian mythos and each one narrating a story by itself. Every room is a virtual art installation where the story forms the guest experience.

It is subtly composed through art paintings, artefacts, chairs, inlays and sculptures; narrating their part, showcasing diverse themes and philosophies.

Each room will be featured in our following issues.

We begin with Karna, perhaps the greatest warrior adored for his courage, honour and generosity. The room on the Rajas floor is inspired by the life of Karna and is adorned by symbols that dictated his virtues.

Arrow: It is symbolic – a weapon which is not just aimed with skill and accuracy, but guided with spiritual and mental power. At its lower end, the Sun and Moon, both guiding lights, represent energy. The third eye on the arrow symbolizes the accuracy with which it hits its mark.

The hour glass shows that the targets time is up.

Ear Installation: Karna, being the son of Surya - the Sun God, was gifted an armour (Kavacha) and a pair of ear rings (Kundala), dipped in Amrit (Nectar of immortality) and attached to his body to protect him. Later, Indra – the king of Gods (and the father of Arjuna), disguised himself as a Brahmin and asked Karna for his ‘Kavach and Kundala’. Karna, known

for his generosity, immediately gifted it to Indra.

Chariot Wheel Chair: Karna was cursed by a Brahmin, for killing his cow, thinking it to be a wild animal -that in one of the most crucial battles of his life, the wheel of his chariot would get stuck in mud, leaving him vulnerable to the enemies. The chair shows Karna’s hand trying to remove the wheel from the mud.

Painting: The painting shows Karna in the battlefield.

Art Installation: This is representative of the Sun (the father of Karna) as per the aesthetics of ancient Indian temples.

Strategically placed lights illuminate each of these characteristics of the room, giving you the opportunity to be a part of the art itself!

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“Karna’s antim sanskar was performed by Lord Krishna himself, making him the only person in the Mahabharata epic who had this great honour.”

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Exhibition design

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WEDGE-1

An a rch itectu ra l exp lo rati o n b y M u jib Ah med a nd La lit ha Tha ra n i in si d e a d is sec ted box!

Words: Alpana Boudin Images: Courte sy the Architect s

WEDGE-1

is the latest of architectonic explorations by the firm in creating projects which are highly refined in architectural morphology and yet fulfilling the programmatic agenda of the brief. The architectural intent was to dissect the simple ‘shoe box’ and manipulate the architectonic character of the box in the most economical way. (The project had a very stringent budget limit and delivery schedule.)

The name WEDGE comes from the character of the spaces within the dissected box, which largely are trapezoidal. The space has been organized as centripetal, pinwheel form as the central gathering space holds the different wedges around it’s periphery with its undulating volumes and roofline.

The peripheral wall sets the tone of the encounter with the exhibits with its unique cut-outs, which reveal and mask the displays simultaneously to lure the public in. These two-dimensional cut-outs on the skin, transform the project from a simple container of products to an architectural ensemble of multiple meanings and unparallel perceptual values.

WEDGE is painted white, including the exhibit floor to heighten the perception of encounter with the products.

The central gathering space has a series of light ‘vectors’ (1200 mm long T5 lamps), which forms an enclosing canopy and fuse the space to complete the Box

Project Name Wedge-1 Location Mumbai, India Architects Collaborative Architecture, Mumbai, India Team Lalita Tharani, Mujib Ahmed, Mazhar, Munib, Aharaf, Vineeta & Shoukath Contact Collaborative Architecture +91 22 4004 7007 projects@collaborativearchitecture.com www.collaborativearchitecture.com Completion date September 2009

The Human

TOUCH Claymation pro Dhimant Vyas opens up a world of tactile sensitivity in 2D modelling and animatronics…

Words: Savitha Hira Images: Courtesy Dhimant Vyas

Design aspect 46 DESIGN MATRIX • NOV-DEC 2010

“T

here is an organic feel to the medium of clay, which is not achievable through computer generated animation,” says Dhimant Vyas, animation film designer and clay-animation (claymation) wizard. In the jet-set age of computer generated graphics and hi-speed transition, Vyas creates mind-boggling scenarios with 2d animation using clay models.

Vyas’ penchant for clay modelling began as early as his student years with National Institute of Design (NID), Ahmedabad, when the field of animation was still new to India. Vyas attended a workshop in animation film-making at the NID and first experimented with this technique while guiding a student group in the making of an environment-awareness animation film called ‘Happy Planet’.

He gradually inculcated in himself a

discipline born out of perseverance and passion and has honed his ‘concept-to-composition’ skills in the 2D medium.

Opposed to what one generally sees, Vyas has developed his own technique, which he likes to call ‘animation with embossed clay models’. It differs from typical clay animation, as the clay figures do not stand upright but are laid out flat on a smooth surface. It is technically easier to animate in this manner as it requires less planning than when armatures are used; not that he is averse to using armature. In fact, his recent stint with the Aardman Animation Studio for a TV series ‘Shaun, the sheep’ uses extensive clay puppets with armature. It is a style preference that guides Vyas and sets him thinking, conceptualizing and executing right from character sketches to an elaborate storyboard to sets, and finally composing and filming.

“The challenge in working with claymation lies in creating a model that looks three dimensional under the camera,” says Vyas. The requisite illusion of depth comes from the play of light and shadows under which the characters are viewed; but the light has to be planned carefully lest it throws unnecessary shadows, which could steal the volume. “This involves a lot of cheating too,” he laughs. “When one looks at the model

by itself, its shape looks odd but when looked at through the camera lens, it is perfect,” he explains. The animation is then filmed from an overhead camera.

“Claymation is not a new genre,” continues Vyas. “Clay is an extremely convenient medium in animation due to the flexibility of the product. It is available in innumerable colours and does not dry off; thus it can be used and reused. Animating with clay models is a technique that has been around since the existence of plasticine. It is a form of Stop Motion or Frame-by-Frame, an animation technique that makes a physically manipulated object appear to move on its own...” Claymation uses sculpting or moulding characters based on a storyboard with rough character sketches in which clay puppets are made and placed in miniature sets with lots of lights. It is like capturing individual frames and playing them out as a sequence in motion. At an average, 24-25 frames are made for 1 second of video. An animator should thus be

well versed with the principles of classic animation and have a keen sense of observation. “The challenge in clay animation is that once you shoot footage, you cannot go back and edit the frames in the middle of a sequence. So, you should be very sure about everything,” says Vyas.

Another very important consideration while animating is to maintain correct timing. Each element has a different speed and a unique style of motion. Sometimes, one shot has 20 to 25 items moving. One small error can mean redoing the entire process. But again, timing is something that one learns with experience. “Often, an entire day’s work results in the completion of only one second of animation film; so laborious is the process!” Vyas reveals. “But gratification comes when you see the objects created by you in motion. Your

imagination takes full control and you can execute whatever you feel like,” he maintains enthusiastically.

Technicalities apart, being a claymation expert can mean a lot of fun too. Many a time, the animators need to conceptualize and envisage the action that their puppets would dramatize and perform in front of a mirror or the director to be able to gauge and capture the right expression. This is then transferred onto clay and modelled on the puppet.

Further, the sound knowledge of the various techniques involved creates an amalgam of ideas best suited to the application at hand. While working on his recent Shaun, the Sheep, Vyas learnt another animation technique called Go Motion, which was used in sync with Stop Motion, where two different objects – one stationary and the other moving – are animated in tandem. Such exercises broaden one’s learning curve, especially since technologically driven methods have a very short shelf life.

There is always something new happening – new software, specialized effects, etc.

Vyas holds an incorrigible appetite for exploring novel techniques and methodologies; and essentially those that result in a distinctly creative Midas touch. His many TV commercials (Biona Y-snore), promos for MTV, his work for Taare Zameen Par, Happy Planet, Cute Bunny, and his photography have won him several national and international awards.

He has a vast experience in creating animation using various techniques like Stop Motion, 2D Classical, Cut Out, Material, Sand, Pixilation and Flash. Vyas also conducts workshops in animation

“ Taare Zameen Par’ in 2007 was the first live-action Bollywood feature film to use clay animation and Vyas was awarded for conceptualizing and developing its title sequence.”

D i mya nt

V YAS www.dhimantvyas.com

ant

YAS

D h i m a nt

S A Y V

S

S

Residential design 52 DESIGN MATRIX • NOV-DEC 2010

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Jewel of a S p a ce ns uous Archa id d es ig ns a se ba i su b urb b unga low in a M um

anathan Words: Shekkhar Visw Architects Images: courtesy the

A

, so do their s the cities expand the comai, mb Mu suburbs. the country mercial capital of fast track and is also on the same burb – Domsu t in one of its distan and Nielesh ya av Bh bivli -- architec ts ned a very conKenkre have desig w for their clitemporar y bungalo ing a well known ent, Shri Patil. Be area meant that the personality in bungalow needed the design of the s stature. While to match the client’ worked on a simBhav ya & Nielesh d stylish concept, an g ple, yet imposin s not averse to Shri Patil himself wa design, in a plot experimenting with sq. ft. measuring 15,000 t started by dego ts The architec keeping in mind veloping the plot, namely, parking, the pre requisites , porches, terlandscaping, lobby w itself. Bhav ya alo ng race plus the bu d on a groundsays, “We worke of approximately plus-one struc ture was divided into 10,000 sq. ft. which ached toilets, att h wit four bedrooms living area and a an office space, the space. This way, kitchen with dining and complete in every room was big of the meeting e urs co itself.” In the ife design team, with this husband-w t this particular one could sense tha ial and close to ec projec t is very sp plained by the ex st their heart. Be y get down to manner in which the ss. explaining the proce e interior of Nielesh explains, “Th concept of the s low fol the struc ture in. We decided on the ex terior flowing ational look and an open glass intern from the typiay wanted to break aw al designs which cal hotchpotch of loc t area. The main were the norm in tha ct a modern, simaim was to constru

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The false ceiling is wallpapered, wardrobes clad in ebony veneer, silver and red deco painted glass, curtains with red accents and the walls in glass, all come together to create a sensual ambiance.

ple building which creates a dominant style statement.” He further adds that the design can be described under three categories - architecture, outdoors and landscape, since special care was taken to develop all of these.

The architectural style is contemporary and bold. Looking at the floor plan of this structure, one finds two glass boxes intersected by a rectangular strip swimming pool in the centre. Bhavya & Nielesh say that they impressed upon the client to let the exteriors flow inside the structure -- for example, huge French windows or the swimming pool which winds its way from the outdoor landscape into the interiors of the bungalow. The ground and first floors each has a height of 14 feet hence special care had to be taken while designing the glass facade (keeping the heat-load and wind pressure in mind). “We have used PVC sections for windows fabricated through Fenesta,” they disclose.

The interiors are grand. The living area has a breathtaking height of 24 feet and is divided into formal and informal areas. Bhavya says, “The

design is very contemporary, yet minimalist in approach. Every piece of furniture is individually designed by us. Italian marble flooring in white satvario and jet black marquina adds finesse to the place.

There are actually no walls to this space. Everything is glass, adding to the feeling of awesome volume.” Even the client’s office, close to the entrance has been designed flamboyantly in glass.

Since the Patil family is social and entertain many guests, the kitchen is open and airy, with a central cooking island and lots of space for movement. The dining space is integrated into the kitchen and spills out into an informal lounge by the poolside jacuzzi.

“Atithi devo bhava” or “the guest is god”! True to this motto is the guest room – a room to pamper the senses. A unique bed, dramatic in colours, materials and design, which the user will never feel 56 DESIGN MATRIX • NOV-DEC 2010

like getting out of, is the piece de resistance here.

The false ceiling is wallpapered, wardrobes clad in ebony veneer, silver and red deco painted glass, curtains with red accents and the walls in glass, all come together to create a sensual ambiance.

A winding staircase leads to the first floor with a touch of laid back luxury where the refreshing brush of outdoor landscape merging into the interiors is overwhelming. Here are the bedrooms and the master suite. The master suite has some traditional Balinese and Asian motifs that have been incorporated into the design of the bed and wardrobe mouldings.

It also has a beautiful wooden louvered window that looks down into the living space below. The suite has an attached dresser and a huge luxurious toilet bath done up in rich brown Emperado Italian mar-

ble. Handmade tile borders and wall motifs add to the character of the place.

The client’s two sons have individual tastes that reflect in their bedroom design. While the younger son (a teenager) has a more casual look to his space, the elder son’s bedroom is very stylized catering to his needs and tastes.

Special care has been taken to design the outdoors – the compound wall, entrance gate, swimming pool and the barbeque with bar. There is also a glass gazebo which can be used as a dance floor or lounge. Various species of plants and trees have been selected under expert advice from a renowned horticulturist to ensure round-theyear bloom.

58 DESIGN MATRIX • NOV-DEC 2010

Neilesh rounds off saying, “Effective utilization of space was the criteria. As the space available was huge, we did not want to fill it up but wanted to make a statement of grandeur and largeness. We also wanted to retain the natural beauty of the surroundings and designed the landscape accordingly.”

The Patil family, proud occupants of the bungalow have named it “Ratna”, meaning jewel. As for Bhavya & Neilesh, they call it “a labour of love”

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“Special care has been taken to design the outdoors – the compound wall, entrance gate, swimming pool and the barbeque with bar” 60 DESIGN MATRIX • NOV-DEC 2010

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Kinect for

X O B X

ilizi ng logy eva po rate s, ut no ch te t a th er ov With ‘K inect’, d isc ’ in the centre of ou ‘y ut p to g in ck tra y revo lutio na ry fu ll- bod o nly experience he “T , id sa ve ha ox p le at Xb the fu n. As the peo erience. ” you need , is life exp

Y

ou thought gaming changed when the wires disappeared; imagine if the controller in your hand did the same thing. Gone are the days when you had to hook up an 8-bit gaming console with your old CRT TV and sit for hours untangling the wires for the remote controllers just to play games like Contra or Tetris. Although those games were the best of their time, they laid the groundwork for today’s games with mind-blowing computer graphics and visual effects.

In good time, gaming has become more and more interactive and controllers have become user-friendly.

From the four-way direction keys, to the 360 degree rotational joystick, and then the motion sensing wiimote, controllers have just become more lifelike. But tech gurus from Xbox have introduced this unmistakably remarkable piece of new technology, which in their words has “you” as the controller.

This new motion sensing bar, which is compatible with any Xbox 360 can now detect “you” i.e. the person playing the game, and simulate movements as you move in real life. All you need to do is to simply step in front of the sensor and Kinect recognizes you and responds to your gestures. See a ball? Kick it… Want

64 DESIGN MATRIX • NOV-DEC 2010

to join a friend? Whether he is across the room, across the street or across the globe, connecting in a whole new way is as easy as a wave of your hand.

The device features an RGB camera, depth sensor and multi-array microphone running proprietary software, which provides full-body 3D motion capture, facial recognition, and voice recognition capabilities, creating a 3D view of the user. The result: “You” are in the virtual arena, in total control of the life-like game that you are playing… whether car racing, badminton, golf, wrestling, what-have-you!

Previously codenamed “Project Natal”, Xbox calls its latest creation ‘the Kinect’. With Kinect, the interface is so much fun that at any age the child within you will be jumping with glee. Kinect can also be used to navigate around the Xbox 360’s dashboard and control video and music playback without the need for a controller. Games in development for Kinect include pet simulator Kinectimals, fitness games like Your Shape, where the user can select a variety of training modes by tracking your body throughout and even provides feedback to help you correct your posture; and EA Sports Active 2, sports simulations like Kinect Sports and party games like Kinect Adven-

tures and Dance Central, where the Kinect teaches you to dance like a pro.

A new leap for the entertainment sector, the design of this device is so simple yet so powerful and incredible that it just leaves you stunned.

The device is expected to be released in Australia in November and in the US in December; though an Indian launch is not yet officially announced.

Looking forward to this amazing addon to experience gaming like never before, starting with over 15 games to choose from at launch, the Kinect is going to leave gaming enthusiasts all over the world drooling

Words & Images: ani Himanshu Hiranand

Tech diary

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Conversations

S E I C N A N G I PO onundrums a nd C

ua l exhi b iti o ns in With her o ngo ing d e la ni spea ks a bout th M um ba i, Na lin i Ma sio ns that find a ra b a id no a m hu le multip , a nd the tiny seed rk o w r he in x flu in co ns ta nt b ei ng a nswered vi a is y cr r he t a th e p of ho a nd red re ss a l... so m e so ul -s ea rchi ng the Artist • Images: Courtesy Words: Savitha Hira

“Malani draws her influences and parallels, proposing the complexity of the female form without being penitent, didactic or even morose.”

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J

ust like the unmarked wet clay on the potter’s wheel is pressed, squeezed and pulled with considerable skill and an acceptable standard, the human brain with its one hundred billion nerve cells is nudged and nurtured with every little episode in life. While some of these experiences grow into multi-dimensional thoughts, ideas, ideals... others remain unresolved concepts subconsciously inviting interpretation and dialogue.

The progressive contemporary world of art is not unfamiliar with woman artist of renown, Nalini Malani. Preferring to be addressed as a ‘painter’, she constantly strives to unravel life’s conundrums through her paintings and new media art. It was the early 1990s when Malani was one of the first artists in India to break from painting by making ephemeral wall drawings, installations, video and shadow plays, multi-projection works and theatre. In an environment rife with the layperson’s and the connoisseur’s appetite for experimental work, Malani’s art form was decidedly a timeless influence on the human psyche. It remains so till date. She is considered one

the most influential Indian artists on the global scenario of contemporary fine art.

An artist’s work is always an extension of herself; an expression of her innermost trysts and triumphs. Malani’s work draws heavily from her travels, her reads of Indian and Western classics; her political awareness... The strong spirit of womanhood; passing stories of inhumanity; social and cultural concerns... all find their way into her expression commanding the viewer to sit up and take note; perhaps even to voice their angst and open conversation. Whether it is from the pages of Dr. Faustus or the depths of the Bhagwat Purana, Malani draws her influences and parallels, proposing the complexity of the female form without being penitent, didactic or even morose. Her work is akin to a narrative, armed with a distinct surrealism, where her finely crafted figures seem to float amidst an environment that is, at once, full of life, yet questioning in its very existence.

The parallel is cogently drawn with the canvasses suffused with vivacious colours and dotted with numerous symbols and motifs that coerce you into deeper thought.

Malani’s is the art of excess. It spills over. Her artistic expression is layered with several nuances, sub-thoughts, archetypes, and primarily affianced in

engaging the viewer into a channel of communication. In fact, it is a paradox. Many a painting seems to have so much to say that it appears a trifle openended. It leaves the viewer with a distinct discomfort that is inward looking and self-appraising.

How many people respond responsibly to the happenings around them? Little instances of guile, nonchalance, acts of revulsion, hostility, aggression... weave a pattern that is textually overlaid by the end of a day. You are either a witness to these or a party, albeit silent one, at times; but what is the impact on your psyche? Does it nudge you out of the blasé stupor of metropolitan living? Does it make you want to haul over the coals? Are you ready to take a stand? When? How? 70 DESIGN MATRIX • NOV-DEC 2010

Questions that touch a deep chord within; and sensitize you to several occurrences outside the immediate sphere of your current environment, urging you to reflect on perhaps a bygone era; perhaps a lesson read; or even perhaps a enigmatic anecdote scorned at... References from Indian and western epics, philosophical and literary classics, legends and mythologies naturally leave an impact on Malani’s sensitized mind and establish a contiguous connect with the immediate world. Paradigms are sought and parallels are toasted; and a new narrative begins... a new painting takes shape... a new whimper beckons... we begin to react... at times, respond... maybe, just a little...

A selection of Nalini Malani’s best works in the last five years is being exhibited simultaneously at The Chemould Prescott Art Gallery and Chatterjee & Lal from October 30 th to November 30th, 2010. These works have made a grand impact in

international exhibitions such as the Venice Biennale 2007, Museum of Modern Art Dublin 2007 and Musée des Beaux Arts in Lausanne 2010 and at renowned galleries in New York and Paris. The Mumbai exhibitions are built around the seminal 50-foot multi-panel painting ‘Splitting the Other’ and the elaborate gallery-filling video-shadow play based on Bruegel’s painting ‘Mad Meg’. In total there are more than thirty paintings and two video installations that are for the first time being shown in India. The works at both galleries are a stark contrast in materials and configurations. The monumental format of the show envelopes the viewer into a quasi subenvironment with its layered portraiture and narrative set to musical cues

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ECO EDUCATION Teaching in a sustainable environment makes eco-friendliness a way of life at the Druk White Lotus School in Ladakh.

Words: Babita Krishnan Images: Courtesy Druk White Lotus School

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nitiated in 1992 by local people, who requested help from their spiritual leader, His Holiness the 12th Gyalwang Drukpa, the school is named after Mipham Pema Karpo, who is revered as the greatest scholar of the Drukpa lineage, and taught extensively in Ladakh. With assistance from His Holiness’ local and international students, 88 children

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entered Nursery and Lower Kindergarten classes in 2001. Since then the school has grown to accommodate more than 500 students. This unique initiative has been advanced by the Druk Pema Karpo Education Society (a non-profit Ladakhi society), supported by the Drukpa Trust.

Druk White Lotus School has provided quality education to Ladakhi girls and boys since September 2001 and the school’s catchment includes remote areas where quality education is unavailable.

Designed by international architects Arup Associates, the buildings combine the best of traditional Ladakhi architecture with 21st century engineering excellence and so act as

a model for appropriate, cost effective and sustainable development.

Ladakh is an area of few resources and extreme temperatures. Here are

the highlights of Arup’s design solutions to an extremely challenging design brief:

“

The school is named after Kunkhyen Padma Karpo, a great scholar of the Drukpa Lineage of Tibetan Buddhism, who lived in the years 1527-1592.

He was the 4th Gyalwang Drukpa. You can see a statue of Padma Karpo in Naropa Palace on the Shey campus. Druk means dragon and Padma Karpo can be translated as White Lotus in English.

”

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What makes this school special?

What kinds of insulation are used in the buildings?

Ladakh is one of the few remaining places in the world where a Tibetan Buddhist culture exists within a free society. Under the guidance of His Holiness the 12th Gyalwang Drukpa, instruction is English medium, and students also learn Ladakhi (Bodhic) and Hindi languages. The design of the school was inspired by His Holiness and the school’s unique facilities won three World Architecture Awards.

The roofs are constructed of local poplar rafters with willow sheathing.

The Nursery & Infant school is also topped with rock wool and felt insulation. Exterior cavity walls utilize a layer of air between the granite exterior and mud brick interior as insulation.

What materials are used in the construction of the school and where do they come from?

Throughout the school an emphasis is placed on using local materials wherever possible. Soil from the site is used in roof construction and mud bricks for the inner walls are handmade in Shey. Granite blocks of the exterior walls are formed and finished from stone found on the site or gathered from the surrounding boulder field. Monastery plantations grow the willow used in roof construction. The clay and poplar used in construction are also sourced locally.

How does the design prepare for earthquakes?

The structures use timber frames to resist seismic loads and ensure life safety in the event of an earthquake. Timber frames that are independent of the walls, steel connections and cross-bracing provide earthquake stability.

What is a ventilated Trombe wall and how does it work?

Trombe walls are used to provide evening heat to the dormitories.

They are constructed of ventilated mud-brick and granite cavity walls with double glazing. They are coated externally with a dark, heat-absorbing material and faced with a double layer of glass. As sun heats up this surface, heat is stored in the mass wall and later conducted inwards to the dormitory rooms at night by way of operable vents.

How is energy provided on site?

The mains electricity supply is sporadic and unreliable with voltage frequently out of range. Passive solar heating and effective daylighting design help to minimize the energy demand on site. Additional demands are met by solar (photovoltaic) panels and solar hot water collectors.

We also have a diesel generator for emergencies and periods of high demand.

What energy strategies does the design employ?

Passive solar heating: the classroom buildings are oriented 30 degrees east of true south with an elongated east-west axis so that classrooms will warm up in the early morning sun. All buildings in the residential area are oriented on a true north-south axis to maximize solar gain.

Super-insulation: the roofs are constructed of local poplar rafters with willow sheathing. Those in the nursery and infant school are also topped with rock wool, felt insulation and a weather skin of sand and aluminium sheets.

Airlocks: the entries to the classroom buildings are all airlocks that act as a buffer between the winter cold and warm interiors, as well as minimizing dust inside.

Daylighting: classrooms are designed for optimum daylight. In the nursery and infant building, the light from the windows with direct solar gain are balanced by top-lighting from north and south facing clerestories and a splayed ceiling. No electric lighting is normally needed in the classrooms.

Natural ventilation: the rooms have well-shaded operable windows that allow natural cross-ventilation and

“

Ladakh is one of the few remaining places in the world where a Tibetan Buddhist culture exists within a free society

”

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provide a cool, glare-free, high quality teaching environment.

Solar: panels are currently being installed, which will help supplement the school’s energy. Solar hot water heaters produce around 300 litres (79 gallons) of water per day.

Materials: throughout the school, emphasis is placed on using local materials wherever possible. Soil from the site is used in roof construction and mud bricks for the inner walls are handmade in Shey. Granite blocks of the exterior walls are formed and finished from stone found onsite or gathered from the surrounding boulder field. Nearby monastery

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plantations grow the willow used in roof construction. The clay and poplar used in construction are also sourced locally.

How are water demands met and wastewater treated?

Water is scarce in a desert area like this (annual precipitation in Shey is 50 mm ). Groundwater is extracted from a 32 metre (105-foot) deep well and pumped via PV power to 60,500 litre (16,000 gallon) tanks located on higher ground behind Naropa Palace.

One tank provides drinking water under gravity feed to the school, while

the other reservoir provides irrigation water. The VIP latrines also help to limit water demands because their unique design allows them to function without water. Currently wastewater is re-directed and used for irrigation of landscaping.

What waste strategies does the school employ?

Solid waste: waste is sorted for recycling into paper, plastic, and other, while compost is utilized to create soil.

VIP toilets: VIP stands for Ventilated Improved Pit toilets. Not only are

the latrines waterless, but they also utilize a solar driven flue that carries out insects and odours.

The educational ethos of the school is to believe in the child as an active participant in the learning process rather than as a passive recipient. The school aims to nurture ‘life skills’ to give confidence and impart ‘livelihood skills’ to develop competence. Our awardwinning buildings embody the school’s ethos

Key features: materials, Using locally-available ct on the environment; which have the least impa g; n and passive solar heatin tio ila nt ve l ra tu na g tin oi Expl d emissions; Minimizing energy use an Minimizing water use; ditional Refining and adapting tra odern solutions. techniques to provide m

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THE FIFTH DIMENSION We explore the charisma of lighting and discover how this fifth dimension can either make or mar design...

Words: Sheena D’lima Images: Courtesy the Designers

L

ength, breadth, height and depth create a confined space.

But light is that fifth dimension that can alter any of these four without actually changing the numbers.

Design experts agree that while the perfect lighting solution for spaces may broadly be based on functionality, aesthetics and energy efficiency, technical expertise, environment and economics are strong contenders too.

A lighting designer holistically considers the appearance of space and luminaries, colour appearance, day light integration and control, glare and light distribution, luminance of room surfaces, points of interest, shadows, source/task/eye geometry, reflected highlights and surface characteristics, etc. Therefore, while lighting might seem like the last minute option for a room, it actually plays a very important role in the design of a space and the final look of the room.

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Indoor Lighting For the Home: The mood of a room greatly depends on the way you organize its lighting. An average Indian household enjoys a mix of light fixtures – from wall sconces, recess lights, track lighting and ceiling chandeliers to table lamps and up-lighters. Further, a combination of yellow and white light promulgates several moods. With the functional and aesthetic elements catered to, the energy efficiency aspect can be taken care of by Green Building tenets that ensure the proliferation of light but strictly keep out the heat, thus maintaining a normalcy in room temperature.

Designing the lighting of the home offers plenty of opportunities to manipulate the actual physical space of a room, hiding flaws or accentuating strengths. You can push back the spaces of a large room by washing a wall in light, draw attention away

from a low ceiling by directing the light toward the ceiling or illuminate a dark corner with up-lights that can be purchased in a variety of styles.

Installing dimmers control the intensity of light and saves energy at the same time. The right kind of lighting has a distinct individualistic character and can change the personality of a room.

For the Office: As against the home, which is a personal space with a bevy of preferential elements, workspaces require lighting options that are conducive to a healthy, productive work environment while resulting in optimum energy and cost efficiency.

Lighting in an office must ensure that there is comfort, good colour, uniformity and balanced brightness.

Chaotic patterns of light, shadows, glare, and flickering are factors that need to be avoided. A productive working atmosphere depends largely on lighting that is designed for long-

Dimensions

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term comfort. While the working area or the workstation needs to have good task lighting and needs to be the brightest part of the office, the walls need to be about 1/3 as bright and the ceiling also must reflect, not absorb the light. Surface areas on the other hand should not be too shiny, because reflected glare is distracting and has a negative effect on productivity.

But office lighting also is not limited to functionality and a basic sense of aesthetics. Depending on the nature of business, the brand equity of the company and its image building projections, certain areas are demarcated as high-end client service areas and certain others are employee comfort zones. Such areas defy set norms based on their deliverables and thus pose a challenge to the lighting designer.

The kind of light fixtures one uses outside should be durable and hardy since they will be exposed to natural elements like rain and bright sunlight. High Intensity Discharge sources (HID), which have been used in street lighting since 1933, are used in lights meant for the outdoors. HIDs combine the ‘point source’ nature of the arc tube, which supports precise optical design (it is easier to create dramatic punches of light designed around smaller physical light sources) and the energy efficiency of fluorescent systems. Halogen lights, while definitely brighter in comparison to other lights, emit large amounts of heat and even distort the colour of plants sometimes. Incandescent

Outdoor Lighting Lighting an exterior space poses a completely new set of considerations. There are several ways in which to illuminate an exterior space depending on the kind of effect one wants to create. The two most common methods applied are ‘moonlighting’ and in contrast, ‘up lighting’, which works well with large landscape elements. Lighting for paths, walkways and fountains as well as garden sculptures is an art by itself and proffers several alternatives. An important consideration is to match the light fixtures with the surroundings. Also, identifying the focal points of a garden and figuring out the best way to illuminate these areas can create a pleasing effect. It is safe to begin planning the lighting for the garden by lighting entrances and pathways.

When it comes to outdoor lighting, less is always more. Over-lighting a landscape should be avoided at all costs, as this tends to create an artificial atmosphere instead of enhancing the real one. However, designers recommend that one can achieve subtle, natural looking lighting by studying the patterns of natural daylight through the day and attempting to re-create that landscape through astute artificial lighting.

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“While lighting might seem like the last minute option for a room, it actually plays a very important role in the design of a space and the final look of the room.”

lights or LED’s are always a better option for landscape lighting.

Saving Energy Whether it is green building, water recycling or harnessing wind energy, it is apparent that the consumers and professionals alike are becoming increasingly aware of the need to conserve energy. The range of options in lights that save energy top the list with LED (Light Emitting Diode). Introduced in 1960, LED luminaires are small light spots that convert electricity into light without emitting heat. This reduces the load on air conditioning. LED’s can be custom designed for the application they cater to and are available in a range of options from miniature LED flashes that can be used in cell phones to High-power LED floodlights that illuminate large landscapes and facades. The Government of India has been making efforts to boost energy-efficient lighting technologies by choosing to adopt LEDs for street lighting in key cities and for architectural lighting of national monuments.

The Ministry for Renewable Energy (MNRE) and the Bureau of Energy Efficiency (BEE) have also been driving initiatives such as distribution of solar LED lanterns in villages to promote energy-efficient lighting.

Like LEDs, Compact Fluorescent Lights (CFL), are also an obvious choice because they utilize less energy while producing less heat. Compact fluorescent bulbs use about one-quarter of the energy an incandescent bulb uses to produce the same amount of light. CFLs are available as Twin Tube Lamps, Quad Tube Lamps, Triple Biax Lamps and Spiral Lamps. CFL India has been a key contender in the manufacturing of CFL machinery for the past 10 years.

Other lighting options for saving energy include solar lights, which can be used for outdoor and street lighting. The Mayor’s bungalow in Mumbai is completely lit with solar light.

Except for the cost of the installation, these lights require no financial maintenance and are extremely energy efficient. Even outside the urban scenario, villages in India and Nepal are employing solar lighting and discovering new ways to save energy.

Wagarwadhi, a village in Maharashtra built skylights in most of their homes to make the maximum use of daylight.

As of 2009, the village also boasts of solar lamps that double up as mobile phone chargers, and are sold in the village itself.

Major Contenders in the Indian Market The Indian market has its fair share of big players in the light industry whether it is manufacture, design or installation. ELCOMA, an Association of Electrical Lighting Manufacturers in India states that the lighting industry in the country has grown at nearly 17 to 18 per cent per annum over the last two to three years to an annual turnover of more than 7,500 crore.

Phillips: Phillips Electronics India has long become a household name and prides itself on providing lighting solutions to both private and public sector. Phillips Lighting is also used for specific applications such as Horticulture, Refrigeration Lighting, Heating, Air and Water Purification, and Healthcare.

Wipro: Wipro Lighting, which is part of the Wipro Care & Lighting Division, is in the business of both manufacturing and marketing luminaries for institutional and retail consumers.

With a history of customer satisfaction, Wipro caters to Street Lighting, Landscape Lighting, Commercial Lighting of Modern Workspaces and Industrial Lighting.

Havells: Havells India Ltd provides a range of products and services besides lights and luminaries. These include Industrial & Domestic Circuit Protection Switchgear, Cables & Wires, Motors, Fans, Power Capacitors and Modular Switches. Apart from providing advanced LED solutions, Havells also deals in Landscape Lighting and Specialty Lamps.

Swarovski: Swarovski, a leading name in cut crystal, partnered with Schonbek, manufacturer crystal lighting and introduced a range of High Quality Luxury Lighting in India in September 2010. With a growing demand for exclusivity, this is an emerging market. The two brands, Swarovski and Schonbek, together provide a broad and luxurious lighting

portfolio of contemporary luminaries and unique pieces created by leading international design talents.

The functions of light and how it is looked at by the consumer has changed drastically. This change has led to a situation where both the manufacturer and the consumer work hand-in-glove to ensure the best possible lighting solutions.

Added to the burgeoning options is the increasing demand for energy efficiency.

Shanghai was the first city to take part in the LED lighting plan of 10,000 lights each in ten cities initiated by China Ministry of Science and Technology, but Indian cities are not far behind. In July 2010, Ludhiana officials installed 20 LED lights in four areas of the city as a test drive. The authorities propose to replace all streetlights with energy efficient ones. The initiative was financed by a private company and is revolutionary in its outlook. With such trends rapidly catching on in the industry, the business of lighting spaces in the world of design is definitely going a long way

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Unmasking talent

ALL E G A R E TH

ie st roa d s into the trend in ke a m to nd te ts Cult p rod uc po rt une b es at the mo st o p ro rd a w nd a es m of ho ith a p lom b a s yet w f of es ss a p it nd moment...a d en ta lent... a nother fa d... a hi d Words: Savitha Hira ana Linda Images: Courtesy Di

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K

atars. One itsch has myriad av manifestaspells has seen several t colours, her work commode its vibran m h its wit d oo yw oll tions of the art fro -B contribute in terms Mumbai-Bombay for rts ca to s Her encouraged to nk . tru ma g dra llin d ve an tra paint, sch ats kit se p culture, ing, embroidery, in the home de- po es like col- of stitch iqu ce hn offi tec h e wit tur t dining tables, etc, fea ou ducts and also help cts and several pro upage, spray ing, co tiv de ea Cr rk, wo cor range of produ g. tin tch un pa co t pass of as lage, all work and ac tha of ks t ac en -kn hm d ick llis an kn be other encouraged inting and em t of ity is highly . Once again, we pa n find an assortmen Bohemian trinkets ca u Yo . rts so re. lly he d Bo lue time with a handcrafted em- va entreprehave kitsch – this traditional Indian The enterprising od wo lly Bo old . s, ric fab of ideas h wood twist e lus us ry, ho ide re , neur is a sto es as are their bro , beads and baubles People are of all typ diately ins qu me se im rs, en ste oft po that are da is an expatri rs. rde vocations. Diana Lin products. into en sari bo ed ai, India since the ev is that ev- translat art r he of ty ate living in Mumb rking on au wo be The e is currently with the internade or hand deco- Sh ma nd ha year 2002. Her work evening is ce ing ow pie i- some mind-bl ins Sans Frontiers’ ery ially selec ted mater ec tional NGO, ‘Medec sp h wit ed rat ht n dresses!

Borders’ for eig adornments and ca or ‘Doctors without she als, images and en wh g to llin fi ng ful rdi co st ac years was mo fur ther customized switch to pursue be of Diana’s suddenly decided to preferences. Some nt design with a clie sch kit rec ycling, for on d on se ssi ba pa her collections are . ve ea ery erw int papier-mâché jewell distinct Bolly wood g a va- such as the ftin cra -co at ca nd co ha m ft With a de sks, bangles fro s g from bags, and ma xe gin bo ran ed cts int du -pa pro riety of ttles and spray pouches, clutch la bo fashion accessories, nks. tru d an ed belts, decorat , is not far purses, jewellery, humane touch, too e Th ors, oe sh red ide the wombro h stockings, em Diana works wit home décor behind. d an medical ts, us ke Oj jac O, l namenta m a local NG r she can lay en fro aims ve ich ate wh wh t, m jec fro Pro items le and the Damini sty a ts pic ed de leg na ivi ent of underpr her hands on, Dia word - for empowerm gle sin are a n in me – wo is e sense that men in slums. Thes inly by India and wo funky! Inspired ma

“Kitsch is applied to work of art that conveys exaggerated sentimentality and melodrama.”

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MULTI-FORM

PLATEAU

With a large residential development on the anvil, the port of Amsterdam proposes an exciting biotope - an edgy alternative for the increasingly cultivated inner city; and what better than a flexible cultural platter could fulfill this need…?

Information & Images: Courtesy N L Architects

B

ing the map of Amsterdam, near the port, on the banks of the IJ River, and you will see a small square in the birds-eye option. Positioned on the Haparandadam on the banks, is the awardwining proposed concept ‘multi mill’

by Netherlands-based N L Architects.

Intended as a cultural stage that can host various art forms including theatre, film, fashion, sculpture, sound and light, art, music, dance, etc., the facility is at its conceptual stage and

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slated for completion by May 2011.

Designed as part of the transformation process of the port area to represent the energetic alter ego of Amsterdam, the concept of ‘multi mill’ is based on the inherent need of a complex ‘urban ecology’ that leads to an amalgam of functions: living, education, working, culture and leisure.

As a natural premise, the Port of Amsterdam commissioned Roos Burger & Yvon Yzermans, two collaborating art historians, to develop the pro-

grammatic of the cultural facility in Houthavens West in a bid to improve the attractiveness of the area to the public by realizing a cultural meeting place in the transforming area between city and port. The architectural design was thrown open in a competition and won hands down by N L Architects.

The versatility of the proposed winning design lies in its flexible ‘base’ with its distinctly extendable ‘arms’. Intended as a revolving

structure, the central platform and its three distinctly extended arms is designed to allow performances with changing backgrounds. Each of the three arms has a specific shape that caters to specific usage and can support fashion shows, cinema and theatre; and the relationship with the context can be changed at will. The view to and from the bowl proposes to be dynamic as a specific function can be ‘switched on’ merely by turning the plateau into the desired position. Correspondingly, the square in front of it can be ‘charged’ in different ways. For e.g., if a certain function is rotated towards the square, the function of the square can change accordingly; if the catwalk is pointing into the square, it can become a big table, turning the square into a dining room for instance, or if the object is used as a stage, the square will turn into a festival terrain… So, from featuring an elevated restaurant in a former offshore radio station; a drop-off point for the private cars of skippers; a parking-lot and a turning circle for trucks, the square, which is

located at the tip of the jetty, will excitingly activate a fairly large paved area, transforming it from a purely functional facility into a buzzing cultural showground!

The architects propose to use a steel frame with wooden cladding and a turntable mechanism in place, similar to any revolving restaurant.

The success of the concept is based on the usability and flexibility of its base and the spaciousness of the square against the backdrop of the bay area – both, in terms of use on special occasions and in daily situations.

In short, the design proposes to evoke varied programming besides evident ways to deploy the object.

The proposed concept hopes to catalyze unexpected ‘inhabitation’ where the basic premise of developing an adaptable object that can be used both, as a stage and as a stand, can metamorphose a quiet serviceable neighborhood into a cultural pot pourri

“The design proposes to evoke varied programming besides evident ways to deploy the object.”

Creative ideas NOV-DEC 2010 • DESIGN MATRIX 89

Project ‘Multi Mill’ - Multifunctional Culturepodium, Amsterdam 2010 Location Haparandadam, Westelijke, Houthavens, Amsterdam, Netherlands Client Port Of Amsterdam And Roos Burger & Yvon Yzermans

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Architects N L Architects Principals Pieter Bannenberg, Walter Van Dijk, Kamiel Klaasse Team Gen Yamamoto With Ines Quinteiro Antolin, Marc Bitz, Qili Yang, Liping Lin, Lorena Valero Minano And Matthieu Moreau

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Infrastructure design 92 DESIGN MATRIX • NOV-DEC 2010

OUT OF THE COURT

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Despite all the controversy surrounding it, the undeniably beautiful Jawaharlal Nehru Stadium prompts us to cavort around some of the global game wonders of the sports world.

Words: Sharanya S

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C

ommonwealth Games 2010 in New Delhi reinstated focus on the infrastructure design of the Jawaharlal Nehru Stadium. Splendid as it was when built in 1982 to host the 9th Asian Games and later the 1989 Asian Championships in Athletics, its renovated look in 2010 is indeed remarkable, to say the least. It now has a new 53,800 sq. m. Teflon-coated roof designed by Schlaich Bergermann & Partner, Germany; a new 10-lane synthetic track; synthetic warm-up track; and a synthetic lawn ball field. It can seat up to 60,000 spectators and in case of emergency, the construction allows evacuation within six minutes!

Prompted by this colossal dimension in design that brings together feats of precision engineering and the human aspect in close association amidst the imperative call for security and longevity, amongst several other features, we could not resist visiting other stalwart accomplishments.

Here’s a look at some of the world’s best stadiums: The much talked-about Olympic Bird’s Nest: The twig-like intertwined structural elements if the Beijing National Stadium, built for the 2008 Summer Olympics (also called Bird’s Nest) is a joint venture by Swiss architect duo Herzog & de Meuron, project architect Stefan Marbach, artist Ai Weiwei, and CADG chief architect Li Xinggang. The 91,000-seat stadium is 320 meters (1,050 feet) long and nearly 70 meters (230 feet) high.

The stand of the stadium is a seven-storey shear wall system with a concrete framework. The ‘nest’ structure, despite its random appearance, follows the rules of geometry and contains 36km of unwrapped steel.

The large steel skeleton of the project weighs 42,000 tons, with the roof and the hanging parts around it accounting for 11,200 tons. To bear such a heavy load, 78 supporting structures were temporarily installed in different points under stress.

Fitted with a geothermal system, it is built to withstand earthquakes without much damage – especially as it stands in one of the world’s mostprone seismic zones. The stadium does not have a solid, enclosed façade allowing for natural ventilation, which

is the most important aspect of the stadium’s sustainable design.

Carrying the sustainable bit further is the most dramatic and exciting sporting venues constructed for the 2008 Beijing Olympic Games - the National Aquatics Centre, also known as the ‘Water Cube’. Its distinctive sustainable façade is inspired by the Weaire–Phelan structure, a form devised from the natural formation of soap bubbles. Designed by the China State Construction Engineering Corporation jointly with Australia’s PTW Architects and Ove Arup Pvt. Ltd., the complex pattern was developed by slicing through bubbles in soap foam, resulting in a unique geometry that is highly repetitive and buildable, while appearing organic and random.

Ethyl tetrofluoroethylene (ETFE is a

“The oldest known stadium is the one in Olympia, in the western Peloponnese, Greece, where the Olympic Games of antiquity were held since 776 BC. ”

kind of plastic that has high corrosion resistance and strength over a wide temperature range) was chosen for the façade. This material weighs just 1% of glass and is a better thermal insulator. The National Aquatics Centre becomes the first large-scale public project coated with this membrane.

Around 20% of solar energy is trapped and used for heating. The daylight allowed into the cube saves up to 55% on the lighting energy required for the leisure pool hall. Its bubble walls enclose five swimming pools (including a wave machine and rides), a restaurant and seating, and facilities for 17,000 spectators.

Allianz Arena, the football stadium in the north of Munich, Germany

by Alpine Bau Deutschland GmbH and

the Swiss architects Herzog and de Meuron is a spectacular work of art.

The concept of the stadium is a seethrough exterior made of ETFE foil panels, which can be lit from the inside and are self-cleaning.

The panels appear white from far away but when examined closely, host tiny dots on their surface. Each panel can be independently lit with white, red, or blue light or a combination of the three, depending on the colours of the respective home team. It costs about 50 Euros to light up Allianz Arena for one hour. Roller blinds installed under the roof are drawn during games to provide protection from the sun.

But the best part is Allianz Arena’s ground-breaking facilities for disabled fans. The Munich project is a trailblazer and marks a milestone in the integration of a passionate group of football fans, whether visually or physically challenged. The top row of the lower tier (it has a three-tier seating arrangement) at the 66,000-capacity stadium includes 200 places for wheelchair users and a further contingent for carers; 140 of these are raised by two full steps, accomplishing a viewing height in these seats approaching 1.85 metres, as against the normal pitch for 80cm! And there’s a whole lot more…

The stadium will be the venue for the 2012 UEFA Champions League Final.

The other football stadium of repute - the Estádio Municipal de Aveiro in Aveiro, Portugal was designed for the UEFA Euro 2004 by the Portuguese architect Tomás Taveira. Its burst of energy and colour has earned it the nicknames ‘circus’ and ‘toy’, making it one of the liveliest venues to indulge in the celebration that a sports event truly is.

It was the intuition of architect Tomás Taveira to introduce intense tonality in the exterior colour palette; lend it a feeling of motion and spectacular visual effect. The seats are multicoloured with red, green, yellow, blue, white, and black chairs. Even the entrance gates, pillars, supporting beams and the walls in the inner chambers are brightly coloured. The roof contains sharp, red steel pylons that uphold sky-blue edges. The slightly waved roof unifies the curved course of the tribunes that offer a pleasant view over the pylons and its steel tie-beams. The NOV-DEC 2010 • DESIGN MATRIX 95

stadium seats 30,970 spectators and is home to the football club of Sport Clube Beira-Mar. The Middle East with its iconic construction boom is not far behind.

The Yas Marina Circuit was built in Abu Dhabi for the Etihad Airways Abu Dhabi Grand Prix, 2009. Designed by legendary Formula 1 circuit designer and architect, Hermann Tilke, this magnificent circuit extends over 5.532 metres with 9 right and 11 left turns, which are driven anticlockwise. The track can be split into smaller tracks at 3.1km and 2.4 km each, and can be operated simultaneously when desired. The track permits top speeds of up to 320 km/hr.

The surface of the track is made of Graywacke aggregate, shipped to Abu Dhabi from Bayston Hill quarry in Shropshire, England. The surface material is highly acclaimed by Formula 1 drivers for the high level

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of grip it offers. The circuit has four grandstand areas and part of its pit lane exit runs underneath the track.

It also houses a team building, media centre, dragster track, VIP tower and Ferrari World Theme Park. It is currently the largest permanent sports venue lighting project in the world. It seats approximately 50,000 spectators who can view the action in the comfort of covered grandstands.

Coming to the game of tennis, The People’s Republic of China hosts The Qizhong Forest Sports City Arena, also known as Qi Zhong Stadium in Shanghai. The complex is located on an 80-hectare area and was specially created to host the ATP World Tour Finals from 2005-2008. Designed by Japanese architect Mitsuru Senda, the stadium can host both indoor and outdoor tennis events.

The key design feature of this stadium is its steel roof with eight sliding petal-shaped pieces that resemble a blooming magnolia, Shanghai’s city flower. Each petal was prefabricated and weighs 2 tons. The method of testing each petal on the ground was similar to that used by China Aerospace, where each roof piece had to pass a test, before it could be elevated to its position for final installation. The stadium’s dome opens and closes (in precisely 8 minutes) like the iris diaphragm of a camera lens to control natural light and protect against rainy weather. The Tennis Centre covers a total area of 338,836 square meters and has a seating capacity is 15,000 people. The stadium has also been adapted for other international events

such as basketball volleyball, ping pong and gymnastics.

And finally, the Float@Marina Bay also popular as the Marina Bay Floating Platform, which is the world’s largest floating stadium played host to the opening and closing ceremonies of the Singapore Youth Olympic Games August 2010. The idea of a floating platform was conceived by Colonel Teo Jing Siong, chairman of the organizing committee of the National Day Parade and is planned and developed by the Defence Science and Technology Agency.

Made entirely of steel, the floating platform measures 120 metres (length) by 83 metres (breadth) and has been designed for relocation and reconfiguration to meet the require-

ments of different events. As a result, the platform is made of smaller platforms of pontoons, each comprising hundreds of parts. A unique system of connectors allows 15 pontoons, which interlock like a jigsaw puzzle. Six pylons fixed into the seabed act as the structure’s foundation. Heavy-duty rubber rollers were used to gently guide the stage vertically to keep it from being rocked by tides and currents. Three link ways, which connect the floating platform to the land, have special integrated joints to keep them steady.

The platform has been equipped with numerous innovative features, like an internal drainage system, cabling structures and lightning conductors. The gallery at the stadium has a seating capacity of 30,000 people.

The Lords Media Stand in London, Stadium600 in Japan, the proposed

Sailboat Stadium in St. Petersburg... with an exhausting list of magnificent stadia around the world, sports architecture has grown from the earliest wooden cubbyholes to concrete and steel structures of relatively uniform, basic design and amenities to specialized, dedicated sports arenas over the last forty years. Modern sports facilities have evolved dramatically to include design features that extend much beyond the game. The outlook has changed and the possibilities have multiplied with the evolution in technology and buildable design.

Radical transitions in building design where formalism and postmodernism in architecture run counter to expectations and express a great deal of stylistic ideas using structuralist architecture are increasingly supported by a peoples’ connect that make the projects practicable.

The scales dip from minimalist or reductivist design at the one end to byzantine at the other

NOV-DEC 2010 • DESIGN MATRIX 97

Photo feature

Step-wells of

GUJARAT Dug deep into the bowels of the earth, the step-wells of Gujarat & Rajasthan are India’s wonderful but little-known contribution to architecture. Veteran photographer and art director Paresh Daru shares this bit of history captured through his lens.

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S

tepped and moving into the bowels of the earth, some five to six storeys in height, the first stepwells or vavs were built in the late 6th and 7th centuries in the south-western region of Gujarat. The grandest period in step-well construction spanned from 11th to 16th century, the most extravagant of which is the Rani ki Vav, at Patan in Gujarat.

Builders/masons dug deep trenches into the earth for dependable, year-round groundwater. They lined the walls of these trenches with blocks of stone, without mortar, and created stairs leading up to the water. The vavs or baolis (step-wells) consisted of two parts, a vertical shaft from which water was drawn and surrounding it were the inclined subterranean passageways, chambers and steps, which provided access to the well. The galleries and chambers surrounding these wells were carved generously, which became cool retreats during summers.

Ornamentation was prolifically provided in the form of latticework, motifs and designs. They were not only places for storage and dissemination of water but served as social arenas especially for the womenfolk. Although they were also regarded as places of worship, there really were no idols installed except for an odd carving of Lord Vishnu at places

104 DESIGN MATRIX • NOV-DEC 2010

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Contact www.pergo .com 108 DESIGN MATRIX • NOV-DEC 2010

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Inside Outside Mega show The Business India Exhibition presents the Inside Outside Megashow, the largest event and a flagship production, in the interior, furniture and furnishings, building and construction industries. The event will showcase the work of professionals working in the fields of Decoration, Home and Office Design, Furniture & Lightning. Visitors at the exhibitions will include both manufacturers of fabrics, lights and soft furnishings as well as importers and exporters of Home and Office décor, Kitchen Accessories & Textiles.

Date: Nov 18th-21st Venue: Jawaharlal Nehru International Stadium, Cochin, India

Household Exhibition The Household-Exhibition for Interior Design & Houseware is a significant event for both producers and the suppliers of gift and decoration products. Professionals working in the fields of Decoration, Home & Office design, Furniture, Lightning and other areas of interior design will be participating in the exhibition. The exhibition will cater to exporters and importers, manufactures and home owners looking for ideas to brighten up their home.

Date: Nov 19th- 21st Venue: Lithuanian Exhibition and Convention Centre (LITEXPO), Vilnius, Lithuania 110 DESIGN MATRIX • NOV-DEC 2010

Women’s Home & Interior Design Expo The Women’s Home & Interior Design Expo is collaborating with the Girlfriends Expo & Getaway Package and plans to showcase the very best in products and accessories from the home interior design industry.

The profile for the exhibit includes discussions on interior design ideas, Art, Garden accessories and Cleaning services. It also showcases products to make the home more stunning and efficient. Prior stall booking is required. The exhibition is open to Architects, Interior designers and home owners.

Date: Nov19 th -20th Venue: Treasure Island Resort and Casino, Prior Lake, USA

The Big 5 Show 2010 The Big 5 Show 2010, organized by DMG, is a trade fair organized for the construction industry in the Gulf region and features fi ve different exhibitions at a single venue.

The event will mainly play host to business visitors and is a wonderful platform for big buyers to expand their business with lucrative ventures. This year the construction industry will be in the limelight for all the four days of the event. The trade show will cater to Government/Municipality Bodies, Project Management Companies, Engineering Consultancies, Architects, Engineers, Contractors, Developers, Importers and Distributors.

Date: Nov 22ndd -25th Venue: Dubai World Trade Centre, Dubai

The Sleep Event

The Sleep Event is the only event in Europe that focuses entirely on the design, architecture and development of hotels. The event will encompass a design-led exhibition, high-level conference as well as an acclaimed awards ceremony. It will showcase Architectural Lighting, Offi ce Lightings, Daylight Technologies, Decorative and Custom Fixtures, Emergency, Industrial Lighting and Floodlights. The event will cater to Contractors/Sub-contractors, Facility Managers and Directors.Visitors are required to register in advance.

Date: Nov 24th – 25th Venue: Business Design Centre, London, UK

IFFT/Interior Lifestyle Living The IFFT/Interior Lifestyle Living is a Lifestyles Show and will present the latest fashion and trends in the interior and design industry.

The show will also focus on luxury living. IFFT/Interior Lifestyle Living offers designers and interior industry professionals an excellent opportunity to find new business opportunities. Professionals who want to exhibit Interior design & Decoration items, Interior design projects, Living room & Bedroom furniture, Floor & Wall coverings, Ceramics, Parquets, Carpets, Wardrobes & ac-

cessories and Fitted kitchens are welcome to participate in the show and display and discuss their work with visiting merchandisers, distributors, wholesalers and Design Studio owners.

Date: Nov 24th- 26th Venue: Tokyo International Exhibition Center (Tokyo Big Sight), Tokyo, Japan

Heim+Handwerk Heim+Handwerk, the Trend ToolBox is an invaluable tool for interior designers, retailers and manufacturers. The show will feature colour forecasts, emerging product finishes & future fabric and industry themes that are expected to affect the industry in 2010. The exhibition is expected to cater to manufacturers and the general public looking for design ideas. At the Heim+Handwerk sales exhibition the focus will be on interior decoration and home equipment. This will be complemented by a wide range of products in the fi eld of construction and interiors.

Date: Nov 24th – 28 th Venue: New Munich Trade Fair Centre, Munich, Germany

Central Asia Home and Interior Central Asia Home + Interiors will showcase a full spectrum of services and huge assortment of products the home. The items on exhibit include

Home textile, Curtains, Woven curtain fabrics, Tulles, Bedding & bathroom textile and Decorative & upholstery fabrics. The visitors at the exhibition will include landscape architects, architects and interior designers as well as home owner who are looking for innovative ways to design the interiors of their home.

Date: Nov 25th- 28 th Venue: Atakent International Exhibition Centre, Almaty, Kazakistan

Home Appliances International Exhibition The Home Appliances International Exhibition is the only major international home show based in Iran’s. The show will enable public to buy household products from the manufacturers directly. It is a onestop shopping haven for people who love their homes. Trade visitors will include manufacturers, importers & exporters of Kitchen ware, Home electronics, Appliances, Bathroom items, Furniture, General gifts and Personal accessories. Discussions on decorating, renovating, landscaping and building will also be held.

Date: Dec 1st- 10 th Venue: Tehran Permanent Fair Ground, Tehran, Iran

Zak Doors & Windows Expo The best kinds of interiors are incomplete without the right doors and windows. The Zak Doors &

Windows Expo to be held at Delhi is set to showcase Doors, Windows, Hardware and Accessories as well as the technology to produce them. Manufacturers and suppliers will find that this is the right time and place to present their ideas and become a part of the booking environment, thus carving out a signifi cant market share.

The profiles for exhibit includes Automatic doors, Electronic door & systems, Sliding doors & Security and Risk management. Architects, builders, promoters, designers and professionals from the industry will be present.

Date: Dec 3rd-5th Venue: Pragati Maidan, New Delhi

The Office Show The Offi ce Show premiere is an international-level event for offi ce furniture and environment.

The exhibition will provide an opportunity to offi ce solutions and service providers to meet their target audience and showcase the latest solutions and services. The exhibition boasts of offi ce space providers, architects & consultants, builders and interior decorators.

The exhibition will be attended by corporate professionals company promoters, industrialists and company executives.

Date: Dec 12th- 15th Jeddah Centre for Forums & Events, Jeddah, Saudi Arabia NOV-DEC 2010 • DESIGN MATRIX 111

STEP

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hen the artist concerned is Mumbai-based Jitish Kallat, one of the most exciting Indian contemporary artists, there’s no compromise on the scale of the work of art. Having created larger than life-size sculptures in the past, this time Kallat has worked on the steprisers at the Art Institute of Chicago.

The exhibition titled ‘Public Notice 3’ opened on September 09, 2010.

The museum had served as a venue for what was the world’s first Parliament of Religions in 1893, where Swami Vivekananda had captured the audience with his riveting speech about religious tolerance. That day was September 11, 1893. More than a century later, the world saw the most disastrous terror attacks on the same day in 2001. This year, Kallat opened his show in the same space, on the same date. The site-specific installation includes text of the speech by Vivekananda converted into LED bulbs, lit up on each of the 118 risers of the institute’s Grand Staircase.

The bulbs are in five colours red, orange, yellow, blue and green - corresponding with the five levels of US Department of Homeland Security

EP

Advisory System. This is alarming indeed, as a viewer advances on the stairs, reading the speech in these colours that are meant to evoke memories of September 11, and re-awaken consciousness of the constant terror threats the world breathes everyday.

“In Public Notice 3, my core interest is in the moment of 9/11, 1893 - the first global effort to create a cohesion of faiths, to replay the works Vivekananda spoke of on that day and overlap it with the current moment - and perhaps in the tradition of concrete poetry - add a filament of meaning through the illumination of the word as a threat code,” says Kallat about the work.

The architecture of the institute is as interesting and complimentary to the work of art. The stairs have two access points that converge into four exit points, allowing the words to double and quadruple like a visual echo, permeating into various directions.

Public Notice 3 is the third in this series. While Public Notice (2003) recreated the foundational speech

by Jawaharlal Nehru at the midnight hour of Indian Independence, in burnt text on warped mirror; Public Notice 2 (2007) recreated Gandhi’s

at a time, at Jitis h Ta ke o ne ca refu l step , Pu blic Notice 3, ow sh lo so g in o ng o s Ka llat’ Chi ca go. at the Art In stitute of Words: Jigna Padhiar Artist Images: Courtesy the

speech before the 1930 Salt March in 4600 bone letters placed on shelves like relics.

Public Notice 3 draws attention to the tangential emotions and irony of events that took place on the same date. The show connects history to the present, highlights the historical connection between the two countries and marks the welcome of Indian contemporary art in a museum space, making it a contemplative event. It is also the first time that the institute is showing a contemporary Indian artist’s work on such a grand scale.

The 36-year-old artist who studied at the J.J. School of Art has worked in a variety of mediums such as painting, sculpture, photography, installation and has shown widely all across the world, becoming one of India’s most sought after artists. Kallat’s works have always been fascinating for their sheer size and are beset with political consciousness, often making use of sites and spaces with a beguiling dynamism; this one, illuminating the institute with as many as 68,700 LED bulbs.

The curator of the show is Madhuvanti Ghose, the Marilyn Alsdorf Curator of Indian and Islamic Art, the Art Institute of Chicago.

You can visit the exhibition till January 2, 2011

NOV-DEC 2010 • DESIGN MATRIX 113

S D O P O C E Sq ua red Des ig n nd a e ur ct te hi rc A Höwel er + Yoo n ative g reen so lutio n ul ec sp y hl g hi a se La b p ro po m icro -a lga e a s of th w ro g e th s te that d emo ns tra l… a n a lternate b io -f ue

T

he plus point of a well-researched design proposal is its universality. The basic premise that then determines its ultimate success is the commitment and passion that drives it.

Franco Vairani of Squared Design Lab, Los Angeles, very rightly and succinctly says, “Design should consider the micro as well as macro scales in order to succeed”.

Putting this axiom into practice, the Squared Design Lab in collaboration with Höweler + Yoon Architecture, Boston, recently engineered and executed an indepth exercise to revive the ecological and economic conditions of downtown Boston in USA. Working on the premise of growing micro-algae as an organic source of alternate fuel, and furthering the cause of precycled architecture, they zeroed in on a stalled construction site, which was once the “Filene’s” department store at Downtown Crossing. In an attempt to go beyond a screen projection, the design team chose to demonstrate a highly speculative alternate vision that they term ‘micro-urbanism’ or ‘instant architecture’.

The exercise was initiated by installing temporary pre-cycled vertical algae bioreactors built from custom prefabricated modules. Called Eco-Pods, these bio-reactors are conceived from the beginning as temporary and reconfigurable structures. This means that they anticipate future deployment on various sites and conditions; their

114 DESIGN MATRIX • NOV-DEC 2010

materials are selected to allow for re-purposing, and re-use; and they reduce waste and energy required to recycle, by anticipating future life or after-life’. The pods are intended to serve as bio-fuel sources and as micro-incubators for flexible research and development programmes, including new techniques of using low energy LED lighting for regulating the algae growth cycles. As an open and reconfigurable structure, the voids between the pods form a network of vertical public parks/botanical gardens housing unique plant species.

The central location of Eco-Pods and the public and visible nature of the research, allows the public to experience the algae growth and energy production processes. As a productive botanical garden, it also functions as a pilot project, a public information centre and catalyst for ecological awareness.

An on-site robotic armature (powered by the algae bio-fuel) is designed to reconfigure the modules to maximize algae growth conditions and accommodate evolving spatial and programmatic conditions in realtime. The reconfigurable modular units allow the structure to transform to meet changing programmatic and economic needs, while the continuous construction on the site will broadcast a subtle semaphore of constructional activity and economic recovery. This is anticipatory architecture, capable of generating a new micro-urbanizm that is local, agile, and carbon net positive.

Instead of an all-or-nothing approach to development, where a mega-project is required to animate a neighborhood, this “bite-size” urbanizm incorporates the incremental,

Information & Imag es: Courtesy the Archite ct

s

the small scale and the fine grain allowing the development to be applicable worldwide. Once funding is in place for the original architectural proposal, the modules can be easily disassembled and redistributed to other empty sites, testing new proposals, and developing initiatives with other communities.

However, the Eco-Pod remains a visionary project. The original vision of the project has been informed by many experts and consultants and has generated a lot of interest and excitement, contributing to the debate about green design and urban development. In that sense, the project has been a huge success. With keen interest and an offer of assistance from various agencies like the Austrian Engineering Company and National Algae Association, USA, it should not be long before the organic source is rightfully tapped into as a successful algae biofuel that burns cleaner and more efficiently than petroleum

NOV-DEC 2010 • DESIGN MATRIX 115

TAR TALES

bout hi s fa nta stica l a s lk ta a b m La n ra Artist Si m rm of a rt that ma ke a no of s rk o w l ta en im er exp na l bounda ries. brea ki ng co nventio the Artist r • Images: Courtesy Words: Shruti Khairna

E

leap at the ver felt your heart tar? Whilst site of molten coal a floor app ato it is being laid in its shiny or a; lav pearing like dried roads? Probably glamour levelling the eryone conjures not, because not ev ran Lamba, the up artistry like Sim o in his words, wh , ist Delhi-based art iling hot coal tar ”. “fell in love with bo ng our home “We were renovati ing used for be and coal tar was race. I have ter the on water-proofing

116 DESIGN MATRIX • NOV-DEC 2010

sketching since had a penchant for g creative sense school and a stron my hand at art ed but had not tri w the boiling tar, until then. When I sa experiment with I thought why not it,” informs Lamba. ginning it has With this zealous be g years of worktaken him three lon consuming meing with the time h his first body dium to emerge wit ases that depic t nv ca of work – large es, contrasts and interplay of tex tur

elements. With a host of different materials: tar-like glass, sand, nuts and bolts, door jammers, plumbing material and anything that he finds interesting, Lamba’s body of work titled ‘Genesis’ is bold in its experimentation and abstraction.

“It was the beginning of my work in art so I called it just that - Genesis.

There is a large 7 x 4 feet piece I did that has one and half inch of coal tar on it with pieces of glass and metal.

It has a spectacular effect at different levels,” he gushes excitedly about the new found medium that he is yet to discover the complete potential of. Molten tar meshed with a variety of elements adds relief to Lamba’s work - layering and 3-dimensionality. Mix medium is his signature style and the artist has a natural penchant for anything that he can find around the house, on the road or even at friends’ places.

His involvement with arts began as a child with a keen interest in sketching and later theater. “I’ve never had any formal training but if one has the creative bent of mind, there is no need to be restricted to one medium,” says Lamba. As President of the Dramatics Society in college, he won several awards for production, direction and acting in inter-collegiate competitions. He later gravitated to making short films that have been screened at various film festivals, before his love affair with coal tar!

Lamba’s four short films are as interesting as his works of art.

Screened at the Cape Town World Film Festival in 2005, his first film, Nicotine is about a man in a waiting room where he speaks through imagery rather than dialogues. His second film Saah emotively portrays the dying moments of an old woman through the conversations that

people around have of her; a personal state that has become public. A woman who has no money to pay to an auto rickshaw driver is the subject of WB-04 C-5542 that was nominated for the Tiscali Short Film Festival Award in I t a l y in 2006 while the visual interpretation of TS Eliot’s poetry comes forth in Lamba’s Lovesong. A varied palette indeed!

“Different media and subjects broaden the perspectives and present various angles to think about,” he believes. Lamba has also done some television, working as associate creative director of popular T V Serials Dill Mill Gaye and Pyar Vyar and All That and has assisted in the upcoming film Chikotee.

And where does the artist find his muse? “I find my inspiration everywhere. I experiment with things that I find beautiful and appealing, things that others think are scrap!”

A butterfly coming out of the canvas, a dancing Natraj, Kali’s fiery red tongue, a brooding, smoking man –

Lamba’s work brings out his deepest thoughts. But can art be social as well and engage with the common man on the road? Decidedly so, feels Lamba “Art can change thoughts,” he believes. “And there should be more art initiatives in the public domain that force people to think; something should be done proactively for this,” he opines.

More experimentation with coal tar and several more insightful projects are Lamba’s future plans. “I want to make a video art film with experimental content. A theater production with elements of art is also on my mind,” he says as he refuses to be restricted by the conventional boundaries of any medium. “One has to be open to everything and analyze.”

This is Lamba’s mantra for bringing together art, theater and films in an eclectic mix

“If you have conceived it in your mind, then you s; are right about your idea if you go wrong, there is ” always room to try again.

NOV-DEC 2010 • DESIGN MATRIX 117

e Flut ter me fre e new fa sh io n th Pa per Eyela shes a re eye ma keup. ma ntra in sed uctive

Paper Eyelashes won the Pulse Best Product Award in 2010. es: Information & Imag www.paperself.com

118 DESIGN MATRIX • NOV-DEC 2010

E

ye make up is the final touch that can significantly impact the aura of your personality.

In an innovative exploration of paper for contemporary product design, designer Ting yu Wang has conceptualized paper-cut eyelashes, the very first of the collection that blends an element of traditional culture with contemporary design.

The uniqueness of the use of paper is combined with exquisite design and the intricately cut and delicately pretty eyelashes are inspired by the art of Chinese papercutting. The product is developed and produced by Paperself, a platform by London based designer Chunwei Liao that unites artists, designers and manufacturers, challenging and mitigating a

stylish alternative using paper in furniture, home ware and accessories for eco-conscious living.

The eyelashes are available in three styles, each infused with symbolic meaning rooted in Chinese culture: Horses: symbolic of success, Peony: for happiness and good fortune, Peach blossom: a symbol of love and romance.

Keeping style-conscious divas in mind, the inimitably expressive eyelashes come in two sizes: smaller lashes to accentuate the corners of the eyes for a subtle daytime look; and full lashes to make a statement for a special occasion. Dimension: 42x18mm

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Pg. 31: Durian Office Furniture

Pg. 1: RMR Marmo RMR Marmo (P) Ltd. D – 11, Rajouri Garden, New Delhi – 110027 Ph : +91 11 45131300 Karan Kinger : (M) 9311055003

Pg. 3: Durian Veneers Durian Industries Ltd. 22,”Abhishek”, Church Road, Vile Parle (W), Mumbai – 400056 Tel : (022) 26171251 / 52 / 26120007/2754 www.durian.in

Pg. 4: Leonardo Arts Pvt. Ltd. B/18 A, Ghatkopar Industrial Estate, LBS Marg, Behind R – City, Ghatkopar (W), Mumbai – 400086.

Tel : 67969078 / 79

Pg. 6 & 7: Anmol Jewellers Turner Road, Bandra, Mumbai, Gold Souk, Gurgaon.

Pg. 10 & 11: Faus MRJ Marketing Pvt. Ltd. 201, Shyam Kamal ‘C’ Bldg., Agarwal Market, Vile Parle (E), Mumbai – 400057.

Tel : 26187132 / 26131442 Karan Cell : 9820068117

Pg. 19: Le Sutra 14, Union Park, Khar (W), Mumbai – 400052.

Tel : 91 22 32511447, 26492995/7 www.lesutra.in

Durian Industries Ltd Goregaon (E), Durian Estate, Goregaon – Mulund Link Road, Tel : 67142070. www.durian.in

Pg. 36 & 37: Travette Engineered Hardwood Flooring MRJ Marketing Pvt. Ltd. 201, Shyam Kamal ‘C’ Bldg., Agarwal Market, Vile Parle (E), Mumbai – 400057.

Tel : 26187132 / 26131442.

Pg. 47: Laminate Gallery 1 / 2, Hari Darshan, Opp. Shree Sagar Hotel, L. T. Road, Borivali (W), Mumbai – 400092 Tel : 28922119 / 28918802.

Pg. 51: Heritage Decorative Laminates Décor Mica Ltd., 306, 3rd floor, Iskon Mall, Star Bazaar Building, Jodhpur Crossroad, Ahmedabad 380015

Pg. 57: Durian Doors Durian Industries Ltd 22, Abhishek, Church Road, Vile Parle (W), Mumbai – 400056.

Tel : (022) 26171251/2 / 26120007 www.durian.in

Tel : 26187132 / 26131442.

Karan Cell: 9820068117

Pg. 67: Ceramic Plus www.roomforeveryroom.com

Pg. 71: Rudra Day Spa and Salon

Kemps Boulevard, 1-3-5 Kwality House, Kemps Corner, Mumbai – 400036.

Tel : +91 22 23872530 / 2531 / 2363.

Pg. 120: Unistone Natural Stone.

Unistone Products (India) Pvt. Ltd., 17, Arihant Nagar, Punjabi Bagh West, New Delhi – 110026 Tel : 011 – 45457070 , Help Line : 9871764576, 9818859398

IBC: Uniply Elementz Decorative Veneers

Uniply Industrirs Ltd, #52, Harleys Road, Kilpauk, Chennai – 600010.

Tel : 044 – 26605995.

BC: Durian Home Furniture Durian Industries Ltd. Goregaon (E), Durian Estate, Goregaon – Mulund Link Road, Tel : 67142070. www.durian.in

Pg. 59: Zak Doors & Windows Expo Zak Trade Fairs & Exhibitions Pvt. Ltd.Tel: +91 22 42959595 www.zakdoorsandwindows.com NOV-DEC 2010 • DESIGN MATRIX 119

“Inspired by Natural Stone”

UniStone paving laid at BandStand Flats, Nainital, Uttrakhand

UniStone

TM

UniStone is a highly refined architectural concrete building stone made by a special process to simulate natural stone.

UNISTONE PRODUCTS (INDIA) PVT. LTD., 17, Arihant Nagar, Punjabi Bagh West, New Delhi - 110026 TEL.: 011 - 45457070 (20 Lines), FAX: 25225574, Help line: 9871764576, 9818859398 Website : www.unistone.in, E-mail : info@unistone.in, Chandigarh: 09815171935

Brick Tiles, Wall Cladding, GRC Screens, Textured Coatings

120 DESIGN MATRIX • NOV-DEC 2010