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CONTENTS N OV E M B E R 2 0 1 8
32 34
EDITOR’S LETTER CONTRIBUTOR S
THE BLUE ISSUE
44
TRENDSPOTTING From lights to furniture and accessories—all-blue products to add an element of cool sophistication to your home.
54
THE GOOD LIFE From the latest in fashion and design, AD curates a range of stylish luxury products—in the shade of the moment.
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The Th h Blue Blu Bl l e Iss Issue Issue
ON THE COVER
‘The Blue Room’, pg 108
MIKHAIL LOSKUTOV
Photographer: Jignesh Jhaveri
pg 184
SIMPLICITY AND COMPLEXITY RARELY COME TOGETHER. BUT WHEN THEY DO, THE RESULT IS STUNNING.
INTRODUCING
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contents 58
DEMOCR ATIC DESIGN For its new collection, by designer Akanksha Deo, Ikea goes completely blue.
60
ROCK ’N’ ROLL Designer Michael Anastassiades’s ‘Beosound Edge’ for Bang & Olufsen, a speaker whose subtle, quiet aesthetic belies its sonorous output and intuitive interface.
62
GOING ONCE... Ahead of the maiden auction of Sotheby’s India, managing director Gaurav Bhatia offers an exclusive look at one of the event’s most prized items—a never-beforeseen Tyeb Mehta.
66
PORCELAIN CA N VAS Gurugrambased artists Jiten Thukral and Sumir Tagra’s porcelain works, made in collaboration with the historic Meissen factory near Dresden, reflect what it means to be part of urban India today.
68
SOUTHER N BELLE The Taj
70
BLURRED LINES AD takes a closer
72
FADING BEAUTY Taking its cues
74
PAINTING THE TOW N BLUE
76
HERE COMES THE SUN Ahead of
Connemara, in its latest renovation, finds inspiration for its colonialinspired suites in a delicate duckegg blue. look at artist Tanya Goel’s series of structured blue artworks—already on a whirlwind global tour.
from the indigo plant and the country’s connection with it, Mumbai-based lifestyle brand No-Mad’s new collection is all about embracing natural dyes.
Marie-Anne Oudejans on designing the pink city’s blue (and, arguably, most famous) bar, as the very chic Bar Palladio turns five. Cirque du Soleil’s highly anticipated debut in India, AD goes backstage to find out what goes into making this behemoth of a spectacle.
pg 102
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contents
78
MODER N TREASURE Antique objects get
a precious reinvention in the hands of Marc Auclert, the former head of Chanel’s fine jewellery department.
80
THE NEW LOOK Historian Maureen
Footer’s new book, Dior and His Decorators: Victor Grandpierre, Georges Geffroy, and the New Look, explores the reinvention of French classicism after World War II.
86
EVERYDAY LUXURY New York-
headquartered jeweller Tiffany & Co introduces its Everyday Objects collection—home accessories designed to transform the mundane.
88
CONTEMPOR ARY CLASSICS Turri’s
Briosco production plant is a sublime combination of years of history and a wealth of innovation.
90
BLUE-BLOODED Iran Modern: The Empress
of Art is an ode to Empress Farah Pahlavi, the wife of the country’s last ruling Shah, and the artistic renaissance she introduced in the 1970s.
94
IT’S ALL GOODE England’s biggest
homeware brand has undergone a resurgence, landed in India and will open its first new store in over 190 years, in the lobby of Mumbai’s Oberoi hotel.
99
BOMBAY BLUE Mumbai-based artist
Manish Nai uses the complexities of his home city as inspiration on a canvas of recycled material, all in a dark palette of navy blue.
102
IN MEMORY OF KERRY In light of the
passing of Australian architect Kerry Hill, his friend Adrian Zecha pens a touching anecdote.
106
A BLUEPRINT FOR ART Sneak an
exclusive peek at the blueprint of Bengaluru’s forthcoming Museum of Art and Photography (MAP), scheduled to open in 2020.
108
THE BLUE ROOM There’s more to our
TALIB CHITALWALA
monochrome cover, as this blue space shows.
pg 99
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SCRIPT
THANK YOU TO ALL OUR PARTNERS AND PARTICIPATING BRANDS FOR BEING PART OF THE FIRST EDITION OF THE AD DESIGN SHOW AND FOR MAKING IT A GREAT SUCCESS.
Names in alphabetical order
contents 111
AD x R BURMAN Inspired by the late Irving Penn famous still lifes, indigo, navy, cerulean and sky-blue products combine to create one-of-a-kind images.
127
AD x ATELIER ASHIESH SHAH The architect’s new atelier collaborated with AD to create this imposing blue totem.
166
FRENCH CONNECTION Architect Neil Schoenfelder and his entrepreneur wife Malavika Shivakumar’s home is a dreamy, French-inspired oasis.
135
AD x ASHISH SHAH & KSHITIJ KANKARIA Two frequent AD collaborators take on the blue city in this fashion- and architecture-inspired shoot.
176
ABSOLUTELY FABULOUS For Cara Delevingne, rules are meant to broken—especially when it comes to designing a home that’s as rebellious as she is.
145
AD x PEACOCKS AT RAMBAGH PALACE We pay homage to the magic that is peacock blue with a photo shoot fit for a king.
184
153
RUSSIAN BLUE American architect and furniture designer Henry Nuriev outfits his Brooklyn apartment with royal blue accents, from repurposed furniture to a chandelier made entirely from old Bic pens.
ON BLUE A personal anecdote about the world-famous International Klein Blue shade from the director of the Yves Klein Archives; a note from Ikea India’s interiors head Mia Olsson Tunér about their blue ‘Frakta’ bag; and Raghavendra Rathore’s insight on the iconic Jodhpur blue—AD explores the blues that rocked the world.
191
SCOUTS The low-down on the hottest products to hit the market this season.
202
STOCKISTS An A-Z of the stores in our pages.
208
THE MOOD The creative director of denim brand KORRA sets a blue mood with her mood board.
SWEET TREAT Candy colours on a canvas of blue
pg 43
ARTWORKS: © YVES KLEIN ESTATE, ADAGP, PARIS, 2018. PHOTO: © TOM LINBOE/COURTESY OF BLENHEIM ART FOUNDATION.
160
lend an Alice in Wonderland aesthetic to expat jewellery designer Marie-Hélène de Taillac’s rainbowhued Jaipur home.
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EDITOR GREG FOSTER
CHIEF BUSINESS OFFICER ARJUN MEHRA
MANAGING EDITOR Sanhita Sinha Chowdhury
PUBLISHER Armaity Amaria ASSOCIATE ADVERTISING DIRECTOR Kapil Tolani ASSOCIATE DIRECTOR - BUSINESS DEVELOPMENT Rashmi Bhatia SENIOR ADVERTISING MANAGER Nidhi Gaur (New Delhi) ADVERTISING MANAGER Aditi Sharma (New Delhi) ACCOUNT MANAGER - ADVERTISING SALES Varun A Sama ITALY SALES REPRESENTATIVE Angelo Carredu US ADVERTISING MANAGER Alessandro Cremona
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CONTRIBUTING PHOTOGRAPHERS Ricardo Labougle Neville Sukhia Tom Parker
MARKETING DIRECTOR Madhura Phadnis MARKETING MANAGER Medha Kapur AGM - ADMIN & SUBSCRIPTION OPS Boniface Dsouza PR MANAGER Amrita Hom Ray PR EXECUTIVE Sasha Nambiar HEAD - EVENTS Fritz Fernandes MANAGER - EVENTS Khushnaz Daruwala CREATIVE DIRECTOR - PROMOTIONS & CREATIVE SOLUTIONS Dipti Soonderji Mongia ASSOCIATE PROMOTIONS EDITOR Sherrie A Marker ASSISTANT PROMOTIONS EDITOR Kinjal Vora SENIOR GRAPHIC DESIGNER Karishma Gupta GRAPHIC DESIGNERS Varun Patil, Vidhi Doshi MANAGER - CIRCULATION OPERATIONS Jeeson Kollannur CHIEF OPERATING OFFICER Amrit Bardhan FINANCIAL CONTROLLER Rakesh Shetty ASSOCIATE DIRECTOR - VIDEO COMMERCIAL Kastubh Belur SENIOR ACCOUNTANT Dattaprasanna Bhagwat ACCOUNTANTS Nitin Chavan, Anthony Paulose SENIOR PLANNING MANAGER Alisha Goriawala SENIOR MANAGER - HUMAN RESOURCES Mohsin Ismail ASSISTANT MANAGERS - HUMAN RESOURCES Ria Ganguly, Neha Pednekar CHIEF DIGITAL OFFICER Gaurav Mishra DIRECTOR - DIGITAL SALES AND BRANDED CONTENT Shreyas Rao DIGITAL TECHNOLOGY DIRECTOR Kiran Suryanarayana TECHNOLOGY PROJECT MANAGERS Amrita Sudheendran, Dipak Raghuwansi HEAD - AD OPERATIONS Saurabh Sharma UX DESIGNER Anurag Jain DIGITAL GRAPHIC DESIGNER Deep Shikha DATA TECH MANAGER Dilip Patil MANAGERS - AD OPERATIONS Vinayak Mehra, Reshma Nilankar SENIOR EXECUTIVE - AD OPERATIONS Akanksha Malik AUDIENCE DEVELOPMENT DIRECTOR Saurabh Garg SENIOR MANAGER - DIGITAL MARKETING Vishal Modh MARKETING MANAGER - SUBSCRIPTIONS V Satyavagheewasan MANAGER - DIGITAL MARKETING Sushmita Balasubramanian ASSISTANT MANAGER - AUDIENCE DEVELOPMENT Isha Gupta ASSISTANT MANAGER - SEO Akash Kumar MANAGER - EMAIL MARKETING Avantika Pandey Bathiya DIGITAL BRAND SOLUTIONS DIRECTOR Salil Inamdar ASSOCIATE BRAND SOLUTIONS DIRECTOR Abhishek Mehrotra MANAGING EDITOR - DIGITAL BRANDED CONTENT Nisha Samson SENIOR MANAGER - DIGITAL BRAND SOLUTIONS Abigail Rodrigues CREATIVE PRODUCER - VIDEO Shreya Jain HEAD - ENTERPRISE IT Prem Kumar Tewari DIRECTOR - VIDEO Anita Horam SUPERVISING PRODUCER Ishita Bahadur ASSOCIATE CREATIVE PRODUCER Preshita Saha EA TO MANAGING DIRECTOR Karen Contractor Avari
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Auto-reverse sofa - design Giuseppe Viganò Barracuda armchair - design Giuseppe Viganò Moon Invaders coffee table - design Gino Carollo
contributors BJÖRN WA L L A N D E R photographer Björn Wallander contributes to some of the most widely read magazines in the world, including many Condé Nast titles. In this issue, he photographed architect Niels Schoenfelder’s house in ‘French Connection’ (pg 166). “It was such a treat to photograph this hidden gem—brilliant German architecture combined with incredible Indian craftsmanship.”
ASHIESH SHAH architect
SUNIL SETHI writer Sunil Sethi is an author and columnist based in New Delhi. In this issue, Sethi wrote about the family house architect Niels Schoenfelder has built outside Chennai, ‘French Connection’ (pg 166). “It is one of the most exciting and original homes I have visited, carefully conceived and superbly executed in its configuration of spaces, use of materials, and ingenious flourishes of colour and design—truly a temple to books and literature.”
DA N I E L M O Q UAY writer Daniel Moquay is the director of the Yves Klein Archives. In this issue, he penned an essay on Klein and his trademark blue (pg 154). “Yves Klein was very sincere in his artistic approach; it was not, as some believed, a satire of abstract art. If you read his writings and observe the consistency of his work you will see it is obvious. It was an honour to pay tribute to him.”
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ARCHITECTURAL DIGEST|NOVEMBER 2018
J I G N E S H J H AV E R I photographer Mumbai-based photographer Jignesh Jhaveri is a frequent contributor to AD. For this issue, he shot the cover and ‘The Blue Room’ (pg 108). “Creating images for AD is never boring. The team is always happy to explore and push boundaries and allows me to create hitherto unseen images in this space. Crafting these images with light was very satisfying.”
PHOTOS: DEIRDRE LEWIS (BJÖRN WALLANDER); TALIB CHITALWALA (ASHIESH SHAH).
Ashiesh Shah is currently in the process of setting up his craft-focused atelier. He created a blue ‘Jaipur’ totem in ‘AD x Atelier Ashiesh Shah’ (pg 127). “I saw the opportunity to create this exclusively-for-AD totem as challenge to find the modernity in traditional blue-andwhite Jaipur pottery— with my signature dash of drama!”
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LAWRENCE SEATING SYSTEM RODOLFO DORDONI DESIGN
contributors R BUR MAN photographer A frequent contributor to Condé Nast India magazines, R Burman lives and works between Paris and Mumbai. For this issue, he photographed a series of blue still lifes in ‘AD x R Burman’ (pg 111). “My vision is constantly evolving and changing depending upon new inspirations, ideas and mediums. Blue is my favourite colour. It’s the colour of victory, the colour of winter, and the colour of the sea. It reminds me of my time in Mediterranean. So the shoot was hugely influenced by my travels in Greece; the way a lot of the elements were composed were inspired by my trips to a Greek island called Milos.”
SKYLER SMITH
KSHITIJ K ANK ARIA
photographer Skyler Smith is a formally trained studio artist predominantly working in photography. In this issue, he photographed supermodel-actress Cara Delevingne’s London home in ‘Absolutely Fabulous’ (pg 176). “Having been on many interior photo shoots, Cara’s house really stood out. Neon-lit words, Memphis hues swirled with Georgian fancy. One after the other, each room segued into the next—leaving me curious as to what was around the next corner.”
stylist Kshitij Kankaria is a regular contributor to AD. In this issue, he styled model Elizabeth Mech in Jodhpur for ‘AD x Ashish Shah & Kshitij Kankaria’ (pg 135). “It’s my twisted take on the colour blue— inspired by ‘behrupiyas’. They are known to turn up for occasions unexpectedly, with their own stories that elicit mystery and melancholy in their own reality.”
ELIZABETH MECH model
MIA OLSSON TUNÉR writer The head of interiors and country communication at Ikea, India, Mia Olsson Tunér writes about the history of Ikea’s iconic blue ‘Frakta’ bag (pg 156). “The innovative ways our customers use the ‘Frakta’ still surprise us, and that’s what makes the blue bag so special.”
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ARCHITECTURAL DIGEST|NOVEMBER 2018
Originally from Dimapur, Nagaland, model Elizabeth Mech is now based in New Delhi. In this issue, she was the subject of photographer Ashish Shah’s lens in ‘AD x Ashish Shah & Kshitij Kankaria’ (pg 135). “It was my first time in Jodhpur and I had a terrific time with the AD team. It was an incredible experience considering it was my first outstation shoot since I came to Delhi.”
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contributors
CARLOS M OTA stylist
P R I YA N K A SHAH
Based in New York, where he designs and consults through his CASAMOTA studio, Carlos Mota is a regular contributor to many Condé Nast titles around the world. In this issue, he styled jewellery designer Marie-Hélène de Taillac’s Jaipur apartment—decorated by Marie-Anne Oudejans—in ‘Sweet Treat’ (pg 160). “I’m crazy about the colours of India and Marie-Anne Oudejans’s work.”
stylist Priyanka Shah is a Mumbaibased graphic designer, art director and stylist working independently. In this issue, she assisted the styling of the still-life compositions in ‘AD x R Burman’ (pg 111). “The blue theme allowed us to explore an interesting juxtaposition between beautifully designed products and everyday objects, fruits and vegetables. Also, working with Rid Burman and the AD team was an absolute delight.”
CUNEYT OZKETEN hairstylist & make-up artist Cuneyt Ozketen started his make-up career with MAC Cosmetics before joining its events team. He currently lives and works in Mumbai. In this issue, Ozketen did model Elizabeth Mech’s hair and make-up in ‘AD x Ashish Shah & Kshitij Kankaria’ (pg 135). “It was amazing to see blue on everything—including the model’s face. Blue is my favourite colour and this was an unforgettable experience!”
R A G H AV E N D R A R AT H O R E writer Raghavendra Rathore is one of the foremost names in luxury men’s wear in India. The fashion designer wrote about Jodhpur’s legendary blue in this issue (pg 158). “Life is a collection of amazing memories and one sometimes tends to forget them. As I cajoled them through my thoughts, while penning down my experiences with Jodhpur blue, I realized that there is so much more in the little attic in my mind that I must revisit more often than I do— food for thought, I say.”
FR ANÇOIS HALARD François Halard’s work spans the globe capturing, in his distinctive and tasteful style, images of the homes and work of some of the greatest designers and artists of the 20th century, including Louise Bourgeois, Cy Twombly, Carlo Mollino, Yves Saint Laurent, Schiaparelli and Axel Vervoordt. As a global tastemaker, he was invited to curate the design at Design Miami/Basel this past June. In this issue, Halard photographed the Jaipur apartment of jewellery designer Marie-Hélène de Taillac in ‘Sweet Treat’ (pg 160).
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PHOTO: RAUL TOVAR (CARLOS MOTA).
photographer
Craftsmanship just met luxury. Clearly they got along.
contributors
S A M E E R K U L AV O O R The making of AD’s tarp bookmark Tarpaulin simply had to be a part of AD’s Blue Issue—that much was certain right from the beginning. The image of waterproof blue taad-patri (as the material is colloquially known in India) stretched across roofs was prominent in our minds, partly, because production meetings happened to coincide with the monsoon in Mumbai. On delving a little deeper, however, more important reasons to work tarp into the line-up of this issue became apparent: its incredible versatility that is cloaked in humility and its strong Indian identity are our top two. The idea of what we’d be able to do with it, however, was still unclear—that is, till we discovered artist Sameer Kulavoor’s BLUED. “An illustrated documentation of the use of tarpaulin”, BLUED was published in 2013 by Kulavoor’s Bombay Duck Designs. The book contains 24 screen-printed sketches that pay homage to this inexpensive material, which can be found everywhere—wrapped around Altamount Road’s most imposing address or fastened to the backs of trucks. “Typically used as a creative jugaad (makeshift solution) due to its strength and convenience”, Kulavoor believes that his own brand of design can be likened to the resourceful, problem-solving nature of the blue tarp that inspired him. The minimal black-and-blue illustrations conceal as much as they reveal (not unlike Kulavoor’s muse), elevating taad-patri from an everyday object of convenience to a hero—one
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that swoops in when you need it the most. AD can now testify to its superpowers; BLUED features an interesting little accessory, as does this issue: a rectangular tarp bookmark that measures 3 by 7 inches. This isn’t Kulavoor’s first time collaborating with AD; for our Travel Issue (May-June 2018), the artist extended his series, titled ‘A Man of the Crowd’, by working exceptional pieces of furniture and design (like the ‘Eames Elephant’ seat by Charles and Ray Eames and the ‘Asante’ stool by Alex Davis) into it. The result was an exclusive artwork, titled Moving. While this was a spin on urbanism, his second collaboration is a lesson in scale: as the large sheets that pop up across India’s landscape frequently, tarp is omnipresent yet invisible. On his second collaboration with AD, Kulavoor says, “The essence of BLUED was to highlight the fact that we, in India, are extremely creative and find innovative solutions to problems. This nature is perfectly exemplified by the use of tarp, and that was really fascinating to me. However, the context of BLUED is also architectural, since tarp is used to cover all [types of] homes—big or small—and, in a way, cloaks India’s landscape. Since BLUED hinges on these two things—architecture and immense creativity—the collaboration was a natural fit.” BLUED is available for purchase on sameerkulavoor.com.
YVES KLEIN, PARAVENT [SCREEN], (IKB 62), 1957; © THE ESTATE OF YVES KLEIN C/O ADAGP PARIS; COURTESY YVES KLEIN ARCHIVES
THE BLUE ISSUE DESIGN IN FIFTY SHADES OF...
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Monochrom e masterpie ces for the h ome STYLIST SA MIR W ADEKAR
1. ‘Aurora’ (azure) fabric, `11,000 per yard, Cope. 2. ‘Anniversary’ jewellery box, Linley. 3. Dome-shaped chased silver-plated enamel and lapis boxes from the Roman collection, `15,000 (small), `16,000 (medium), `17,000 (large), Rezon. 4. ‘Toto’ armchair, `45,000, Aria Interiors. 5. ‘Empress’ table lamp by Jakub Berdych for Lasvit, vis à vis.
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1. ‘Bamboo’ (W7025-04) wallpaper by Osborne & Little, F&F. 2. ‘Zeno’ bowl, `900, Ware Innovations. 3. ‘Halifax’ blue ceramic table lamp with white paper shade by Ralph Lauren Home, Seetu Kohli Concepts. 4. ‘Serra’ wooden sofa, `44,999, Urbanladder.com. 5. ‘Anya’ ottoman, Fendi Casa.
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1. ‘Adrift’ carpet (300x400 centimetres) by Marcel Wanders, `6,14,160, Natuzzi. 2. ‘Lustre Aomitsu’ aluminium lamp, Hervé Van der Straeten. 3. ‘Mammut’ children’s table, `2,495, IKEA. 4. Chinese rice bowl, `800, Hidden Origins. 5. ‘Piuma’ chair by Studio Kronos for Cattelan Italia, Stanley Lifestyles. 48|
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‘7M’ CHAIR PHOTO: MATTHEW TAIT
1. ‘Klein Blue®’ table (Klein Blue® pigment, Perspex, glass, stainless steel) by Yves Klein, `16,27,000, David Gill Gallery. 2. ‘True Blue’ lamp by Cathrine Raben Davidsen, `2,09,000, The Future Perfect. 3. ‘Tulu Indigo’ (ZFTU-02) fabric, `13,600 per metre, Zak+Fox. 4. ‘7M’ chair, `5,08,000, Ara Thorose.
CERAMIC BOWL PHOTO: TALIB CHITALWALA
1. Aqua agate lamps (pair), `4,24,000, 1stdibs.com. 2. ‘Felt’ chair by Marc Newson for Cappellini, `4,75,040, Poltrona Frau Group. 3. Ceramic vase, SIMONE. 4. ‘Sigmund’ daybed by Studio Asaï for Arflex, `1,50,000, Zolijns. 5. ‘Gallery 8-Impressions’ wallpaper from the WallArt By D’Decor collection, D’Decor. 6. Ceramic bowl by Shalan Dere, Potter’s Place.
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democratic Design The debut collection by Ikea’s first Indian designer, Akanksha Deo, is spring-ready and entirely blue WRITER SANHITA SINHA CHOWDHURY
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irgil Abloh, Olafur Eliasson, Ben Gorham… went the roll call for the announcements at Ikea’s Democratic Design Days 2018. Amongst these stalwarts was Akanksha Deo, the Swedish furniture giant’s first Indian designer, who popped up on their radar while she was still a student at New Delhi’s National Institute of Fashion Technology. Working on an all-black collection (Svärtan) with 24 classmates and fashion designer Martin Bergström, she met Ikea’s Karin Gustavsson and Marcus Engman, who until recently was the head of design. Some “creatively fuelled talks”, as she refers to them, led to an opportunity for a design internship at the brand’s headquarters in Älmhult, Sweden and soon afterwards, a position as an in-house designer. Dressed in a blue kimono and sleek black trousers, she commanded the floor where the 2019 collections were unveiled. The kimono (pictured), which she refers to as a hybrid between a
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bathrobe and a kimono, is from her debut collection, Tänkvärd. The monochrome, all-blue collection, for which she designed the textiles (the rattan furniture is by Nike Karlsson and Iina Vuorivirta) launches in spring next year. ‘Why blue?’ we ask. “It’s a colour that’s grounding, honest and strong, and yet it’s allowing, and goes with everything,” she replies. Made entirely with natural fibres—cotton, linen, jute and recycled fabrics—this collection also highlights Ikea’s commitment to sustainable living. “Before Ikea, I was in college, studying fashion, and I didn’t think like this,” Deo says. “Here [conversations] never start with we have to do this, but why we are doing this. There’s always a question; there’s always a bigger message.” Deo’s next enquiry is into the way people can live better, and it led her to Korea, Japan and China to understand the living and working habits of millennials for her next textile collection.
? U] Æ0Æ ;a^^ Bang & Olufsen partners with designer Michael Anastassiades to create the ‘Beosound Edge’—a speaker that promises to transform your relationship with sound WRITER DIVYA MISHRA
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t first glance, the ‘Beosound Edge’ looks more like an Anish Kapoor sculpture than a home speaker—with its cylindrical chrome body and matt black (though the non-Vanta kind) textile front. But it is significantly more accessible than the former, and a definite upgrade to the latter. To design it, Bang & Olufsen collaborated with Michael Anastassiades. The London-based designer’s pared-down aesthetic has resulted in his designs—including lighting, furniture and tabletop objects—finding their way into the collections of the Museum of Modern Art in New York, the Victoria and Albert Museum and the Crafts Council in London, and the MAK in Vienna, among others. Once you factor in Anastassiades, the futuristic-art-installation-like design of the ‘Beosound Edge’ makes sense; it pairs the designer’s ultra-refined sensibility with the luxury electronics brand’s cutting-edge technology. Anastassiades says, “We constantly pushed ourselves to distil the idea of removing
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layers upon layers until what remained was a visibly pure and simple object.” Giving it the appearance of almost unnerving sentience, the wireless speaker has proximity sensors that softly light up its interface when you get close to it. The volume can be increased or decreased by gently rolling it towards the right or left (respectively) or, when mounted on a wall (pictured), towards the top or bottom. Intuitively, stronger movements result in faster responses. The Bluetooth speaker also supports voice interaction when paired with either a Google Assistant-enabled speaker, such as the ‘Beosound 1’ and ‘Beosound 2’, or an Amazon Echo. Each side of the speaker features a tweeter, midrange driver, woofer and an “active bass port”—which only kicks in when you turn it up to 11. Available in Bang & Olufsen stores this month, this sculptural speaker is both art and music all rolled into one.
PHOTO COURTESY OF SOTHEBY’S INDIA
Gaurav Bhatia, managing director of Sotheby’s India, with Tyeb Mehta’s Durga Mahisasura Mardini.
Going once... Ahead of the maiden auction of Sotheby’s India, managing director Gaurav Bhatia gives a special preview of the cover lot—a previously unseen painting by Tyeb Mehta WRITER MAANYA SACHDEVA
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otheby’s relationship with India goes back to 1937, when Maharaja Kameshwar Singh of Darbhanga bought a diamond necklace that once belonged to Marie Antoinette at an auction in London. Since this historic bid, the connect has only deepened; according to Gaurav Bhatia—managing director at the auction house’s India outpost—Indians have transacted over `1,795 crore in South Asian art over the past five years alone. It was only a matter of time, then, before the auction house looked eastwards to establish a more permanent association. Boundless: Mumbai, the debut India auction, is slated for the end of this month; Bhatia says, “It will showcase the sophistication of the South Asian visual vocabulary.” The auction will open with a never-before-seen Tyeb Mehta painting; the reclusive artist was commissioned by a family of great provenance in 1993 while he was in Santiniketan, a small town north of Kolkata. Disturbed by the
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riots of 1992, Mehta saw this as an opportunity to create a topical artwork and, thus, Durga Mahisasura Mardini was born. The iconic visual of the goddess Durga killing a demon was harnessed by Mehta to give shape to a powerful idea—that anything anti-secular or anti-democratic will eventually be overcome by the spirit of India. On closer inspection, the colours of the Indian flag reveal themselves; Mehta was making a deliberate, political comment. There are many reasons this painting is a milestone in Indian art history. It was a precursor to Mehta’s Celebration series, is the only Durga he ever painted, and symbolizes his personal angst. But it is its ability to transcend time and emerge as a relevant work of art in 21st-century India, when the values of secularism are being challenged once again, that makes it truly seminal. Boundless: Mumbai will be held on 29 November at the Taj Mahal Palace & Tower in Colaba, Mumbai.
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PHOTO COURTESY OF THUKRAL & TAGRA STUDIO
Porcelain objects from ‘Longing for Tomorrow’, artists Jiten Thukral and Sumir Tagra’s long-standing collaboration with Meissen.
baqUË! [` US`iSe Currently on display at the first India Ceramics Triennale is artist-duo Jiten Thukral and Sumir Tagra’s collaboration with the Meissen Porcelain Manufactory WRITER NIKHITA MAHTANI
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rguably the oldest porcelain producer in Europe, the Meissen Porcelain Manufactory in Germany is known for the superior finish of its luxury ceramics. So it comes as no surprise that New Delhi-based artists Jiten Thukral and Sumir Tagra have been using this porcelain as a canvas for their art, over a multi-year collaboration with the German brand. On display at the India Ceramics Triennale in Jaipur until 18 November, the clever designs are a radical shift from traditional navy-on-white patterns. The artists went through Meissen’s archives of 18th-century moulds and reinvented them, creating over 50 products in the process. Taking its cues from the sky and sea, the collection blurs the line between popular culture and fine art. The pieces bring to mind the works of Japanese contemporary artist Takashi Murakami—which is not a coincidence. “We are drawn to Japanese culture and the connections we see in our work,” explains Sumir Tagra. “For us, the colours are very
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empathetic, and embody the emotions in the creations.” Blues are predominant in the palette. “The images, mediums and colours correspond to one another and fuel the completed product,” says Tagra. Influenced by the suburb in Gurugram where the artists both live and work, the pieces explore the rise of the Indian middle class through an amalgamation of sentimentality, futurisms and comic relief. The vases in the collection, which is titled ‘Longing for Tomorrow’, use unconventional shapes as bases, while metal accents add a luxurious touch. This often-bewildering mix is characteristic of the dichotomies of urban India, where mega mansions are as ubiquitous as tiny one-bedroom flats. A similar dichotomy exists in the relationship between the two artists themselves. “We often have our diferences, but we learn from one another,” Tagra explains. “Sometimes, it’s nice to have one person drawing the map and the other person finding the direction.” And what a direction it is.
e4rZËq` TË^$ The Taj Connemara has undergone many restorations in its 164-year-old history—including one extension designed by Geoffrey Bawa. Its most recent one takes the hotel back to its roots WRITER DIVYA MISHRA
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ver the years, the Taj Connemara, with Chennai’s Cooum river to its west and Marina beach to its east, has acquired the status of a city icon. It is counted among the oldest hotels in south India, and has worn this label with a genteel stateliness befitting its stature. Built in 1854, it was first named The Imperial Hotel; about three decades later, The Albany; and subsequently The Connemara, after the then governor of Madras (as it was then known), Robert Bourke, the baron of Connemara. Towards the end of 2016—following the 2015 floods in the city, which exposed major structural issues—the hotel decided to close for a makeover that included restoration, refurbishment and rebranding; prior to its closing, it was positioned as a Taj Vivanta hotel. The historical restoration needed a specialist, and Londonbased designer Susan Freeman was recruited to work on the rooms and the restaurants. Freeman knew the magnitude of the task at hand: tampering with a landmark (a part of the city’s skyline) is always risky. It required a light-handed leavening of architectural nuances across types, eras and aesthetics so they would come together to create something greater than the sum of its parts. It has taken almost two years and roughly `90 crore, but Freeman’s eforts are now on show. The hotel’s 147 rooms have retained their art deco accents, but with a fresh, new palette of
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powdery blues, vivid pinks and a delicate green-and-gold. Geofrey Bawa’s 1974 design of the property’s tower block and linking pool exemplified the architect’s signature tropical modernist style, and this restoration has brought back its original charm. The pool sparkles invitingly blue in the sun, and the rooms have been fitted with colonial-era four-poster beds, vintage prints, objets d’art, furniture from Britain, and India-inspired furnishings and artefacts. The Colonial rooms (pictured) in particular stand out. Located in what is technically the oldest part of the hotel, these 17 rooms are all painted a delicate duck egg blue: “To create a sense of tranquillity in the middle of Chennai’s hustle and bustle”, says Freeman. Besides high ceilings, fabric punkahs, and private sit-outs with views of the pool and gardens, they are also the most spacious rooms in the hotel. Past the hotel’s art deco facade and inside the lobby, light from the restored chandeliers warmly reflects of the polished marble floors, providing the perfect showcase for the hotel’s art and artefacts, which include statues of Shiva and Parvati, and wooden carvings sourced from the 16th- and 17th-century temples of Mahabalipuram. Guests can enjoy the 4.5 acres of landscaped greens and enclosed atrium gardens, and begin their evening with aperitifs at the Lady Connemara Bar & Lounge. Done up in sepia tones, its gracious interiors are fit for a sahib—even a modern-day one.
PHOTO: JANIE BARRETT/FAIRFAX SYNDICATION
T^hqÉV ^[`Ëe Everything is inverted in artist Tanya Goel’s New Delhi-based studio—industrial materials become her paints and age-old architectural practices, her medium WRITER MAANYA SACHDEVA
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hen she was four years old, Tanya Goel began accompanying her father to the family’s garment factory in New Delhi. These bi-weekly trips lay the foundation for her fascination with colours and shapes, one that evolved into an afection for material—specifically, materials that were discarded and made no real sense. There is an inclination to read between the lines, which manifests in all her work. Goel’s entire practice revolves around understanding what colour is—or “how we identify and categorize it”. Complementing these enquiries is her interest in architecture, city grids, urban planning and the surfaces we encounter through them every day, like brick, cement, aluminium, plaster and iron. The young artist has travelled extensively, moving from Delhi to Vadodara, then to Chicago and New York, before coming back home and becoming “really sensitive to the orientation and planning of cities—more specifically how we navigate them”. Her 2018 series of site-specific, neel-pigment wall drawings, titled ‘Index’, is a harmonious coming together of these two artistic
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explorations. The lines represent the rising and falling levels of water bodies around the sites at which Goel creates these largerthan-life blue drawings—not unlike architects. In fact, Goel believes the process of making ‘Index’ “was far more interesting than the actual drawing, which is only the residue of the process”. Each artwork is made by dipping a series of threads into ultramarine-blue powdered chalk, which she chose because of her fondness for industrial materials; the ultramarine-blue pigment is synthetically produced. To create the lines, two individuals suspend the coloured threads along a marked grid. “Vulnerable to fading chalk and the wiggling arms of human error, these lines bleed in and out of the grid below,” she explains. Of the back of the ‘Index Pages’ exhibition at the 21st Biennale of Sydney (pictured), and with plans to take her work to the Philadelphia Museum of Art next year, ‘Index’ is remarkable for another reason. Each iteration represents an ever-changing water level in some part of the world, making it truly far-reaching in its scale and impact.
fading beauty Craft-focused brand No-Mad’s new collection is created entirely from natural indigo WRITER DIVYA MISHRA
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have a had a crush on indigo since forever!” says Valerie Barkowski, the Belgium-born creative director of lifestyle brand No-Mad, about its new collection, which uses, and is named after, the blue dye extracted from the Indigofera tinctoria plant. Founded in 2013, by Mumbai-based engineer-turnedentrepreneur Anuj Kothari, the brand creates products that showcase Indian craft traditions across the spectrum of weaving, dyeing and embroidery—among others. No-Mad’s relationship with natural dyes began in 2011, when Barkowski began work on their debut collection that had a vibrant red palette. “We eventually built the entire colour story around it,” says Kothari. The duo wanted to work with indigo for a long time, but things only recently fell into place when they discovered The Colours of Nature, an Auroville-based firm that has been working with natural dyes for over 25 years. The Colours of Nature processes indigo the traditional way, using organic dye cakes sourced from a nearby village. “They are one of maybe two companies in India that
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don’t use sodium hydroxide or the even more polluting sodium hydrosulphite in the natural indigo fermentation process,” says Kothari. The fact that both natural dyes and hand-spun fabrics take longer to process than their synthetic counterparts did not faze either Barkowski or Kothari, who are clearly in the business for the long run. “We don’t bother about that. What we want is to create products that have meaning and are sustainable,” says Barkowski. The collection features cushion covers (pictured), table linen, chair covers and fabrics, in cotton, linen and handspun, hand-woven khadi from Bengal, which are embellished with embroideries, mirrors and thread work inspired by Jain cosmography, world maps, and tattoo traditions from across the globe. Fabric products that use natural dyes are prone to running colour, I point out, but Barkowski sees this as a feature, not a bug: “In fact, I prefer that they fade as indigo looks better and better with time.”
PHOTO: HENRY WILSON
PAinting the town blue Five years after Marie-Anne Oudejans revealed the elegant interiors of Bar Palladio, the restaurant is celebrating its status as a global design icon and the epicentre of Jaipur’s social whirl WRITER MAANYA SACHDEVA
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ccording to Dutch designer Marie-Anne Oudejans, the decision to cloak Jaipur’s Bar Palladio, located at the Narain Niwas Palace hotel, in blue was an impulsive one. Almost as impulsive as her decision to design this bar that was dreamed up by fellow expat Barbara Miolini, five years ago. Oudejans elaborates on the choice of blue, “It was diferent than the pink of Jaipur; it was masculine, and it was royal—just like the peacocks in Narain Niwas.” The blue of Bar Palladio is still all these things, in addition to being a powerful medium—one that turned India’s attention to Oudejans’s impeccable taste and style. Miolini, who runs a successful textile factory in Jaipur, met Oudejans through friends—as it happened, both the women were renting an apartment at the Narain Niwas hotel. The two women bonded over their shared experiences of living and working in Rajasthan and their similar design sensibilities; working together seemed inevitable. They set about revamping an existing bungalow in the same hotel, guided by Miolini’s vision of a truly world-class wine-and-dine spot, with Italian roots. Oudejans says that she conceptualized Bar Palladio as a maharaja’s palace from the 1960s—one that European jet-setters would come to Rajasthan for.
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The region’s tradition of wall painting thus forms a large part of the design at Bar Palladio. White-on-blue and, conversely, blue-on-white florals were hand-painted by artist Vikas Soni and tie the entire space together. Brilliant neon colours breathed new life into the art of block-printing—another true-to-Jaipur element—that adorn the linen at this gentleman’s bar. Jali lamps that are replicas of those in the Jama Masjid at Fatehpur Sikri adorn the main bar and jali screens keep Bar Palladio cool on hot Jaipur days. These elements are ofset by Edwardian influences, like the custom black-and-white marble floor and balustrade that lines the roof. Closest to Oudejans’s heart, however, are the scalloped tents in the garden. “It reminds me of my childhood when my grandmother made one tepee each for all her grandchildren.” Bar Palladio’s brand of blue stands out against Jaipur’s predominantly pink landscape—of that, there is no doubt. However, its spectacular design is only part of the reason. The other part is most definitely its cultural significance; when Oudejans and Miolini threw open its doors to Jaipur’s thriving creative community, they broke new ground. Which, as MarieAnne Oudejans would agree, is always a good thing.
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ZËÉ Ua_Ëe rZË eh` Cirque du Soleil is coming to town! Ahead of its first-ever India tour, gets an exclusive sneak peek into the making of its shiny new production, Bazzar WRITER MAANYA SACHDEVA
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t is a long-standing tradition for Cirque du Soleil productions to premiere in Montreal—the avant-garde theatrical company’s home town—before travelling to the rest of the world. This has been true for every single one of the 42 shows the Canadian company has staged. However, its 43rd—and newest—production is a deviant; Bazzar will be unveiled in Mumbai, when the company makes its long-awaited India debut later this month. The brainchild of writer-director Susan Gaudreau, Bazzar is a dramatic reimagining of an Indian marketplace. Its protagonist is a maestro who, along with his band of colourful characters, dreams of putting together an ambitious, theatrical production; not unlike Cirque du Soleil co-founders Guy Laliberté and Gilles Ste-Croix first did in 1984. To bring this whimsical universe to life, set designer Simon Guilbault worked closely with expert engineers to create a structure that performers could climb on, be perched atop, move through and really become one with. Visually speaking, it is all about lines, metal supports and separate pieces that can be linked together. Characterized by bizarre angles, the stage seems to float in space with just a few anchor points. “I wanted a set that could be like a Lego block; one that, depending on how you add or take away, creates a diferent space and emotion.” Moving parts are therefore heavily integrated, such as
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mirrors that can be shifted by the artists. “Everything can change, nothing is fixed,” says Guilbault. Reflective and transparent surfaces in blue and violet enhance the artists’ vibrant costumes, and light catches beautifully through the structure to create striking shadow efects. All of this will take place inside the legendary Big Top (pictured)—62 feet tall and 135 feet wide, with a seating capacity of approximately 1,500. “Designing a show specifically to introduce Cirque du Soleil to a totally new audience is a creative challenge,” says Finn Taylor, the senior vice president of the touring show division. While Bazzar features a four-minute mallakhamb act—a nod to the traditional Indian sport—each Cirque du Soleil production is universal in its appeal, created for “audiences from diferent cultures around the world without having to adapt the show to each market”, says Taylor. After its first run, in Mumbai, this frenzied Bazzar will be carefully dismantled, packed up and then transported to the capital. This is the transient Cirque du Soleil’s greatest prowess: its unparalleled ability to recreate the same magic, time and time again. Bazzar runs from 15 November to 2 December at the MMRDA Grounds in Bandra-Kurla Complex, Mumbai, and from 25 December to 6 January at Aerocity, New Delhi.
_aVËq` rÉSehÉ Tiny antiquities are revived as sophisticated gems in the one-of-a-kind designs of contemporary jeweller Marc Auclert WRITER NIKHITA MAHTANI
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ost antiques, though treasured, are often relegated to being mere showpieces, displayed in glass cabinets, or in museums. That is precisely what jewellery designer Marc Auclert, of Maison Auclert, wants to change. Having launched Chanel’s fine jewellery department in the 1990s, the French designer is no stranger to the intricate world of gemstones and precious metals. For his own creations, however, he travels the world and the Paris auction houses to source tiny treasures of antiquities, which he then remounts on elevated materials, and sometimes sets with fine stones, including sapphires, diamonds, rubies and emeralds. “The gesture of remounting antique elements is ancient, and was practised during the Middle Ages, when precious materials were rare—the most famous recent example being Bulgari and its coin collection, in the late 1970s,” says Auclert. “On the other hand, the concept of ofering only such jewellery is rather novel,
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and probably stemmed from my passion for antiques and my enthusiasm for jewellery; I’m an antique dealer’s grandson.” In the case of this cuf (above), an important pale blue intaglio from the Hellenistic period is the showstopper. Featuring a fine carving of a nymph, it’s a museum-quality piece that’s been punctuated by a bold cuf of brushed, white gold. “The colour is very delicate,” says Auclert. “This is the reason why I chose light blue sapphire cabochons to emphasize it. Blue corresponds better to the serenity I’m looking for; it’s the colour of heaven and spirituality in my culture.” The cuf is a refined mixture of simplicity and extravagance, with originality at its core. “My typical client is sophisticated and cultivated, always curious about other cultures. She or he likes the idea of a piece full of history, a one-of-a-kind conversation piece!” If you’re looking for a chic yet whimsical piece to wear and break the ice with at your next dinner party, it might just be time to invest in an Auclert original.
KERTÉSZ ANDRÉ/© MINISTÈRE DE LA CULTURE-MÉDIATHÈQUE DU PATRIMOINE, DIST. RMN-GRAND PALAIS
The Georges Gefroy-decorated bedroom in the house of his friend Marcel Rochas, where he resided with wife Hélène. She succeeded Marcel as the head of the eponymously named fragrance and fashion house.
the new look MITCHELL OWENS delves into design historian Maureen Footer’s new Christian Dior book,
which documents the post-World War II reinvention of French classicism in interiors
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o hear Maureen Footer tell it, Paris in the late 1940s mirrors America of late. “Society was polarized, people felt like they were losing their identities, and outside influences threatened what was considered the French way of life,” the style historian says on the eve of publishing her new book, Dior and His Decorators: Victor Grandpierre, Georges Geffroy, and the New Look (The Vendome Press). But instead of snarking on Twitter, she continues, couturier Christian Dior and two friends—the charming Grandpierre, a former photographer; the melancholic Gefroy, an ex–fashion designer—went about making French classicism great again, though they stirred in English furniture, Finnish carpets, and Middle Eastern bronzes. The modish result was revolutionary, Footer says, “in a streamlined but cosmopolitan manner that answered, as design often can, the big questions of the time: Who are we? Where are we now? Where are we going?”
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Smouldering from war and lean from rationing, Paris was thunderstruck when Dior made his haute couture debut in 1947. Tight bodices made bosoms the voluptuous centre of attention, while corseted waists gave way to yards of costly silk. (A textile manufacturer underwrote Dior’s business.) Skirts “spread like an open tulip,” a reporter observed of the Corolle collection, or the “New Look”. Actually, the romantic silhouette, echoing billowing Ancien Régime garb, wasn’t new at all nor was the historicist decor of Dior’s fashion house, then, as now, at 30 Avenue Montaigne. But the rooms’ fuss-free execution made them au courant. “While the prefabricated housing of Jean Prouvé and the space-saving sliding doors of Charlotte Perriand represented one form of modernity,” Footer argues in her book, “Grandpierre ofered an alternative vision.” In his hands, neoclassicism met modern clarity at Dior, “radiant, pared down, and thoughtfully >
© MARK SHAW/MPTV IMAGES © DAVID BORDES/CENTRE DES MONUMENTS NATIONAUX
Above: Ruches and flounces in a ball gown modelled by Sophie Litvak mirror Victor Grandpierre’s dressmaker details in Dior’s 1953 autumn-winter couture collection. Left: Grandpierre added curtains and a velvet settee to the blue salon, which retained its original 18th-century colour, although the panelling was refurbished. The settee, with Turkish-cornered cushions, plump tassels and a corded and draped skirt reflects the late 18th-century fascination with the exotic. Pale-blue silk lampas was selected for the pillows. The cane chair is in a Regencé style.
< reconsidered.” The maison de couture was a pearl-grey
paradise—upholstery, curtains, portières—relieved by whitepanelled walls and the white frames of Louis XV-style sofas and chairs. It remains Dior’s template today, though the charming Grandpierre would update some of the boutiques in the 1970s with stainless-steel accents. He also decorated the couturier’s home in uneasy concert with Gefroy. Dior’s commissions “pretty much eclipse what Grandpierre did on the residential side”, Footer explains. Gefroy, on the other hand, had become a cult hero. The frenemies had notably 82|
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high-calibre clients, but Gefroy’s roster swaggered, from chic malicieuse Daisy Fellowes, to the deep-pocketed ménage à trois composed of guano heir Arturo Lopez-Willshaw, his wife, Patricia, and his lover, Alexis de Redé—all of whom flocked to Gefroy for gleaming mahogany antiques, walls upholstered with silk velvet, plasterwork panelling that resembled cane-work on steroids, and those unexpected Nordic carpets. Reverence for the past aside, Gefroy and Grandpierre each insisted that “design had to respond to how we live”, Footer says. “Not to mention that it should be beautiful, glamorous, and sensuous, too.”
everyday luxury With its new home accessories, Tiffany & Co reinterprets its characteristic elegance into playful objects that turn everyday activities into occasions WRITER NIKHITA MAHTANI
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ifany & Co has always epitomized elegance—due in part, to the Audrey Hepburn-starring cult film Breakfast at Tiffany’s. For years, the brand was instantly recognized by the robin’s egg-blue box that housed everything from diamond rings marking 50th wedding anniversaries to charms celebrating new relationships. Now, the New York-based jewellery house has taken that signature hue to another level with its new home accessories collection. Created to find the extraordinary in the everyday, Tifany’s new line encompasses a range of household objects in a composed, sophisticated palette of polished sterling silver and its signature Tifany
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Blue. Examples include a ‘Sterling Silver Crazy Straw’ with a strip of the famous blue near its tip; and a ‘Bone China Cofee Cup’ (pictured) ironically designed to look like a takeaway paper cup, in, of course, that blue again. The objects become instantly aspirational—and their efectiveness lies in the fact that they can be used all the time. “That whole idea that luxury doesn’t equal formality is so important,” explains Reed Krakof, the chief artistic officer, of the idea behind the collection. “That’s a concept that I think is at the heart of American luxury—a sort of efortless, of-handed, understated luxury that is in your life every day, as opposed to something precious that you put on a shelf and take out only for special occasions.”
a`G_baqSql U!ee[Ue Traditional Italian craftsmanship is fused with state-of-the-art production in the timeless designs of Turri WRITER ARUJ CHAUDHRY
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uxury, for some, will always have an air of champagne and caviar; Pietro Turri, however, believed it to be a state of mind. At the eponymous Italian brand he founded in 1925, expertise and knowledge passed through the decades were interpreted, reworked and built upon every day. Today, Turri continues to be well regarded for this of this ever-evolving process—one that laid the foundation for the furniture maker’s 20,000-square-metre Briosco production plant in 2013. Admittedly a behemoth in size, the facility’s state-of-the-art credentials are not only down to the newly introduced technology—like an automated UV-coating process—but also in its well-structured technical department. In an efort to reduce time-to-market and maintain quality, the entire manufacturing process is a constant reconciliation between modern machinery and traditional artistry. Each stage has a unique role to play and a heritage to protect. The journey begins by assembling and storing
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each panel, chair frame, leg and other furniture hardware. Once these are sanded, they move on to the decoration unit—the heart of the process. The secrets of this department’s work are guarded in the Turri archives, and only revealed to the craftsmen who realize them. The creations are then further refined in the polishing and brushing stations, after which they are assembled and inspected. The ‘Madison’ chair (pictured), designed by Andrea Bonini, is a fine example of this process. An unapologetic take on the quintessential fauteuil chair, Bonini relies on a durable wooden frame with a glass polyester finish and briar-root efect. The seat and backrest are padded and upholstered in blue full-grain leather, delicate work that involves individually cutting and sewing each swatch on the pre-cut exterior, thereby preventing the risk of creases or wrinkles. The most striking feature, however, is the use of gold end pins, a bright counterpoint to the otherwise subtle design. Luxury is in the details.
blue-blooded Iran Modern: The Empress of Art tells the tale of a queen and the unbelievable modern masterpieces she acquired as part of Iran’s cultural repository WRITER GAURI KELKAR
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ndy Warhol was completely smitten. He came to Iran to shoot the portrait of Empress Farah Pahlavi, but also roamed its bazaars, dined on caviar and was sold on its heady charm. In the 1970s, in true Dickensian style, Iran was in the best of times and the worst of times. It was on the cusp of a renaissance—and a revolution. It would forever change not just the face of a nation, but the destiny of its queen as well. Warhol’s portrait of Pahlavi, wife of the last ruling Shah (emperor) of Iran, graces the cover of Iran Modern: The Empress of Art. Published by Assouline, the book details the explosion of art in Iran, and the journey of its foremost champion, the country’s first-ever crowned empress, highlighting her pursuit to create a vibrant culture. Coauthored by Viola Raikhel-Bolot and Miranda Darling, the book is peppered with anecdotes and reminiscences of the queen’s singleminded goal to create a cultural pastiche for Iranians. She set up museums, including the Tehran Museum of Contemporary Art (TMCA), went about consolidating a collection of masterpieces— contacting Sotheby’s, Christie’s and, in some cases, the artists
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themselves (Henry Moore, Marc Chagall, Salvador Dalí)—and organized concerts, plays, an art festival, among so much else. These were juxtaposed with the undercurrents of a not-so-silent anti-royalty sentiment simmering under the surface. It boiled over in 1979, sparking a revolution, establishing a theocratic state, forcing the royal family to escape—and wiping out from public memory a stupendous, painstakingly curated collection. In 2005, a few artworks were exhibited by the then-director of TMCA. In 2016, a plan to send some of the works to Berlin and Rome was abruptly abandoned. The contours of Pahlavi’s life—her first meeting with the Shah in Paris, her coronation as Iran’s empress, their flight to Egypt and eventual exile (again, in Paris)—are inextricably linked to the cultural awakening of her homeland. And in a hardened world struggling to find room for easy-to-dismiss art and culture, this extensive collection remains hidden in plain sight, glimpsed, for the moment at least, only in the pages of this tome. Iran Modern: The Empress of Art by Viola Raikhel-Bolot and Miranda Darling was released in September 2018. (assouline.com)
From architects to interior designers, The List is an indispensable directory for every home decor solution. Search by service and location at architecturaldigest.in/the-list
PHOTO: ASHISH SAHI
Want to be on the list? Write to thelist@condenast.in
THE DESIGNER Rakeshh Jeswaani Whether it’s an urban apartment or a flamboyant villa, Rakeshh Jeswaani’s
spaces bear his indomitable signature aesthetic. He finds inspiration in the art deco and neo-classical art movements to create spaces that exude warmth and resonate with the client’s individual style sensibilities. And over two decades, under his eponymous design label, RJIA (Rakeshh Jeswaani Interior Architects) he has completed prestigious projects across Mumbai, Chennai, Indore and Bengaluru.
FROM THE DESIGNER’S PORTFOLIO A private party lounge RJIA was recently responsible for designing a unique party space, exclusively for the residents of a luxury residential enclave in Juhu, Mumbai. Smartly sectioned into three areas, using brass-grilled folding doors, it has a pitch black ceiling, natural grey walls and patterned floors. While the statement furniture pieces here include a large canopied diwan and a vintage bar, the space showcases original Binoy Varghvese artworks.
FROM THE DESIGNER’S PORTFOLIO Address Home
With a design philosophy of simplified and contemporary patterns, inventive surface techniques, experimentation with material and a colour play, this atelier showcases outstanding linen and dining accessory collections. From the Ikat Collection of Linen and the Nizam Dining Collection to the recently launched Minerals Linen Collection, inspired from the varying shades of Jade and Lapis, each compilation is nothing short of being an artistic inspiration.
THE DESIGNER Rajat Singhi Fondly known as the Tsar of Eclectic-Chic Décor, in 2008 Rajat Singhi observed that Indians were increasingly becoming house-proud are were looking for ways to decorate their homes in a more stylised manner. But the country lacked the luxury home linen and décor accent brands. To bridge this gap he launched the now iconic luxury home décor brand— Address Home.
G oode l l a s ’ It ’s first new store in 191 years, a
Goode res the new age of the histor t none oth s a ic Brit er th hom , explo i T s h f hom an T o bai RITER NIKHITA MAHTANI d W ewa he O ea um h re b be A in M ran roi d
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ince 1845 , Thomas Goode—purveyor of the finest British china, silverware and glass—has remained at its exclusive, 48,000-square-foot, five-storey building on 19 South Audley Street, in the heart of London’s Mayfair. With two royal warrants to its name and a client list that once included Queen Victoria, a viceroy of India and the last tsar of Russia, the company has remained exclusive, refusing to ofer online shopping options, or even open any new stores—until now. Thomas Goode went through a resurgence of sorts this decade, when entrepreneur Johnny Sandelson acquired the discreet luxury powerhouse in the hope of taking it global. His first move? Opening their first new store in almost 200 years, in none other than The Oberoi hotel in Mumbai. “I couldn’t be more passionate about my responsibility to ensure the legacy endures,” says Sandelson. “Drawing inspiration from what has served us in the past, we aim to focus on what we have always been the best at: caring for our most important clients with a level of personal attention that is beyond parallel.” Indeed, personal attention has been at the heart of the Thomas Goode philosophy since its inception 191 years ago. The company relies on an unrivalled level of customer service; polite, well-informed staf will go to the ends of the earth to find clients exactly what they’re looking for—a practice referred to by the company as “white gloves service”. “My particular passion is to bring personal service up to the level insisted on by William Goode [Thomas Goode’s son] more than 150 years ago,” says Sandelson. As for the types of products Indian consumers can expect from the exciting debut, there’ll be a concentrated focus on the wedding market. “[It’s] worth $5 billion per year,” says Sandelson. “We used to be the most famous gifting shop in the world. It seems to me to be a logical thing to do.” Fashion entrepreneur Malvika Poddar has been hired to spearhead the initiative. A first glimpse of the products expected to be on display at Thomas Goode’s India debut include fragile china tea sets, delicately hand-painted with jewel tones and rich gold shades, intricate patterns, and elegant floral motifs. With a focus on contemporary British craftsmanship, the pieces have a sense of fragility to them that shows the years of efort it took to achieve this level of perfection. And of course, that’s part of the point: “There would be cheaper ways of going about things, but the British way stands for quality,” says Sandelson. Is it worth the price? You have a queen’s word on that.
A plate commissioned for the Maharaja of Baroda in 1920 from Thomas Goode.
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Ta_T T^hË The intricacies of Mumbai—its contrasts, contradictions and controlled chaos—form the inspiration of artist Manish Nai’s work, realized on a canvas of recycled material
PHOTO COURTESY OF MANISH NAI AND GALERIE MIRCHANDANI + STEINRUECKE. PORTRAIT PHOTO: TALIB CHITALWALA.
WRITER NIKHITA MAHTANI
Artist Manish Nai’s untitled 2014 artwork in jute. Above left: The artist at his Mumbai studio.
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creates a doodle by hand, recreates it on Photoshop and prints a highly pixelated version of it onto his tracing paper. He cuts using scissors and a scalpel, pulling out the threads in an organic, highly labour-intensive way. “It often takes me six months to create these projects,” says Nai, who focuses on simple shapes like squares and circles so that the complicated inner workings of the images shine through. The space between the threads allows light to weave its way in and out of the canvas, making the artwork look diferent depending on the angle one views it from, similar to the way Nai views the process. “Until that tracing paper comes of, I have no idea what the work is going to look like,” he says. Despite the amount of thought it takes to create these images, Nai doesn’t have any preconceived notions about what he’d like the viewer to feel while observing his work. “My work is usually done with a blank mind,” he says. This is a form of abstraction that trickles down to every aspect of the design, and all Nai wants is for his viewer to find a form of peace. His newest experiment uses indigo-dyed jute on tall wooden frames—majestic in size, yet using everyday materials. The dichotomy between the compression of the materials and the grandness of their scale is a direct representation of the contrast Nai attempts to show on a daily basis—that of the hustle and bustle of a major city with the simple, quiet moments that make the space home. Where there’s a traffic jam, there’s also a hidden pathway filled with lush green trees, and where there’s peeling paint, there’s also a luxury condominium development right next door. Most Indian art is loud; it demands to be seen, boasting luscious bright hues and grand canvases. Nai’s is still seen, but more so because it hits the part of human consciousness most people fail to portray on the outside: their innermost feelings, who they are once the noise fades away.
An untitled 2018 artwork in compressed indigo jute and wood.
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PHOTO COURTESY OF MANISH NAI AND KAVI GUPTA GALLERY, CHICAGO.
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first glance at Mumbai-based artist Manish Nai’s threedimensional artworks, monochromatic colour tones and accessible shapes might lead one to think of his art as fairly simplistic. But upon closer inspection, the complicated designs, original materials and years of engagement it takes him to conceptualize his work paint an entirely diferent picture. By using recycled materials such as jute, old newspapers, even yellowed library books, Nai envelops a part of his hometown within his exhibitions, even when they’re in places as far-flung as Galerie Karsten Greve in St Moritz and Kavi Gupta Gallery in Chicago. This was intentional for Nai, whose close connection to the busy streets of Mumbai informs his work. “Bombay is chaos,” says Nai, referring to the colloquial term most Mumbaikars use for their city. “So my intention is to take that chaos and create something that looks inward.” It’s no surprise, then, that the majority of Nai’s designs are a dark navy—a calming hue that brings to his mind images of the night sky and childhood imagery of doodles scribbled in blue ballpoint pen. “Blue isn’t a colour to me; it is a feeling,” explains Nai. Hailing from a middle-class family that belongs to the traditional Gujarati barber community, Nai observes most things this way, by breaking them down to their simplest forms. Where others see images, Nai sees pixels; where a viewer might see a grand sculpture, Nai sees every twist and turn in the jute fabric used to make it. His father had a wholesale business supplying jute, and Nai spent years watching him mould the material; hence, it was only natural that he gravitated towards the coarse threads. While he initially assumed that he would paint the jute directly, the threads proved too rough a surface. He solved that problem by painting on tracing paper. With time, the process became even more nuanced. Now, Nai
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Adrian Zecha, founder of ultra-influential Aman resorts, writes an emotional tribute to his friend, and genius architect, Kerry Hill
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I
will remember the soft-spoken architect Kerry Hill, most of all, as a friend. We first crossed paths in 1971, in Bali’s Batujimbar, where I had a house. At the time, he was working for the architectural firm Palmer and Turner Hong Kong (now P&T Architects and Engineers) that had been commissioned by Hyatt Hotels to build a hotel on Sanur beach. From our very first meeting, we formed a fast friendship; it was only a few years later that we started working together. The first project we worked on was, in fact, not part of the Aman resorts; it was a forerunner to them. In the 1970s, I purchased an outback ranch and cattle station, named Elsey Station, in the Northern Territory of Australia. Kerry was an extremely creative person and his approach to design and spaces was always sensitive, >
The Amanemu in Shima-shi, a coastal city in central Japan, is one of nine Aman resorts designed by Kerry Hill. For Adrian Zecha, it stands out from among Hill’s impressive oeuvre for its conscientious yet luxurious design.
AS TOLD TO MAANYA SACHDEVA PHOTO COURTESY OF KERRY HILL ARCHITECTS
< simple and elegant. He turned Elsey Station into a beautiful rustic home where one
Top: A view of the spa at Amanemu, complete with two private onsen pavilions and a healing Watsu pool, designed by Kerry Hill (above).
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could enjoy an entirely unique experience, in a magnificent location. Kerry designed a total of nine Aman resorts; the Amanusa in Bali, which opened in 1992, was the first. The others include the Amankora in Bhutan; Amangalla and Amanwella in Sri Lanka; Aman in New Delhi (now The Lodhi); and two in Japan, Aman Tokyo and Amanemu. Of these, I have a special afection for the Amanemu in Ise-Shima National Park, in Shima-shi, because Kerry retained important elements of traditional Japanese hospitality in an extremely contemporary design. A true master of modernism. My vision is to build environmentally friendly, culturally sensitive and operationally intuitive resorts. Each project is diferent and requires a careful understanding of the environment and geographical setting. One of Kerry’s qualities that really inspired me was that he was always conscious of ensuring his designs were respectful of the community in which they were being built. In this sense, my vision aligned with his refined sensibilities completely. As with all relationships, there were things we didn’t always agree on. For instance, when he presented his design for the rooms at the Aman in New Delhi’s Lodhi Colony, I was not in favour of every room having its own pool, but his persistence finally convinced me. However, he was right—something he reminded me about on several occasions. I didn’t mind; we were very close and I thought of him as a brother. He undertook many creative projects both under the umbrella of Aman, and outside it—and I will forever be indebted to him. The foundation of Hill’s remarkable design legacy was laid in Asia; today, it is carried forward from his practice’s two studios in Singapore and Perth, Australia. Led by its partners, with whom he worked closely over many decades, Kerry Hill Architects continues to develop its signature culturally appropriate architecture around the world.
ARCHITECTURAL DIGEST|NOVEMBER 2018
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^hËb<`r Xaq qr gets a first look at the plans for Bengaluru’s five-storey Museum of Art and Photography (MAP), founded by Abhishek Poddar and designed by Mathew and Ghosh Architects, scheduled to open in 2020 WRITER DIVYA MISHRA
S
BLUEPRINT COURTESY OF MATHEW AND GHOSH ARCHITECTS
ince my family moved to Bangalore [sic] over 25 years ago… setting up a museum is something I have thought about often,” says Abhishek Poddar, industrialist, philanthropist, art collector and founder of the upcoming Museum of Art and Photography— or MAP, as it is more catchily known. And because a space meant for the exhibition of art, photography and cultural artefacts has to be beautiful in and of itself, Poddar selected local firm Mathew and Ghosh Architects to design it. “Functional design of international standards” is the essence of the brief he gave the firm, which has previously worked on public projects like Bengaluru’s Freedom Park and the National Military Memorial, which, as of July this year, was still awaiting its obelisk made out of granite. The firm’s work in the area of heritage and conservation also helped, as the museum is located in Bengaluru’s Central Business District, where a mix of architectural styles cheerfully coexist. The architectural plan retains much of the existing tree cover—a fact that will definitely endear it to Bengaluru’s treeloving locals.
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Neon sign, Ronnie Neon Lights. Blue-and-white jars (and blue-andwhite ceramic stool featured on cover), Kavita Singh Interiors. ‘Sodalite Blue’ quartzite stone tabletop, A-Class Marble.
Bara Pani (2012) tapestry by Monika Correa, Jhaveri Contemporary.
‘7325-Twilight Zone’ wall paint, Asian Paints.
Mid-century club chair, Mahendra Doshi.
‘Handi Man’ side table by Bombay Atelier, Tranceforme.
‘Oushak Medallion’ carpet from the Persian collection, Hands.
THE BLUE ROOM From the flooring to the furniture, the rug to the coffee table—it’s all awash. Here’s a closer look at our November cover PHOTOGRAPHER JIGNESH JHAVERI . STYLIST SAMIR WADEKAR
Dining With The Nawabs (Roli Books) and Sar: The Essence of Indian Design (Phaidon) books, CMYK Book Store.
‘9208-Picturesque’ wall paint, Asian Paints. ‘27Co’ aluminium artwork (in niche) by Mark Prime, Chatterjee & Lal.
‘Scoot’ L-shaped sofa, Blue Loft. Untitled (2017) compressed indigo jute sculpture (48x12x12 inches) by Manish Nai, Kavi Gupta Gallery.
‘Beoplay A9’ speaker, Bang & Olufsen.
Antique wooden elephant, Phillips Antiques.
Production: Bindiya Chhabria
For details, see Stockists
109
Portfolio No.1
R BURMAN
In his second series of still lifes for AD, the fashion photographer focused on just the single shade of this issue. 7KH OHQVPDQ WUDGHG WKH ÀXLG VLOKRXHWWHV RI FORWKHV IRU WKH structured forms of products to create a case for the blues. “My take on still life as an art form is to see the unusual in the usual, to make surreal imagery using the mundane, to create something that’s more than what meets the eye,” he says about this carefully curated collection of myriad shades — and styles — of blue.
STYLIST: SAMIR WADEKAR
‘Azul Macaubas Super Extra’ quartzite stone slab, The Quarry.
(Background, right) ‘Slab (Smoke Grey 6134)’ and (base) ‘Slab (Pristine Blue 9169)’, surface finishes from the Archi Concrete series, Asian Paints. ‘Cavansite’ rough stone (foreground, left), Nazir Ahmed Shaikh. Decorative glass ball (background, left), Trésorie. ‘Mariana’ platter (with berries), HIIH. ‘Eternity’ vase (aquamarine) by Moser, The Silver Room. Glass sculptures by Remis, Spacio. Blue-and-white Chinese porcelain figurine, Mahendra Doshi. Ring (on figurine), Malini Akerkar Design, Ensemble.
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(Background) ‘Marble (Blue Fragrance 9191)’ surface finish from the Royale Play Stucco series, Asian Paints. (Base) ‘Sodalite Blue’ quartzite stone, A-Class Marble. ‘Aqua Spiral’ plate (background, left), HIIH. Antique Persian blown-glass perfume bottle, Moorthy’s. Agate coasters, Nazir Ahmed Shaikh. ‘Warp’ (large) bowl, Tom Dixon. ‘Bleus d’Ailleurs’ saucer, Hermès. Murano glass candle stand (on saucer), Essajees. Blue agate block by Bespoke Home Jewels by Minjal J, The Charcoal Project.
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(Background) ‘Glossy (Sky blue RAL 5015)’ surface finish from the WoodTech Emporio PU Palette series, (base) ‘Glossy (Pastel blue RAL 5024)’ surface finish from the WoodTech Polyester Palette series, Asian Paints. ‘Blue Vase 1’ vase, Iqrup+Ritz. ‘Mystical’ Tenmoku Japanese pottery mask, Curocarte.com. Agate coaster with gold trim by Bespoke Home Jewels by Minjal J, The Charcoal Project. ‘North Tower’ candleholder (left) from the 1001 Lights collection, Lladró. ‘Fortress Spire’ vase, Bohinc Studio. ‘S Rainbow’ tray, HAY.
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‘Sr No 58’ fabric from the Cotton Classic collection, D’Decor. (Base) ‘Satin (Signal blue RAL 5005)’ surface finish from the WoodTech Emporio PU Palette series, Asian Paints. Blue glass sculpture on stand, Aesthetics. ‘Blue Ming’ round vase, Vista Alegre. ‘Ambassadeur’ (43000226) ashtray by St Louis, Emery Studio.
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(Background) ‘Glossy (Pastel blue RAL 5024)’ surface finish from the WoodTech Polyester Palette series, (base) ‘Satin (Signal blue RAL 5005)’ surface finish from the WoodTech Emporio PU Palette series, Asian Paints. Lapis lazuli rough stones, Nazir Ahmed Shaikh. ‘Louxor’ vase by Thomas Bastide for Baccarat, Emery Studio. Glass olive boat, Nicobar.com. ‘Cube’ blue vases by ASA Selection, Pluschdecor.com. 22-carat gold earring (set in lapis lazuli, with ruby), Gem Palace.
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‘Sr No 58’ fabric from the Cotton Classic collection, D’Decor. (Background) ‘Slab (Pristine Blue 9169)’ surface finish from the Archi Concrete series, (base, left) ‘Glossy (Pastel blue RAL 5024)’ surface finish from the WoodTech Polyester Palette series, (base, right) ‘Glossy (Sky blue RAL 5015)’ surface finish from the WoodTech Emporio PU Palette series, Asian Paints. Vase with fish print, Cottons & Satins. ‘Blueberry’ Moonj grasswork towel basket, Curocarte.com. Blue patterned plate, Abaca. Agate coaster with gold trim by Bespoke Home Jewels by Minjal J, The Charcoal Project. Bowl from the Folkifunki collection, Vista Alegre. Agate coaster (on bowl), Nazir Ahmed Shaikh. ‘Charcoal Blue’ carafe and tumbler night set, Good Earth.
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(Base) ‘Glossy (Pastel blue RAL 5024)’ surface finish from the Woodtech Polyester Palette series, Asian Paints. Lapis lazuli rough stones, Nazir Ahmed Shaikh. Necklace from the Nauru collection, En Inde. ‘Men@Work’ sculpture of head, HIIH. Vintage vase (powder blue), Phillips Antiques. Assistant Stylist: Priyanka Shah Production: Bindiya Chhabria Production Assistant: Talib Chitalwala
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ARCHITECTURAL DIGEST| NOVEMBER 2018
ARCHITECTURAL DIGEST
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INDIA
Portfolio No.2
ATELIER ASHIESH SHAH
JAIPUR TOTEM A design created for this collaboration with Atelier Ashiesh Shah â&#x20AC;&#x201D; the interior designerâ&#x20AC;&#x2122;s soon-to-be-launched laboratory that explores the contemporization of craftsmanship â&#x20AC;&#x201D; the â&#x20AC;&#x2DC;Jaipurâ&#x20AC;&#x2122; totem is a modern take on the cityâ&#x20AC;&#x2122;s traditional EOXH DQG ZKLWH SRWWHU\ 7KH ¿ UVW SURWRW\SH ZDV IDVKLRQHG IURP FDQH DQG IRDP materials that were eventually traded in for terracotta. Shah describes the totem as a physical interpretation of the elephant in the room â&#x20AC;&#x201D; albeit a very blue one â&#x20AC;&#x201D; because the structureâ&#x20AC;&#x2122;s presence can be felt immediately. Made exclusively for AD LW¶V GH¿ QLWHO\ D EHKHPRWK EXW WKH VFDOH LV HQWLUHO\ DSSURSULDWH 6WDQGLQJ SURXG DW VL[ IHHW WDOO WKH ELJ EOXH WRWHP LV D V\PERO RI WKH DUFKLWHFW¶V VWURQJ FRPPLWPHQW WR SURGXFW GHVLJQ ,W LV WKLV DIIHFWLRQ IXHOOHG E\ DUW IDLUV dinner-table conversations and unwavering support (Shah says of his long-time FROOHDJXH DQG IULHQG .HVKDY ³+H PDNHV PH WKLQN ORXGHU ´ WKDW ¿ QDOO\ FRQYLQFHG 6KDK WR ODXQFK KLV VWXGLR ³$IWHU , GHVLJQ P\ KRXVHV , WU\ WR FXUDWH WKHP UDWKHU WKDQ MXVW GHFRUDWH WKHP LW KDV DOZD\V EHHQ LPPHQVHO\ LPSRUWDQW WR PH ´ PHOTOGRAPHER: TALIB CHITALWALA
The origin of this blue totem can be traced back to a small shop in Jaipur that specializes in the city’s distinct brand of blue-and-white pottery. Shah immediately realized that this traditional art form needed seriously contemporary treatment to elevate it— “the yin to the yang”—before deciding to do it himself. “Today, when you look at the totem, you don’t see the blueand-white pottery. It could be from anywhere; it could be Greek. When you open it, it reveals its Indianness.” The totem can be disassembled into individual objects that can be piled up or used as stools, decorative objects or perch tables, or displayed as is—in its original human-sized form. “When you sit, and the totem is next to you, it feels like it’s towering over you,” says Shah. Facing page: Shah stands face to face with the six-foot-tall totem.
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TEXT: MAANYA SACHDEVA
The terracotta totem in diferent stages of manufacturing—“We did two variants for the individual tops; one has a blue background with white flowers and the other, white with blue flowers (right).” These complementary tops are an extension of the yin-and-yang theme; Shah was also inspired by the style of artist Constantin Brâncuși and a ceramic Ettore Sottsass piece that he bought at Milan’s Gallery Nilufar. Then, he worked the logistics of transporting the totem in its final form. Shah says, “We had to separate the totem into individual pieces so that it could be transported.” On page 133: The totem has an iron spine and base—Shah “didn’t want the base to be blue as well”—evocative of the architect’s adopted wabisabi language.
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PHOTOGRAPH: PANKAJ ANAND
GO HERE BEFORE YOU GO ANYWHERE
Portfolio No.3
ASHISH SHAH & KSHITIJ KANKARIA
JODHPUR Blue transitions between its many moods effortlessly as it streaks across form, furniture, fashion, architecture and even a state RI PLQG ,WV Ã&#x20AC; XLGLW\ LQVSLUHG XV WR FDOO RQ IDVKLRQ SKRWRJUDSKHU $VKLVK 6KDK DQG VW\OLVW .VKLWLM .DQNDULD WR HVVHQWLDOO\ VKDSH the colour blue. â&#x20AC;&#x153;When AD VSRNH WR XV -RGKSXU VHHPHG WKH REYLRXV FKRLFH IRU LQVSLUDWLRQ ´ VD\V .DQNDULD ZKR DOVR GUHZ on Yves Kleinâ&#x20AC;&#x2122;s blue body of work and the dramatic aesthetic of LPSHUVRQDWRUV RU behrupiyas WR VW\OH WKLV VKRRW 7KHQ WKH VWDJH ZDV VHW UHDPV RI IDEULF ZHUH GUDSHG DFURVV WKH FLW\¶V WHUUDFHV OX[XULRXV UXJV ZHUH UROOHG RXW DQG WKH VSRWOLJKW ZDV ¿ UPO\ RQ EOXH ³)RU PH WKLV LV RQH RI WKH PRVW FKDOOHQJLQJ FRQGLWLRQV to shoot in, since I wasnâ&#x20AC;&#x2122;t able to achieve any contrast or VHSDUDWLRQ LQ P\ LPDJHV , ZHQW DKHDG EHFDXVH , EHOLHYHG LQ WKH ODUJHU YLVLRQ ´ VD\V 6KDK )RU KLP WKH VKRRW PHDQW DQ RSSRUWXQLW\ WR JR EDFN LQ WLPH DQG UHYLVLW KLV FKLOGKRRG ORYH IRU WKH FRORXU for Kankaria, who wanted to feature Indian architecture in his ZRUN WKLV \HDU LW PHDQW EUHDNLQJ QHZ JURXQG
‘Gobhi’ (LES-193) carpet by Soniya Devi from the Artisan Originals collection, Jaipur Rugs. Dress, Huemn. Blue top, ANKITA.
‘Azure’ (SJA 3961) fabric (facing page, left), Sunbrella. Fabric from the Cotton Classic collection (facing page, right), D’Decor. Striped suit, Sahil Aneja. Turtleneck, ANKITA. Shoes, Eka
‘Bhaarat’ (LE-44) carpet by Sushila Devi from the Artisan Originals collection, Jaipur Rugs. Bodysuit, Sunaina Khera. Facing page: ‘Delavay Béryl’ fabric from the Pompadour collection, The Pure Concept. ‘Hexagon Azure’ (J204) fabric (on ground), Sunbrella. Shirt, SHIFT. Pants, Bodice. Shoes, Eka.
‘D2292/5A’ fabric from the Samsara collection, Dreams Furnishings. Turtleneck, ANKITA. Jacket, Bodice. Skirt, Dhruv Kapoor. Facing page: ‘Gobhi’ (LES-193) carpet by Soniya Devi from the Artisan Originals collection, Jaipur Rugs. Suit, Rajesh Pratap Singh. Shoes, Eka. Model: Elizabeth Mech. Hairstylist and Make-up Artist: Cuneyt Ozketen. Assistant Stylist: Nainika Kapoor. Photographer’s Assistant: Shubham Lodha. Hospitality: Raas Jodhpur. Production: Daulat Singh.
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R AAS JODHPUR
On the right is model Elizabeth Mech in the expansive courtyard at Raas Jodhpur. A mammoth exercise in restoration, the hotel seamlessly bridges the gap between the past and present. An 18th-century haveli located at the base of Mehrangarh Fort, the property was remodelled and designed by Studio Lotus’s Ambrish Arora and Praxis’s Rajiv Majumdar, together, as the Lotus Praxis Initiative. Using locally available materials and sustainable architectural practices, Arora and Majumdar cleverly retained the essence of the walled city through the use of stone jalis and arches, as well as the blue walls that are so quintessentially Jodhpur. raasjodhpur.com; 0091-291-2636455
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Portfolio No.4
PEACOCKS AT RAMBAGH PALACE PHOTOGRAPHER: ASHISH SHAH
As far as pretty birds go, peacocks have really earned their preening ULJKWV 7KH\ GR DIWHU DOO KDYH D WUDGHPDUN RQ D YHU\ VSHFLÂżF VKDGH of blue. In an issue with a single-minded focus on every spectrum of this colour, the peacock in its natural environment simply had to be included. And â&#x20AC;&#x2DC;homeâ&#x20AC;&#x2122; meant the 47-acre grounds of Jaipurâ&#x20AC;&#x2122;s Rambagh Palace. Built in 1835 as a home for the queenâ&#x20AC;&#x2122;s favourite handmaiden, it became a royal guest house and hunting lodge, then the residence of Maharaja Sawai Man Singh II and Maharani Gayatri Devi, and is now a grandly restored Taj property. But it has always belonged to the original inhabitants â&#x20AC;&#x201D; the peacocks. Currently numbering around 150, peacocks and peahens have been around for generations, and are looked after by the hotel staff. We commissioned fashion photographer Ashish Shah at the tail HQG RI 6HSWHPEHU IRU WKLV GLIÂżFXOW ÂżQH DUW SURMHFW ² Âł7KH\ ZHUH more of a challenge than supermodels,â&#x20AC;? he points out â&#x20AC;&#x201D; to capture the peacocks and how they interact with the architecture of Rambagh Palace. When we found Sultan, the avian star of this shoot, he was doing what peacocks always do: perching atop the hotel arches, strutting through the corridors and claiming the property as his very own.
Friso Maecker, Iftekhar Ahsan, Varun Desai & Manish Golder pose with the Audi A5 Cabriolet
Gaurav Singh Siddharth Kothari
Navonil Das
Sanjeev Mehra & GQ's Almona Bhatia
Debarghya Bairagi
NIGHT OUT WHAT: GQ Gentlemen’s Club
Kshitij Saxena & Gaurav Bajaj
Imran Ahmed & Salil Nath
Mehek Chauhan & Ronnie Dev
The Chivas Regal 18 Gold Signature bottles
GQ's Akshay Chowdhary, Sanaya Mehta & Sandeep Vyas
Kumar Saurabh
WHERE: Gold, JW Marriott Hotel Kolkata The West Bengal capital played host to another edition of Gentlemen’s Club in partnership with Chivas, Audi and Etihad. City insiders showed up to sip drinks, savour hors d’oeuvres and converse animatedly throughout the evening.
Swarup Dutt at the Etihad wall
Shreya Pandey
Prateek & Priyanka Raja
Ratul & Kom
mal Sood
O N B LU E A palette of specially commissioned essays on three instantly recognizable shades that have important stories behind them
DA N I E L M O Q UAY
Director, Yves Klein Archives, on Pantone 286 C
MIA OLSSON TUNĂ&#x2030;R
Head of Interiors & Communications, Ikea India, on Pantone 18-4244 TPX
R A G H AV E N D R A R A T H O R E On Jodhpur
In the living room of French jewellery designer Marie-Hélène de Taillac’s Jaipur home, a Philippe Hurel sofa in raspberry-red Kvadrat wool stands out in a sea of powder blue. The silk pillows and cotton rug are by Idli, a Jaipur-based boutique.
WRITER DANA THOMAS PHOTOGRAPHER FRANÃ&#x2021;OIS HALARD STYLIST CARLOS MOTA
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In the kitchen, Arne Jacobsen chairs surround a glass–and–lacquered-metal table. Facing page: The master bath’s marble screen, stair rail and vanity were designed by Marie-Anne Oudejans. The mirrors are by Ecru.
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Framed antique quilted textiles decorate the guest bedroom walls. The painted wood chairs and canopy bed are by Oudejans; the rug is by Ratan Textiles. Facing page: De Taillac on a lounge by Idli in the living room.
rench jewellery designer MarieHélène de Taillac discovered the magic of Jaipur and its jewel box of a hotel, Narain Niwas Palace, in 1989 while travelling across the subcontinent with friends. She was charmed by the beauty of the city, with its pink-painted dwellings, as well as its abundant creativity: “There’s a great sense of decoration and craftsmanship here. Even the rickshaws are painted with motifs. People know how to design and make things, and everything is possible.” It took her a while to realize that she was indeed hooked on Jaipur, but once she did, she committed to it profoundly. In 1995, she sold her apartment in London, and with the proceeds, as well as a loan from her mother’s best friend, she returned to Jaipur and set up her jewellery business, working hand in hand with the late Munnu Kasliwal, owner of the legendary Gem Palace. De Taillac would spend eight months a year in Jaipur, living in a sprawling house outside town and creating Mughal-inspired pieces set with a rainbow of semi-precious stones with Kasliwal and his atelier. At first, she sold only by appointment in her Paris showroom and at high-end boutiques such as Browns in London, Barneys New York and Colette in Paris. But soon, she had her own shops in Paris, Tokyo and New York.
MADE IN JAIPUR Many of the furnishings are pieces she had brought from Paris in the 1990s. Everything else she commissioned in Jaipur. “You can have fabrics printed or furniture made by the miller,” she says. “I call him and, two days later, I have it in my home, and the price is afordable. In Paris, that would never happen.” De Taillac now spends four to five months a year in Jaipur— usually January and February, maybe April, then September and October. Each day she rises with the sun, swims in the hotel pool, with the monkeys and birds rustling in the palms, then sets to work designing new pieces. Usually, she lunches on her terrace. “I have a cook, whom I have trained to do Italian, Moroccan, Lebanese, and a bit of French,” she says. At night, de Taillac dines either in the hotel’s Bar Palladio, also decorated by Oudejans, or at some charming place in the city, often with “people who come through town,” among them, friends such as designers Muriel Brandolini and Madeline Weinrib. Winter months in Jaipur, she explains, can be very social. But there are what she describes as “austere moments”, from the end of April to the beginning of September, when the visitors retreat and she enjoys “a quiet time for great creativity.” What de Taillac loves most about her life in Jaipur is its slow pace—it is, in a sense, an antidote to ever-cosmopolitan Paris. “Jaipur is a small town in the provinces,” she says. “Life here is simple. There are three restaurants and two friends you always want to see, so you wind up not having to make decisions. It frees you up.”
PEACE TALKS In 2008, de Taillac found herself spending less time in Jaipur since her son, Edmond, was enrolled in secondary school in Paris. Five years later, she gave up her house and moved into the Narain Niwas Palace, settling into a two-bedroom apartment overlooking the garden. “It’s a harbour of peace, with peacocks, birds, monkeys,” she says. “It’s India as I remember and love.” To transform her suite into something more personal, she enlisted the help of Dutch interior designer Marie-Anne Oudejans, a long-time friend, who also lives in the hotel (featured in AD’s March-April 2018 issue). Structural changes happened first: the addition of a bathroom, the modernization of the kitchen. Then came colour. As de Taillac notes, “Colour is everywhere in Jaipur. Between blue and turquoise, there are 50 variations, and each has a name—some untranslatable because they don’t exist anywhere else.” The dominant hue in her new home would be powder blue—her signature, which she uses in her boutiques as well as on her jewellery boxes. “It’s very calming and cooling,” she explains. And in the Indian heat, “I needed something cooling.” For her bedroom, she chose Jaipur’s hallmark shade of rose, “because my grandmother taught me your bedroom should always be a colour that makes you look beautiful in the evening light.”
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Architect Niels Schoenfelder and his entrepreneur wife Malavika Shivakumar designed their Chennai home to reflect their Indo-European roots WRITER SUNIL SETHI . PHOTOGRAPHER BJöRN WALLANDER
A large Burmese lacquered plate adorns the birch walls of the living room, which were dyed indigo with a natural extract. The polychrome wooden figures are from Thanjavur, Tamil Nadu. The armchairs are upholstered in carpet-stitch embroidery from Jean-François Lesage’s atelier in Chennai. Facing page: The livingroom floor is of bufed Kadappa flagstones. The daybeds in green-painted steel were designed by Niels Schoenfelder and upholstered in mattfinished Italian velvet. On the wall hang complete texts of Johann Wolfgang von Goethe’s Faust and James Joyce’s Ulysses in microscopic typeface.
The living room’s painted steel bookcase with claw-like feet and fabric lamps was designed by Schoenfelder. It holds an assortment of classical and tribal sculptures, geological finds, toys, books and a music system. Facing page: In contrast to the black Kadappa flooring, the shoji-like pale-birch sliding doors in the dining room camouflage the kitchen and a family shrine. The art deco dining table is in rosewood. Above the cabinet hang photographic plant studies by early 20th-century German photographer Karl Blossfeldt.
The bedroom’s fine-silk curtains, block-printed by hand, were reproduced from an antique sample of 19th-century coromandel exports to the Dutch East Indies. The wall covering is an antique French paisley shawl. The cotton bedspread is dyed in natural indigo. The mid-century aluminium travelling trunk is a family possession. Below right: The art deco rosewood beds in their son’s bedroom were found in Chennai. Above them hang three architectural studies of Greek capitals, circa 1900, by Schoenfelder’s great-grandfather. Below left: The first-floor master bedroom seen from the top of the stairs. The indigo-stained shutters open to provide a view of the living room below, and its double-height pitched roof. The walls with rounded edges are finished in grey cement and lime plaster.
Mirror-panelled wardrobes divide the dressing room from the bath area. Behind the armchair are a couple of yak-hair ďŹ&#x201A;y-whisks found by Shivakumar in a south Indian temple town.
On the wall by the stairs leading to the “bridge of books” hangs a 17th-century embroidery of floral motifs painstakingly restored by Shivakumar.
The bridge of books, which links the master bedroom to the dressing area and bathroom, is made of steel and consists of indigo-dyed wooden shelves.
A cashew tree shades the terrace outside the main house and a cascade of long aluminium louvres on the facade help ďŹ lter the harsh summer glare.
Givenchy; the recreation of Jeanne Lanvin’s embroidered salon at the espite a scattering of swanky new Musée des Arts Décoratifs in Paris; or the panels and drapes in residential high-rises and theme parks Rashtrapati Bhavan’s banquet hall in New Delhi. with names like ‘Oceanique’, ‘Ecstasea’ and ‘Dizee World’, the road south from Chennai to Kovalam still retains remnants FOUND IN SUBURBIA For several years after their marriage in 2006, the couple lived in a of a rural setting. It is down one such small rented apartment in central Chennai. But after their son seaward lane that German architect Theodore Amartya—now eight and an emergent cricketer—came Niels Schoenfelder has built a home for along, it became cramped. They longed to escape the hurly-burly of his family. city life. A 9,500-square-foot portion of a one-acre plot for an aborted The frontage presents a bare expanse of white wall with a Lesage workshop was hived of for a family house that included deliberately uninviting steel door that opens outwards. To step inside, Shivakumar’s elderly parents. however, is to suspend belief. You enter a large dining space, with its Schoenfelder set about envisioning an expansive plan of two facing floor of waxed black Kadappa stone and whimsical art deco dining table. blocks on an east-west axis around a courtyard, to catch the sea breeze Here onwards, surprise after unexpected surprise lies in store. The from the shoreline 600 metres away. Materials were carefully chosen: low-slung building gives on to a walled courtyard with raked yellow Kadappa for the floors, a dove-grey textured plaster finish for the sand in Zen garden-like symmetry. Beyond lies the two-storeyed main house, its central double-height exteriors, and a lightweight grid of metal frames for the lofty doubleglazed French windows. To ward of living area soaring to a pitched roof, and the harsh Chennai sun, a horizontal walls of birch ply, stained deep blue with Schoenfelder in an ikat-upholstered aluminium brise-soleil was added to natural indigo. The eye travels upwards chair in the bedroom. the facades. The elevations, as from an innovative steel bookcase of Schoenfelder points out, are a Schoenfelder’s design to an ingenious modernist interpretation of “bridge of books”. This links the master European classicism. bedroom to a large walk-in area that he The decoration of the interiors teasingly calls “my lady’s boudoir”. extends the Indo-European design vocabulary. Artfully conserved A MEETING OF MINDS 17th-century French embroideries are Tall, lanky, 41-year-old Schoenfelder, an arranged alongside Thanjavur alumnus of the 19th-century Technical polychromes and sculptures, Burmese University of Darmstadt in Germany, lacquered objects, photographs and comes from a rigorous intellectual treasured family memorabilia. tradition. Though he describes his Touching examples of the last include Hannover upbringing as “quite three architectural studies by mundane”, it’s no coincidence that as Schoenfelder’s great-grandfather; a the only child of educationists in French series of ink-and-wash bird drawings literature and art history, his outlook was by his grandmother; and two shaped by a liberal world view: “Our plaster-cast busts executed by holidays were spent in far-flung places Shivakumar’s grandmother. like China or Chile.” After a stint in Paris Among the many interests that working for a small architectural unite them, paramount is a love of practice, he fetched up in Puducherry in books and literature. This led 2002 to work on a couple of boutique Schoenfelder to design the remarkable hotels—and never left. steel-trussed bridge of books in their His staying on was dictated by a chance meeting with the equally cosmopolitan Malavika Shivakumar, private first-floor quarters. On a living-room wall, what first appear to be two microscopic artworks are, in fact, full texts, in minuscule type, entrepreneur and partner in the Chennai-based embroidery atelier of of Johann Wolfgang von Goethe’s Faust and James Joyce’s Ulysses. Jean-François Lesage. “She was beautiful, she was dynamic and she Shivakumar’s immersion in textile history has contributed to some spoke perfect French,” he says, his shy German reserve momentarily inspired design features, such as the deep indigo walls. In counterpoint slipping. Their rapport was immediate, and an attachment inevitable. to the restful hue are vivid curtains, block-printed by hand, for which Shivakumar herself is the product of strong literary Tamil bent. she tracked down artisans in Machilipatnam, Andhra Pradesh to copy With double degrees in English and French literature from the the blocks and reproduce the print on silk. “They took almost as long University of Madras, she had returned from a French government as the house, 18 months, to be completed,” she confesses. scholarship when she ran into Lesage. “I longed for Paris but here was As the evening sea air stirs in the courtyard, the couple muse on this Frenchman determined to start an embroidery workshop in what the house means to them. For Shivakumar, “It’s a sanctuary that Chennai. I didn’t know a thing about embroidery but I became an gives me intellectual freedom and emotional sustenance.” Schoenfelder interpreter, manager and researcher, scouring the villages of defines it as “a humble but rigorously executed shelter of the highest Sriperumbudur in Kanchipuram for the best craftsmen. And so we aesthetic and technical standards.” For both, it is an oasis a few paces went on,” she sums up modestly. Her self-efacing style forgoes removed from the tempests of the outside world. amplifying the firm’s work for fashion labels such as Dior, Chanel and
Globetrotting model and actress Cara Delevingne fashions a London home as ravishingly rebellious as she is WRITER JANE KELTNER DE VALLE PHOTOGRAPHER SKYLER SMITH STYLIST TOM BARTLETT
Above: Duochrome paint covers the screening room’s walls. The Flexform sofa is upholstered in a Kvadrat/Raf Simons fabric and the pillows are in fabrics by Hermès, Loro Piana, Claremont and de Gournay. Left: In the music room, a neon ‘LOVE’ sign hangs above Pierre Paulin globe chairs. Facing page, top: The iconic Ettore Sottsass ‘Carlton’ bookshelf stars in the drawing room and is supported by a Charlotte Perriand wall light. The George Smith sofa is in a Kvadrat/Raf Simons fabric. The armchairs are by Lazzarini & Pickering for Marta Sala Éditions, and the rug is from Kvadrat. Facing page, bottom right: A Dimore Studio chair sits in a sunsoaked corner of the master bedroom; the pillow is covered in a C&C Milano fabric. Facing page, bottom left: In the kitchen, a custom-made, fluted iroko-wood island is topped with Terraconti terrazzo. The bespoke shelving and cabinetry is by Waldo Works with the Benbow Group; the sink fittings are from Dornbracht. Previous spread, left: In model and actress Cara Delevingne’s London home, the master bath features a hand-painted mural by Sarah Hocombe; the Cappellini tub has been coupled with Grohe fittings. Previous spread, right: The master bath also features balloon lights by CrousCalogero for Estiluz.
A troupe of playful chairs by (clockwise from centre) Moustache, L’Abbate Italia, Cappellini, Magis, Porro, Gubi and Mattiazzi surround the dining room’s Maruni table. The green lacquer cabinet is by Pinch. The pendant light is by Neo/Craft and the floor lamp by Isamu Noguchi. The plates placed around the room are by Darkroom.
omebody
isn’t the first word that comes to mind when describing Cara Delevingne. Since rocketing onto the scene as the ‘It Brit’ model eight years ago, she has ricocheted across runways, tabloids and silver screens with the voracity of the Energizer Bunny on steroids. Her refreshingly quirky Instagram counts more than 41 million followers and is a dizzying sight: Cara at Burning Man! Cara rocking a shaved head at the MTV Movie & TV Awards! Cara hanging out with lions in the Sahara! Cara hamming it up with Pharrell backstage at a Chanel show in Paris! Cara getting flags painted on her behind by Gigi Hadid at Taylor Swift’s seaside house! Downtime has been so rare that she was living with her London-society-fixture parents until recently. But even the young and the restless need a place of their own, which now happens to be a listed Georgian house in West London. “It’s got high ceilings and big windows, but it’s private and classic,” she says. It was also in dire need of a facelift, so she reached out to family friend Tom Bartlett, founder of Waldo Works, an architecture and interior design practice whose groovy clients include Jade Jagger and Smythson. “Most of our clients, we sit them down,” Bartlett says. With Delevingne, design meetings generally took place via FaceTime from across diferent continents and time zones. “The DHL people were chasing her around everywhere. It was quite a modern approach,” he recalls with perfectly British understatement. She adds, “I remember doing one early-morning video call from bed in LA. I was covered in [mood] boards and got the samples in a complete muddle.” Needless to say, the benefits of their having known each other since Delevingne was a child were instrumental in making it work. As he puts it, “There was a shorthand.” ADULTING 101 The actress was starting from scratch as far as decor went, and wanted a space that echoed her cool punk sensibility, but also one that she could grow with. “Cara’s an individual; she’s always had that strength
>
The dressing roomâ&#x20AC;&#x2122;s wall panels and dresser are covered in a dyed sycamore veneer from Tabu, designed by Waldo Works. Facing page, top: The bespoke canopy bed was also designed by Waldo Works. Facing page, bottom: Cara Delevingne.
< of character,” says Bartlett. “We wanted it to reflect the
PHOTO: LUCA CANNONIERI
way she lives there. Like if you were a 25-year-old, it’s about having friends around, going to sleep jet-lagged and feeling [like you’re] in a cocoon”—but also starting to explore a more domestic life. Does Delevingne cook? “I think she probably heats stuf up,” Bartlett deadpans. He approached the house in distinct layers. The garden level serves as a de facto play space with a screening room, bar and music room to display Delevingne’s growing collection of guitars. The clubby home cinema is lacquered in purple and green duochrome car paint in homage to her love for the Pimp My Ride style of West Coast custom shops. Here, on a sofa that seats a dozen, she and her pals can “pile in front of the TV and have a movie marathon… then push the sofas back and do some dancing,” she quips with a cheeky wink. A neon ‘FRIES’ sign hangs above a bar cart and is one of the few pre-existing things she brought with her. (Delevingne followers will recall her well-documented fondness for McDonald’s Happy Meals as a young model.) Moving up to the ground floor, or “the adult entertaining space”, as Bartlett calls it, there’s the kitchen, featuring a pink terrazzo worktop and the dining room, which is relatively neutral apart from a mismatched set of chairs that projects a rebellious cast of characters. “So even when you’re by yourself, it’s like the people are already around the table,” Bartlett remarks. CARA SAYS RELAX The upper floor is a refuge from an otherwise high-speed life. The jewel-hued drawing room is punctuated with Ettore Sottsass’s colourful, iconoclastic ‘Carlton’ bookcase, a George III mirror and contemporary pieces such as a custom George Smith sofa. The master bedroom features a serene canopy bed and overlooks the garden, which is in the hands of hot young landscape designer Hugo Bugg and will include a Waldo Works yoga shed that’s clad in black mirrored glass. It’s all very cool and very Cara. Though without question, the pièce de résistance is the master bath, wrapped in a cloudscape by British muralist Sarah Hocombe. There couldn’t be a more fitting metaphor for someone who literally spends much of her time in the lower stratosphere. “She really liked the idea of lying in a bath after coming back from travelling, and having it feel romantic and dreamy,” Bartlett says. “The English love baths,” he continues. The sink and toilet are in a neighbouring space clad in reversepainted glass that depicts dawn. Guests will be pleased to know that their lavatories, too, have received thoughtful attention to detail. In one guest bath, two toilets sit side by side, a design characteristic Bartlett credits entirely to his client. “I like a chat on the loo,” Delevingne says with a shrug, adding that the ladies’ room at the Crazy Horse show in Paris inspired the idea. Her first visit to the house upon its completion was a rather nerve-racking occasion. “It was strange and exhilarating,” she says. Bartlett recalls, “She had her hands clenched under her chin the whole time. It wasn’t until we got upstairs to her bedroom that her whole body language changed. She lay down on the bed like a giant starfish and wouldn’t move. I had to do the rest of the meeting about bills and stuf with her lying there.”
Minimalism gets a colourful spin in architect and furniture designer Harry Nurievâ&#x20AC;&#x2122;s Brooklyn apartment WRITER AMANDA SIMS PHOTOGRAPHER MIKHAIL LOSKUTOV
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here mere mortals see a plastic Bic pen, Harry Nuriev sees a chandelier. Where we see cut-to-size Plexiglas in a shop on Canal Street, he sees home through a rose-coloured window. The idea of a lazy Susan inspires not “Please pass the pepper, Grandma”, but a spinning, gleaming steel bookshelf. That’s because for Nuriev, a Moscow-born architect and furniture designer, making bracingly fresh decorative items is simply a fact of life—and one that he seems endlessly inspired to do; lucky for us. After debuting his first collection at New York Design Week two summers ago, Nuriev, then 33 years old, moved to Brooklyn and got his business, Crosby Studios, of the ground. Then he went looking for a place to live, selecting an apartment many would overlook (three bedrooms in a circular configuration; a galley kitchen with cabinets that hid all the original pre-war moulding) and made it a temple to his work—if temples were the kinds of places that had low-slung, royal blue sofas with matching vinyl cushions. “I had a long pink period...,” says Nuriev, remnants of which are scattered throughout the apartment. “But now we’re in our blue phase, between Picasso and [Yves] Klein.” Ever the design optimist, Nuriev considered himself “blessed with the layout—it’s pretty unusual”, and set about making a series of renovations most renters would never dream of undertaking, even with their landlord’s consent: restoring wide archways between rooms; taking down all the existing kitchen cabinetry and building out custom counters; and making, well, almost every single piece of furniture in it. “The kitchen”, Nuriev says, “was the hardest part.” He had to remove the apartment’s original cabinets, oversized fridge and full-size stove to make room for his own designs: twin cabinet counters made of water-resistant MDF, powder-coated in blue. Splashes of this blue are seen throughout the space—a perfect counterpoint to the apartment’s stark white walls. The mix of thrifted items, new and repurposed furniture and Russian art accents—the last, a nod to his childhood— create a tension between nostalgia and futurism that characterizes much of the home’s design, as well as Nuriev’s aesthetic. It is all slickly photogenic, and you can see why he’s come to be known as Instagram’s favourite designer. But for the 35-year-old founder of Crosby Studios, as inspired by Japanese architecture as he is by his childhood in Russia, the epithet is incidental; it is finding the uncommon in the everyday that drives him.
Left: In the living room, the blue sofa, in powder-coated steel, and vinyl cushions were custom-designed by Harry Nuriev. The white ‘Hand’ sculpture is by Harry Allen. The blue ‘1 on 2’ cofee table in steel is also his design. Above the sofa hangs a framed pamphlet depicting the spiritual reformer Sergius of Radonezh, from the Russian Orthodox Church in Nuriev’s neighbourhood.
The landlord wanted Nuriev to leave this archway the way it was (built-in to be a smaller opening and then outfitted with a standard door), but he went ahead and opened it up anyway. Natural rugs, selected to match the wooden floor, are always his preference; the gold chair, used as an end table, is from his Collection I. In the dining room, steel chairs that Nuriev designed for his Collection II Blue are set around a table he fabricated—the base was originally a “low library” (that is, a bookshelf) that he repurposed by adding a slab of marble on top. The orange landscape (a common Russian decoration), which one of his clients had planned to throw away, is a nod to Nuriev’s childhood. The chandelier is made up of approximately 300 Bic pens that he unscrewed, one by one, to remove the ink inside, leaving the clear cylindrical tubes and blue caps to dangle from a ring like crystals.
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“The kitchen,” Nuriev says, “was the hardest part.” He had to remove the apartment’s original cabinets, oversized fridge and full-size stove to make room for his own designs: twin cabinet counters made of water-resistant MDF, powder-coated in blue.
Above: In the living room, looking into the dining room, is a Donald Judd-inspired rose-gold chair by Nuriev. Right and top right: The blue ‘Cubic Armchair II’, shelves and ‘Heating LED Lamp II’ are by Crosby Studios and were first seen at the 2017 edition of the London Design Festival. Both the armchair and the shelves have spinning components inspired by a lazy Susan.
Above: Nuriev redesigned the kitchen, making room for his blue cabinets. The cabinets ďŹ&#x201A;ank a framed poster of Russian-Korean pop star Viktor Stoi by Soviet artist Timur Novikov; the cooktop is from Best Buy; a Bic pen chandelier can be seen here as well. Left: The blue sink is ordinary stainless steel; the faucet he brought from Moscow. Below: In the bedroom, across two adjacent walls and the ceiling, Nuriev recreated a Le Corbusier drawing that he remembers from his time at university, and is very fond of.
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Sanyanth Naroth, Sasha Anand, Kunaal Seolekar, Karan Khilnani & Rohan Rehani at the Audi Display
Vikas & Namita Thapar
GQ’s Almona Bhatia, Sagar Chordia & Vineet Mishra
Shribala Chordia
OLD FRIENDS, NEW MEMORIES WHAT: GQ GENTLEMEN’S CLUB WHERE: JW MARRIOTT, PUNE Pune played host once again to the GQ Gentlemen’s Club, in partnership with Chivas, Audi and Etihad Airways. The city’s well-heeled and whisky-loving set – including businessmen, designers and professionals – turned out dressed in their best to toast their city over delicious food and vibrant conversation.
Pooja Sharma
Natasha Shah, Gunjan Indulkar & Pritika Kinra
Tasneem & Gaurav Gadhoke
e Gold Signatur Chivas Regal 18
The Etihad display
Sunil Pai
Nivedita Saboo
Wasim Khan & Karishma Shahani Dhaval Shah
From the hottest products to the coolest launches, here’s the low-down on the latest in the market this season
ROOM WITH A VIEW
Located on the idyllic tree-lined Avenue Montaigne in the heart of Paris, the iconic Plaza Athénée hotel is the ideal getaway. Part of hospitality group Dorchester Collection’s portfolio, the hotel sits close to two landmarks—the Eifel Tower is at one end and the ChampsÉlysées is at the other. Tastefully decorated to resemble a classical French palace, the Haute Couture suite (right) also ofers a spacious living room—along with a baby grand piano. Start your evenings with an unforgettable meal at the Alain Ducasse restaurant (below right) followed by delicious cocktails at Le Bar (below left), which was designed by Jouin Manku. (dorchestercollection.com)
NOVEMBER 2018|
ARCHITECTURAL DIGEST|191
V E R SAT I L E PAT T E R N S
Enjoy the timeless appeal of Indian craftsmanship with the Dhakai collection of stonewashed dhurries from Fabindia. The brand is known for the handwoven floor coverings that its skilled artisans bring to life. The ‘Panja’ dhurrie (right) is a reversible flat-weave cotton carpet. Traditionally used for bedding and packaging, these herbal-washed dhurries not only come in delightful colours and patterns, but are also lightweight, low maintenance and can match a variety of aesthetics. (fabindia.com)
FINISHING TOUCH
Greenpanel is one of India’s largest manufacturers of wood panels with factories in Uttarakhand and Andhra Pradesh. The company is changing the game with its two brands (below), Green Panelmax and Green Floormax, ofering infinite possibilities by bringing innovation into every living space. With a range of medium density fibre boards (MDF), plywood, block boards, veneers, wood floors and doors, Greenpanel has created the perfect platform from which to start your renovations. As sustainability and innovation are key principles, the company’s MDF is made with 100 per cent renewable agroforestry wood. (greenpanel.com)
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ARCHITECTURAL DIGEST|NOVEMBER 2018
Come and be inspired at www.quick-step.com
INTENSO | INT 3902
Discover your Quick-Step floors at your nearest dealer. North & East India : +91-9818010453 South India : +91-9845319254 West India : +91-9619704733 E-mail: Quickstep.india@unilin.com
L I G H T T H E O RY
It is an opportunity to celebrate the festival of lights with panache. Contemporary living demands stylish, beautiful accessories for every occasion, style and budget. Mumbaibased Abaca brings to us just that, with its stylish tumblershaped tea-light holders (right) in blue-shaded glass, which creates interesting patterns. Bold, robust, festive and stylish, you can add a radiant touch to your home with these pieces. (abaca.in)
A MA ZING GR ACE
It is often stated that life is lived in the kitchen. This is where it all comes together. The Amaze range of kitchens (left) from Alno is indisputably going to more than surprise you with its timeless and contemporary clean-lined design, providing functionality in its most beautiful form. It’s evident from the open-plan designs that these kitchens aim to be more than just a place to cook. (alno.de)
A GOOD GROUNDING
In need of new flooring for your home? Whether you prefer planks or tiles, broad or narrow, modern or traditional, Quick Step floors ofers a wide range of options in laminate and wooden flooring. With a 25-year warranty, the ‘Golden OakCL2259’ laminate flooring (left) from the Classic collection is coated in the water-repellent HydroSeal coating. The floor’s surface is completely sealed, so dirt and spillages can simply be wiped of with a damp cloth, leaving behind a spotless surface. (quick-step.in)
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ARCHITECTURAL DIGEST|NOVEMBER 2018
Kartell Shop in Shop New Delhi +91 9958492212 · www.iotafurniture.com · 1/45, WHS, Kirti Nagar · 110015 New Delhi
S U N , SA N D A N D S U R F
The Cape Cod bathroom series designed by Philippe Starck for Duravit takes inspiration from the landscapes around Cape Cod, Massachusetts. Inspired by the beaches that stretch for miles, crystal-clear waters and the surrounding untamed nature, the series is the perfect fusion of fine materials and aesthetic designs. Manufactured in solid natural wood, the ‘Vintage Oak’ solid-wood variant (right) ofers an elegant option for a natural bathroom. (duravit.in)
PA R I S J E T ’ A I M E
Sitting in the heart of Paris within and walking distance of some of the world’s most famous monuments, museums and luxury shopping districts, The Peninsula Paris houses 200 luxurious guest rooms. The chic hotel is the perfect stop for frequent travellers and gastronomes alike. Perched on the sixth floor of the building, with stunning views of the city of lights from a beautiful summer terrace, is the elegant restaurant L’Oiseau Blanc (below). Chef Christophe Raoux serves up a new menu every week of quintessential French cuisine featuring seasonal local ingredients. (peninsula.com/paris)
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ARCHITECTURAL DIGEST|NOVEMBER 2018
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A D D R E S S I N G LU X U RY
Recently launched in New Delhi, Nitin Kohli Home presents a wholesome experience enveloped in an ultra-modern environment. Previously known as Furncraft Decollage, the reinvented space (above) is an amalgamation of international elegance and contemporary sophistication, showcasing furniture that has been crafted by the designer himself. The store presents a series of carefully curated vignettes, revealing Kohli’s penchant for fusing art and design to dream up luxury spaces. The indoor space reflects the easy and relaxing vibe of the outdoors as well. The store is located in the Ambawatta One complex, in the serene vicinity of the Qutab Minar, and is already on its way to becoming a design destination in itself. (nitinkohlihome.wordpress.com)
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S E E H OW T H E Y P O P
Adding a defining design element to any space has become easier and more interesting with Topstona’s new textural three-dimensional surfaces. The Nero collection (above) of contemporary monochromatic wall coverings has been carved on natural stones sourced from Rajasthan. The series derives inspiration from the irregularities of nature. (topstona.com)
ARCHITECTURAL DIGEST|NOVEMBER 2018
DA I LY I N S P I R AT I O N S
Available across the country, Square Foot has introduced the Designer Nature collection (above) of integrated flooring solutions inspired by everyday patterns. Their kaleidoscopic designs have been created to bring your floor to life. You can pick from a range of engineered-wood, laminated and solid-wood floors—as well as flooring for outdoor spaces. (squarefoot.co.in)
DYU FINE JEWELS Founded by Aashna Dalmia, DYU Fine Jewels is a bespoke jewellery brand focusing on creating handcrafted masterpieces. Their muse is the modern woman and each piece is designed to highlight a woman’s elegance, her fire, passion and power to shine. DYU has received widespread acclaim for its unique, wearable designs, from lightweight pieces to artistic statement jewellery.
SEASON’S FAVOURITE Make a style statement with DYU’s beautifully designed ‘wildflower’ earrings. Handcrafted to perfection in 14-carat white gold and set with natural diamonds, these shiny trinkets strike the perfect balance between elegance and power that you can flaunt at every occasion.
ZAVAANA SEASON’S FAVOURITE With the upcoming celebrations, having the most stunning outfit in your wardrobe is a must. This green and gold lehenga from Zavaana exudes a charmingly feminine vibe with its floral prints and elegant golden highlights, making it perfect for your mehendi or other happy occasions.
Defined by her ability to magically transform a piece of cloth into a work of art, designer Anshu K Bagaria's label is known for its unparalleled techniques. From royal wedding lehengas and trousseau outfits to chic cocktail dresses, the collection comprises an array of colours ranging from modern pastels to classic gold accents.
VAIDAAN JEWELLERY Ishita Gupta’s jewellery label embodies handcrafted ethnicity, seamlessly combining the West with the East. Their jewellery breathes life into the classics by bringing together twinkling crystals and hand-picked stones on dainty frames. Their motto is to deliver sparkling pieces that are statements waiting to be made.
SEASON’S FAVOURITE Add the perfect finishing touch to your festive ensemble with this striking pair of StarGaze earrings. Carefully made using exclusive stones and goldtoned metal balls that are neatly woven together, these earrings are definite head-turners.
GET LISTED ON VOGUE PORTFOLIO! REACH OUT TO THE RIGHT AUDIENCE.
TH
8
ANNIVERSARY SPECIAL
INDIAN EDITION
THE LAST WORD IN TRAVEL OCT-NOV 2018| 200
Spectacular experiences around the world that are disappearing fast
GALÁPAGOS IS NDS KIRIBATI PERU THE SUNDARBANS THE GREAT BARRIER REEF ANTARCTICA RWANDA
DISCOVER CHETTINAD’S ROYAL LEGACY
THE HEROES SAVING INDIA’S LIVING (& DYING) TREASURES
SIKKIM’S COOL CULINARY TRADITIONS
TH
8 ANNIVERSARY ISSUE Spectacular experiences around the world that are disappearing fast
DON’T MISS OUT ON THE WONDERS OF OUR PLANET Australia’s Great Barrier Reef, tigers in the Sundarbans, icebergs in Norway and more
MEET THE HEROES SAVING INDIA’S LANDSCAPES, LANGUAGES AND ARCHITECTURE The craftspeople who are amongst the last custodians of India’s dying handicrafts
THE FOOD YOU NEED TO TRY From little-known Sikkimese delicacies to Chettinad’s charms
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PHOTOS: MATTHEW TAIT (‘7M’ CHAIR, LEFT); BJÖRN WALLANDER (RIGHT).
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GQ's Che Kurrien & Gaurav Gupta
Dildeep & Zorawar Kalra with Meghana & Ashish Dev Kapur
Rajesh Pratap Singh Keith Sequeira Rohit Bal
Abhishek Paatni
Rishi Seth, Theron Carmine De Sousa & Gaurav Karan
Saggar Mehra
Ameeta Seth, GQ's Almona Bhatia & Chetan Seth Harathi Reddy Rebello & Rahul Khanna
SIMPLY THE BEST
The Ardmore bar
WHAT: GQ Best-Dressed Delhi in association with Reliance Digital WHERE: JW Marriott Aerocity, Delhi The capital’s slickest and most stylish movers and shakers arrived for the 2nd Delhi edition of GQ Best-Dressed, in association with Reliance Digital and partnered with Rado, Ardmore and Thirsty Beers. The bash at the hotel’s thumping nightclub Playground lasted into the early hours, soundtracked by DJ Sa’s addictive beats, and accompanied by delicious food and drinks. aj, ra Bhardw GQ's Vijend & uza Evren D’So Lolayekar gi n a iv h S GQ's
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Bahaar Dhawan Rohatgi
Varun Bahl & Siddartha Tytler Nikhil Mehra
Dhruv Vaish & Pawan Sachdeva The Rado display GQ's Akshay Chowdhary, GQ's Kapil Kapoor & Rishi Walli
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The Thirsty Beers bar
Dhruv Kapoor
Simran Chandhoke
Nitesh Gandhi
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Natural fibres, sustainable design practices and blue jeans that fit like a dream—creative director Mia Morikawa on what makes New Delhi-based denim brand KORRA tick
“The High Line park in New York is a remarkable example of how industrial infrastructure can be transformed into a thriving, sustainable public space.”
“We’re crafting an aesthetic at KORRA—one that is conscious, sustainable and undeniably stylish. These undyed leather shoes, by FEIT, are handmade by a single cobbler— just like our jeans.”
“The most important thing to me is the exhibition catalogue of my grandfather Joseph Goto’s artwork— he engaged his industrial skill of welding to create an epic body of sculptural work. It reminds me that we are all buoyant on ancestral energy. The efort that came before us is the momentum that keeps us going forward, evolving and co-creating a world that we want to participate in, as well as connecting with people who are doing the same thing. Social and environmental justice are the main drivers behind my personal ethos.”
“A future where designers engage with materials to perform as efficiently as nature, with a net positive impact, is something I hope for. We wouldn’t have to encourage people to recycle plastic if it was not produced in the first place. Our jeans are made with a tightly curated supply chain of sustainable, renewable and recycled materials.”
“An excerpt from a book by Alex Webb and Rebecca Norris Webb, a gift from a friend, that addresses time, materiality and memories in such a poignant way.”
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“We don’t toss anything; unused fabric is repurposed to make accessories. For this notebook, even the smallest chindi (scrap fabric) was pulped down to make the blue paper.”
ARCHITECTURAL DIGEST|NOVEMBER 2018
“The work of Bijoy Jain’s Studio Mumbai is remarkable; his respect for natural materials and local practices is changing the landscape of Indian architecture.”
“A well-crafted pair of jeans, like an artisanal cup of cofee (we love Blue Tokai Cofee Roasters), shows respect for material, provenance and process.”
AS TOLD TO MAANYA SACHDEVA. PHOTO: TALIB CHITALWALA. STYLIST: SAMIR WADEKAR. CALEARTH CAMPUS PHOTO COURTESY CAL-EARTH. STUDIO MUMBAI PHOTO COURTESY IWAN BAAN.
“KORRA makes jeans that people can be proud to wear. Each pair of jeans is signed by the tailor who made them— connecting the maker to the wearer. A conscious departure from mass manufacturing is important to bring the user closer to the maker, and the maker to his craft. Buying products that are made this way translates into a feeling that is immediate and indescribable.”
“An idea that I regularly revisit is the mission of Cal-Earth (the California Institute of Earth Art and Architecture), founded by Iranian-American architect, Nader Khalili. Framing shelter as a human right is important; they share new outcomes and locations where people who attended their workshops are building homes with rammed earth.”