35 minute read
DISCOVERIES
M
DISCOVERIES
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Chanel No. 5 turns 100. Bijoy Jain collaborates with Hermès. DeMuro Das opens in New York’s Flatiron District and Vishal K. Dar bends light in Klove’s new space. Design and style news go hand in hand this month.
TE X T : R I T U P R I Y A B A S U. PHOTOS: STUDIO DES FLEURS/COURTESY OF HERMÈS.
THE PURSUIT OF BEAUTY
BIJOY JAIN CRAFTS TWO PIECES OF FURNITURE IN HIS LATEST COLLABORATION WITH HERMÈS
For Bijoy Jain, every design begins with a material. Whether he’s working on a space or an object, Jain’s process begins with his inimitable grasp of traditional craft techniques and his gentle play on materials, moulding them into forms that reflect their fragility and strength. This is a facet of his sensibility that he brings to his latest collaboration with Hermès—a twopiece collection, comprising an armchair and a table—unveiled at the Milan Furniture Fair, which took off on 5 September.
For Charlotte Macaux Perelman and Alexis Fabry, artistic directors of Hermès Home Universe, the collaboration seemed like an ideal fit. “The fact that he works very closely with the people involved in the making of an object is one of the reasons we wanted to work with him,” says Perelman. “When we approached him for the project, we had a very open discussion about the aspects of his work that speak to us the most—his take on craftsmanship, proximity with the materials, his modern approach.”
Jain, who’s previously worked with an array of materials like bamboo, silk and Japanese washi paper, turned to papier mâché for the Sillage d’Hermès armchair (pictured left), and developed a prototype at Studio Mumbai, the practice that he runs out of Mumbai’s Byculla neighbourhood. Hand-made by craftsmen in Puglia, the armchair is made of wood but hand-coated with a unique papier-mâché compound, the cellulose microfibres of which create strikingly soft edges. Each armchair is then varnished and painted in a graphic striped pattern, one line at a time.
Jain approaches design like a craftsman, nudging materials into unexpected, conceptual forms. This sensitivity with materials and processes lies at the heart of Studio Mumbai, which he established in 2005. Today, he has a portfolio of houses in Alibag and Mumbai; a mountain lodge on the foothills of the Himalayas and a weaving studio in Dehradun; and, most recently, he took on the restoration and building of the Lantern Onomichi Garden (LOG) hotel in Japan. In 2019, for his second collection of furniture for the Brussels gallery Maniera, he turned marble, lime and rice husk into daybeds, some rendered with a line made of kohl. With strips of
ILLUSTRATION COURTESY OF STUDIO MUMBAI. bamboo and silk rope woven around angular metal frames, he created a set of chairs, one of which found itself in the LOG hotel library—the walls of which are lined with two layers of washi paper to soften texture and light.
“The intention with these material investigations was to explore their capacity in weight, volume, mass, lightness, perception and making,” says Jain. “Materials sit latent in our subconscious only to be revealed as and when the opportune moment arises, like when a seed meets a raindrop.” This moment of time when, with a touch of the hand, a material shifts and transforms is best captured in the Lignange d’Hermès stone table (pictured above), carved out of a block of blue stone. A stonecutter marks lines radiating from the centre of the tabletop, which, when carved, turns into sharp white, articulating the precise gesture between man and material.
“We needed three years to fi nd a workshop in Italy capable of making the Sillage d’Hermès chair in papier mâché without losing the highly artisanal character of Jain’s prototype, and a stonecutter in Burgundy for the Lignage d’Hermès table,” says Fabry, of the process that took a while to take shape, and yet found its rhythm. “There was calmness in the making of these pieces, even in a period of strife,” notes Jain. “This collaboration, in mutual exchange, traversed boundaries in our ability to transfer thoughts, ideas, ethics and making. Malleable to location, geography, language, material and time—adjusting to its own centre of gravity.” It feels like a natural fit: Jain’s conceptual process and light-handed tempering of materials and Hermès’s centuries-old legacy and values. There is a mutual, feverish pursuit of the beauty of things made by hand.
THEORY OF EVOLUTION
AS CHANEL NO. 5 CELEBRATES ITS CENTENARY, IT’S NOT JUST THE PERFUME WE CHERISH, BUT THE CLASSIC BOTTLE THAT HOLDS IT
TEXT: SHUBHAM LADHA. ILLUSTRATION COURTESY OF CHANEL.
The No. 5 has been an indelible icon for over a century. Since its creation in 1921 by couturier Gabrielle “Coco” Chanel and perfumer Ernest Beaux, it’s been one of the most coveted products from the brand—so much so, that its “abstract” aldehyde formula has been Chanel’s best-kept secret till date. However, its meteoric rise to success is owed to several other factors too, one of which is the bottle.
When designing the original bottle, Chanel wanted something simple and transparent to showcase the perfume in its limpid beauty. The austere laboratory bottle pushed against the conventions of the time with its vial-like, clinical structure, made of sharp lines and angular facets. While the more ostentatious perfume bottles of the 1920s drew inspiration from nature, Chanel looked to whiskey flasks for their simplicity. The stopper—cut like a diamond—was designed to evoke the geometry of Place Vendôme, a space close to Chanel’s heart. The bottle also featured the iconic logo—the interlocked C’s—for the first time. Since then, the design has been modified eight times to reflect the changing times. The delicate bottle from 1921 was strengthened in 1924, and the logo was dropped before reappearing in the 1970s. Later, it was the stopper that changed form—going from glass to metal with a bevel cut.
The fact that so little of its design changed over the century is a testament to Chanel’s vision, and the timelessness of the bottle, which was catapulted to 20th-century stardom through Andy Warhol’s screen prints and has since become a part of MoMA’s permanent collection. A lesson in modernity, the stark, minimal bottle has been a significant part of No. 5’s mystique, and still remains as timeless as the perfume it holds within.
MODERN HEIRLOOMS
COUTURIERS SHANTANU & NIKHIL BRING THEIR SIGNATURE STYLE TO OBEETEE’S ‘PROUD TO BE INDIAN’ SERIES OF DESIGNER CARPETS
How do you tell the world a story of India’s incredible crafts, its people, and its history? For Obeetee—the 100-year-old company specializing in handmade rugs—the answer lay in an heirloom-worthy collection crafted in collaboration with couturiers Shantanu & Nikhil.
The Obeetee story began in 1920, in Mirzapur, the heart of India’s carpet district. Enamoured by the craft, three British gentlemen—F.H. Oakley, F.H. Bowden and J.A.L Taylor—decided to work with the region’s best artisans. Since then, Obeetee has perfected its techniques and workmanship, producing the finest rugs in the country, and showcasing its rich heritage to the world. As part of this vision, it has recently unveiled the fourth edition of the ‘Proud to be Indian’ series, in collaboration with couturiers Shantanu & Nikhil. Handcrafted in the Bhadohi district of Mirzapur, the new collection is divided into three themes: Independence, Regimental Regalia, and the IndiaProud Story. Rudra Chatterjee, the chairman of Obeetee, describes it as a collaboration that brings together contemporary ideas and age-old artistry. “The collection merges Obeetee’s ancestral carpetweaving tradition with Shantanu & Nikhil’s signature contemporization.”
The themes were translated into a colour palette of rich reds and blues, brick textures, and insignias of battle victories that evoke India’s pre-independence era. “We have portrayed India’s innate contrasts— where the roots are indeed modern yet cultural, exotic yet familiar, and unassertive yet proud,” adds Shantanu Mehra.
With 200 knots per square inch, the rugs are crafted with handspun wool and silk, while the motifs are given a high-shine silk wash. Upon a closer look, each warp and weft tells a tale—of timehonoured crafts and their custodians.
TEXT: SHWETA VEPA VYAS. PHOTO: SIDDHARTH DHARAMJIT.
T I
Superior design, contemporary aesthetics, sustainable elements, and an eco-friendly approach to construction blend seamlessly in a lavish residential project designed by Mindspace Architects in Bengaluru. AD offers a glimpse into Svamitva Group’s latest project—Svamitva Terravana—homes for your mind, body and soul
The pandemic-induced lockdown that forced us to stay indoors did not just push us to take stock of our health, but also our homes. And amidst all this, we realised that as much as luxury is about owning a home that is opulent and comfortable, it is also about thoughtful interiors, the usage of sustainable materials, and access to nature. And one such fine example is Svamitva Terravana—a project designed by Mindspace Architects, with interiors by Svamitva Architecture Studio in Bengaluru, Karnataka—part of a 21 acre project comprising 155 Villa’s and Row Villa’s.
With a design aesthetic that travels along the lines of earth and sustainability, the family home, spanning 2400 sq.ft, is earthy and rooted while being luxurious and contemporary. A perfect blend of classic and modern, the material palette comprises Kota stone and wooden laminate for flooring, and the age-old technique of lime plastering for the walls. Adding an ethereal element to the beautiful space is the usage of diffused natural light to complement the warm hues throughout the house and custom-made lights that revive traditions and art forms. With curated furniture and an extensive range of thoughtfully designed decor pieces, Svamitva Terravana explores the modern setting of the homeowner’s lifestyle through traditional tones of nature and nurture. Talking about the project, principal architect Medappa says, “The design of Svamitva Terravana facilitates community living and emphasises on connecting with nature, both at the macro level-masterplan and at the micro level of individual villas. An earthy ambience is achieved by using mud and lime as materials of construction while the porosity in planning allows continuous breeze movement, and comfortable well-lit spaces that encourage holistic well-being of the dwellers.”
LIVING ROOM
The living room which is a part of the central atrium serves as a space for relaxation and conversation inside the residence. While intricate Kota stone for the flooring lends charm and sophistication to the three-bedroom home, the muted colour palette gives an even more expansive feel to the doubleheight ceilings that are adorned with lights fixtures made from banana leaves. To create a place that blends the old and the new while accommodating a contemporary lifestyle, the interior setting transcends time with lime plastering technique complemented by mid-century themed furniture— the centre of attention being the opulently upholstered sofa combines rustic and modern design elements. Quirky knickknacks and curios brighten up the corners while the handpainted artwork above the sofa draws attention and adds character to the space.
DINING AND KITCHEN
Harnessing the power of light and space to create a visual impact, the focal point of Svamitva Terravana is the minimalistic design of the dining area that flawlessly transitions to the living room. Further, the kitchen is seamlessly connected to the dining and living area, emphasising the open layout which transitions into a landscaped niche that perfectly adds volume to the compact nature of the space. The highlight, however, is the exposed concrete light above the dining table that brings out the true nature and warmth of the material and colour. Sleek, minimalistic, and equipped with the latest technology, the intuitively designed modular kitchen is a celebration of contrasting textures and complementing colours, making the space not just smart but also, efficient.
BEDROOMS
Wooden laminate flooring, glass windows offering uninterrupted views of the lush foliage, an earthy colour palette, and plush furniture—all three bedrooms in this sprawling home have a distinct character that lends the space a sense of calm and serenity. The sylvan design elements work well with the natural tones of the interiors while the complementary colour palette perfectly augments the fine texture detail in the space. The classic design of the bedpost and the warm lighting fixtures lend the bedrooms a natural and rustic feel while the contrasting artworks with warm coloured accents and furniture, make the space earthy and edgy.
For more information, visit www.svamitva.com/terravana or call 8880748748
HAZZAN. HEATHER PHOTO: SHANKAR. AVANTIKA TEXT:
HAVE YOU MET SUCHI?
NEW YORK–BASED DESIGNER SUCHI REDDY UNVEILS AN ‘EMOTIONAL’ INSTALLATION AT THE SMITHSONIAN IN NOVEMBER F or Suchi Reddy, form follows feeling. The Indian-origin architect and founder of New York–based firm Reddymade is a practitioner of neuroaesthetics, a discipline that considers the neurological and psychological impact of design. The firm designed Google’s first physical store, which opened in New York this June, that explored how colours, textures and movement could create an immersive experience for visitors. Reddy also worked with Chinese artist Ai Weiwei to design a 2,000-square-foot hexagonal extension for a residence in Salt Point, New York; the creative collaboration evolved from the duo’s shared love of poetry.
In November, she will be unveiling a stunning two-storey AI sculpture, commissioned and co-created by Amazon Web Services (AWS), for the Smithsonian’s ‘FUTURES’ exhibition. Titled me + you, the installation invites audiences to speak “a word for their future” into one of nine designated points at the cloudlike base. An algorithm devised by AWS translates the word into a colourful pattern that then floats up into a central totem. As more people speak into the sculpture, more patterns will emerge, creating a beautiful, ever-evolving collective vision of the future.
“The sculpture takes sound and turns it into light,” explains Reddy. “I devised it in a way that I am allowing the machine to inform me—all I do is set the rules and the patterns for each letter, and see how the machine learns from that.” The way the totem weaves the patterns together is inspired by Reddy’s fascination with Kanchipuram handlooms, and also references the Vedic ideology that says, we are all one. “I wanted it to be an emotional sculpture that lets people know that whatever you do leaves an imprint,” she adds. “Technology could be used for the worst, but it doesn’t have to be. It is all about how you choose to interact with it.”
THE AMAN ENIGMA
AMAN RESORTS’ NEW LINE OF READY-TO-WEAR PIECES IS A BLEND OF LUXURY AND ESCAPISM
CHRIS COLLS. PHOTO: RAO. ADITI TEXT:
Imagine, for a moment, if the sense of sanctuary and luxurious sophistication central to the Aman experience were to be brought alive in a fashion line, realized in high-quality artisanal fabrics. That is exactly what the Essentials by Aman collection promises and delivers: Aman’s carefully considered aesthetic with escapism at its core, embodied in trans-seasonal, ageless, ready-to-wear pieces. Much like the skincare line launched in 2018, with packaging designed by Japanese architect Kengo Kuma, this sustainably produced fashion line allows guests to now take the sublime Aman experience home. A swimsuit and monogram scarf from the recently launched Essentials by Aman collection.
From its inception in 1988, Aman has created refined experiences rooted in nature, taking cues from the destination and highlighting the work of local artisans. This intrinsic connection with its locations can be felt across all its 33 luxury resorts in 20 countries.
Like the resorts, the clothing too is a lush textural haven. For her mood board, Kristina Romanova, the brand’s director of product development, borrowed heavily from natural textures. “The palette draws from the rich colours of Aman destinations: the iconic palm trees at Amanpuri (Thailand), warm terracotta and copper that capture the vibrancy of Amanjena (Marrakech), sea blue and deep greens that celebrate the sea and olive groves of Amanzoe (Greece), and ochre that recalls the other-worldly landscape at Amangiri (USA),” she says.
Crafted from Japanese cotton, hand-spun Italian wool and opulent silks, the edit features boxy silhouettes, classic swimsuits and billowy shirt dresses belted at the waist. The collection, that is now available at Aman boutiques across the globe, seems to have arrived at the right time, with the prospect of travel looking increasingly realistic. We cannot wait to pack our bags.
TEXT: RAJASHREE BALARAM. PHOTO COURTESY OF THE RUG COMPANY.
McQUEEN FOREVER
THE RUG COMPANY’S LATEST COLLECTION BY ALEXANDER McQUEEN IS ALL ABOUT THE EARTH’S SUPREMACY AND THE LATE DESIGNER’S SPECTACULAR VISUAL SIGNATURE T he late Alexander McQueen had a formidable reputation for being picky about which creative projects he collaborated on outside of his fashion house. Word has it that he took no less than a year to offer an affirmative nod to the Rug Company when he agreed to work on his famed four-piece series. That creative effort, from 11 years ago, also marked the last of McQueen’s grand productions. Now, the Rug Company has joined forces with the house of Alexander McQueen for the fifth time to launch Metamorphosis, their latest collection of rugs replete with similar grandeur and spectacle. Through extravagant renditions of butterflies, beetles, and cranes, these rugs—woven in wool and silk— showcase the renewal and rebirth that constantly unfold in nature.
While the winged subjects may seem simple enough, they’ve been cast as flamboyant, larger-than-life storytellers under the keen vision of creative director Sarah Burton. The designs nudge memories of Burton’s autumn/winter 2018 collection where beetles, butterflies and moths seemed to regenerate McQueen’s lifelong passion for ideas of life, death and decay. This profound, dark unravelling of life cycles took centre stage in McQueen’s designs. In fact, the Beetle rug (pictured) presents a fantastically detailed abstraction of the elytron, a motif central to the maison’s designs.
While the intricacies of the weave—perfected over months of sampling between the atelier in London and the weavers in Nepal—are unmissable, it’s the quiet reverence towards nature that rises above the obvious artistic splendour. “Our wool is sourced from the Tibetan sheep who roam freely in the Himalayas but must have their woolly fleece removed to survive,” explains CEO James Seuss. “This material is rapidly renewable, biodegradable, and recyclable. We hope that this collection encourages a deeper respect towards nature.”
HEY, BARTENDER
WITH EXPANSIVE VIEWS OF THE ARABIAN SEA, THE RELAUNCHED EAU BAR AT THE OBEROI, MUMBAI IS ANOTHER JEWEL FROM SP+A
TEXT: ELA DAS. PHOTO: SURYAN//DANG. O verlooking the Art Deco–lined bay of the Arabian Sea, the swish set of Mumbai had a dedicated spot to retreat to, where live music floated over unusual tipples from across the globe for those in the know. Today, the quintessential Eau Bar at The Oberoi, Mumbai has been dramatically redesigned by AD100 architects Sameep Padora and Vami Koticha of Mumbai-based firm SP+A, known for their radical yet tasteful designs, previously seen at restaurants like Neel at Tote on the Turf, Khar Social, and Indigo Deli Palladium. Upon taking in the use of space and sculptural detailing while visiting The Clearing House in Colaba and Estella along the beachfront in Juhu, the team behind the award-winning hospitality chain enlisted the duo for the job.
The pièce de résistance is the remarkable graphic metal tree that continues to branch out the more you look at it, offset by the velveteen scarlet and slate-grey interiors. “It invites you in!” says Koticha, while describing the sculpture made of brass pipes that can be seen all the way from the lobby. “In the centre, we had a structural column obstructing the floor plan, which had a lot of odd angles and corners. While we could have clad it with mirrors to [make it disappear], we decided to highlight it in a way where it created movement and took you around the space.” Narrow-beam LEDs sprout from each branch of the tree-of-life-inspired structure that symbolizes a new era for Eau Bar. Spread across 5,500 square feet, the bar includes a private lounge and terrace bar with sunken seating designed for an uninterrupted panorama of the sea when indoors. Kept under wraps until the city finally reopened, the bar calls for a visit the next time you find yourself sauntering down the Queen’s Necklace. However, Padora jokes, “It’s impossible to get a table here—even Vami was turned away when she visited after the launch!”
The intricate metal tree, constructed with 800 metres of brass pipes, branches out across the entire bar, designed by SP+A.
One finds everything at the Samaritaine!” That was long the slogan for the grand art nouveau department store in central Paris. And so you could, until 16 years ago, when its current owner, French luxury group LVMH, closed it for a total overhaul. After delays—some political, some pandemicrelated—the Samaritaine Paris Pont-Neuf has finally opened as a gleaming two-building luxury emporium that nods to its opulent history as well as its optimistic future.
La Samaritaine was founded in the late 19th century by French retailing power couple Ernest Cognacq and Marie-Louise Jaÿ. In the early 1900s, they engaged Belgian architect Frantz Jourdain to expand it into a multi-building bazaar. For Magasin 2, which opened in 1910, Jourdain created a decorative masterpiece, with a grand central staircase, and ironwork balustrades by Edouard Schenck; ceramic details by Alexandre Bigot; immense peacock frescoes by Jourdain’s son Francis; and a shimmering enamel-tile facade, topped with a vast glass roof.
Now the Pont-Neuf building, as it has been rechristened, has been restored to its original glory, with new interior interventions by the Canadian design team Yabu Pushelberg and circulation spaces by Japanese architecture firm SANAA. The first four floors are dedicated to luxury fashion, jewellery, and watches, and the fifth floor to Voyage restaurant, run by a rotation of top chefs in residence. The basement, reimagined by Malherbe Paris, houses Europe’s largest beauty department. A separate entrance leads to a new Cheval Blanc hotel, outfitted by American architect Peter Marino.
Next door, LVMH commissioned SANAA to erect the Rivoli building, a strikingly contemporary edifice of rippling glass. With interiors by the French design studio Ciguë that blend traditional Haussmannian and raw industrial design, it houses casual clothes, a Perrotin gallery pop-up, a Prunier caviar cafe, and Ernest, a bistro headed by chef Naoëlle d’Hainaut. Outside, the buildings are bordered by pedestrian-only streets.
While you may not be able to quite find everything at the Samaritaine anymore—no workman blue smocks, whisks, or hammers—you’ll certainly find the stuff of dreams.
SALVAING. MATTHIEU PHOTO: THOMAS. DANA TEXT:
NEXT LEVEL
IMPECCABLY RESTORED BY LVMH, A PARIS ICON STEPS INTO THE FUTURE
O R O T OO
From innovations in design to making strides in sustainability, Everest Industries’ heavy duty boards lend themselves to Safal Profitaire to combine design mastery with eco-efficiency
Located in Prahladnagar, Ahmedabad, is a uniquely innovative office complex— Safal Profitaire. Breaking the norms of typical corporate developments set within compound walls, Safal Profitaire is a fruit of the efforts undertaken by an industrious collaboration that combines design prowess with technical sophistication—HCP Design, Planning, and Management Pvt Ltd., is credited for the design of the office complex and is known to be a prestigious design practice whose work ranges from interior design and architecture to urban design and statutory city planning. Developed in collaboration with TDW Furniture, an Ahmedabad-based design led company that makes furniture and architectural shading systems for building façades. Conceptualised for multiple tenants, the 28,000-sqm sprawling office complex has been arranged around a semipublic courtyard, without any walled enclosures. Design innovation has been brought in with its specially-devised façade system of rigid vertical louvers using the durable heavy duty boards by Everest Industries.
The properties of the new-age material have helped the architects achieve energy efficiency by creating a sustainable concept to shade the glazed façade. The unique façade system of the project, known as the Vertical Rigid Louver System, is a marvel of engineering—crafted with aluminiumframed sliding windows, screened by louvers made from heavy duty boards by Everest Industries. The gap between the two skins helps to maintain air flow, which cools down the external façade. Through a handle-and-stopper arrangement, the position of the louvers can be adjusted in response to the sun to modulate light, glare, and views. With its changing patterns, the louvered system creates dynamic surface articulations that keep altering the look of the buildings.
Interestingly, it is the heavy duty boards that lend the structure its excellence—as the panel material of the louvers, the boards proved to be relatively light-weight with good insulating properties, which added to the overall objective. The façade system is mounted on a 600-mm-wide ledge that runs on each floor along the entire perimeter of the building, with each louver extending from slab to slab. The structural and mechanical components of the system consist of aluminium and stainless steel.
EVEREST HEAVY DUTY BOARDS
If there’s one company that understands
the importance of design that is aesthetically appealing yet functional, it’s Everest Industries, where ecoconsciousness and a forward-thinking philosophy is at the core of everything they do. Powered by innovation and efficiency, the company has consistently delivered modern building solutions ever since its inception—from launching India’s first hi-tech roofing sheets to emerging as one of the largest preengineered building companies, Everest Industries is feted for building materials of unparalleled quality and design solutions. One such product from its diverse offerings that stands out for its technical versatility and design adaptability is the heavy duty boards that emerge superior when it comes to providing efficient building solutions— they’re designed to last a lifetime, offering more strength with less thickness that makes them highly resilient to extreme weather. As a Category 4 and Type A product as per IS14862, it has superior weather resistant properties along with high impact-resistance, making them ideal for external applications, too. Challenging the age-old use of brick and mortar, their compressed cement-based building products are lighter and much more durable. The pre-finished boards also install with ease which significantly reduces the construction period and the carbon footprint of the process. The boards allow for strong, light, rapid and durable construction of residential, commercial, and industrial infrastructure. Manufactured using the Hatschek process enabled with HPSC (high pressure steam curing), this eco-friendly material is moisture and fire resistant while also being termite-proof with good sound insulation. With a significant competitive advantage over woodbased alternatives, these contemporary boards are low-maintenance, made with environment-friendly materials and certified by Greenpro and Griha, championing sustainability at the very heart of the process. Whether the boards are used in claddings, ceilings, walls, façades, interior or exterior wall lining or mezzanine floors—Everest Industries’ heavy duty boards embellish every space with a polished air.
For more information, visit www.everestind.com, email info@everestind.com or call 1800 419 1991
Seen in the foreground, around the Emil centre table, are the brand’s Marly pouffe (blue), Drift sofa (white), Antwerp side chairs (dark grey), and Athena side table (white). Flanking the Corbu cabinet are the Hathi side chair (blue) and Acantha side table; in front of it is the Corbu bench (in two sizes).
TEXT: DIVYA MISHRA. PHOTO: DAVID MITCHELL.
VIEW FROM THE TOP
LUXURY INTERIORS BRAND DEMURO DAS’S NEW FLAGSHIP STORE IN MANHATTAN IS BIGGER, BRIGHTER, AND CLOSER TO THE ACTION M oving into a Manhattan showroom space was always part of [the long-term] strategy for DeMuro Das,” says Brian DeMuro, co-founder of the design practice. The move to the top floor of the historic Goelet Building in New York’s Flatiron District comes a short three years after the brand’s American debut at their former Industry City space—but it is the obvious next step for a brand looking to expand its reach.
DeMuro Das’s new space at 900 Broadway has a lot going for it. In addition to its structural advantages—an additional 1,000 square feet, almost 14-foot-high ceilings, and large west-facing windows that bring in the light and a great view—it adheres to the golden mantra of real estate: location, location, location. The building is less than a mile away from the trade showrooms at the New York Design Centre, and a short stroll down from retailers like ABC Carpet & Home and Pottery Barn. “Convenience for designers and clients was critical,” says Amy Lee, the brand’s North America
PHOTO: ROBERT LINDHOLM.
Puru Das, Amy Lee, and Brian DeMuro.
director, “but just as important was having a beautiful, warm and welcoming environment.”
For the two co-founders, creating such an environment was easy. The space had good bones, with original hardwood floors and lots of natural light, so they kept the design interventions minimal. “We wanted to maintain the New York–loft–like feel,” DeMuro explains. But they also wanted to create a functioning office space that didn’t distract from the furniture, notes co-founder Puru Das.
Now, sunlight streams in through the large windows into the grouped seating areas, making the space look less showroom, and more gracious loft-apartment done up by a friend with impeccable taste. As Lee puts it: “We hope that everyone who visits feels like they’d like to stay a while.”
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SURFACES & FLOORINGS
FCML WOOD FLOORS & BESPOKE TILES HÄFELE LOCO DESIGN MCM UNFIRED CLAY CLADDING SQUARE FOOT TOPSTONA
FRANK GEHRY BV DOSHI MARTHA THORNE
BHARATH RAMAMRUTHAM MEETU AKALI RITU NANDA SAVIO JON
EDMUND SUMNER NOOR DASMESH SINGH MAYANK MANSINGH KAUL
SANDEEP KHOSLA BIJOY RAMACHANDRAN
www.addesignshow.in
AUGUST-NOVEMBER 2021
SOUMITRO GHOSH
VINITA CHAITANYA
CIRCLE OF LIGHT
ARTIST-ARCHITECT VISHAL K. DAR’S RENOVATION OF THE KLOVE GALLERY RESULTS IN A SPACE THAT IS PART ART, PART CANVAS AND A WHOLLY POETIC ODE TO LIGHT
TEXT: DIVYA MISHRA. PHOTOS: SHOVAN GANDHI/COURTESY OF KLOVE.
Seen here are Klove’s Artichoke light objects. The curved surfaces in the gallery were sculpted on-site in wood and plywood. Vishal K. Dar specifically chose water-based paints for the surfaces for their ability to absorb light.
Late last year, New Delhi–based luxury lighting brand Klove— founded by Prateek Jain and Gautam Seth—opened the doors to its newly renovated gallery in the residential neighbourhood of Green Park, in South Delhi. The gallery, spread over 3,500 square feet, sits on the first floor of an old building, between two occupied floors. “These were actually its two biggest challenges,” says its architect, Vishal K. Dar.
But Dar is no stranger to challenges of the spatial kind. His artistic practice, in fact, often centres on sites and spaces being deconstructed and reconfigured to reshape visual narratives and upend entrenched ways of seeing. Light is one of the mightier weapons in Dar’s artistic arsenal and he uses it deftly—as medium, method and message.
If the gallery’s location seems unusual, its design is even more so. Within the surreal, dreamlike space, normal rules of light and refraction seem suspended. Light streams in through circular windows, landing softly on the gallery’s arched doorways and gently curved walls and niches that flow, uninterrupted, to the ceiling. “Its surfaces are imagined as continuous canvas spaces, where strategic corners are erased from sight,” Dar says, adding “Every curve in this complex geometric surface is a segment from a circle. These segments appear to shift through planes...making the surface fold and twist.”
The gallery was initially a viewing room, specifically designed to showcase Klove’s installations and products—but the renovated space has greater ambitions. “What we did was to think about the programme in a more expanded way, and we mutually felt that the new space could be a bit more fluid and inclusive,” Dar says.
This move towards fluidity and inclusivity are, in Dar’s opinion, a natural consequence of the Klove founders’ increasing number of collaborations and associations—and their willingness to, in a sense, share the stage. “I think you reach a point in your career where you say, ‘Why don’t we also support others? In the absence of design galleries in the country, why not also make the space function as one?’” Dar says, adding, “So the idea behind the renovation was also to create a more neutral space—a space for likeminded people to showcase their work.”
The result is the perfect stage—but it is also the culmination of Dar’s architectural and artistic investigations: as the light changes through the day, the surfaces transform, as does the viewer’s experience of the space and the objects on display.
IF HYGGE WERE A SOFA
THE NEW QUILTON SOFA BY DOSHI LEVIEN FOR HAY IS DELIGHTFUL, VERSATILE AND AN AD FAVOURITE
TEXT: GAUTAMI REDDY. PHOTO COURTESY OF HAY.
Meet Quilton. It’s a family sofa, TV couch, workstation, and a place for hygge and cosiness. As in all spheres of life, the pandemic has had an influence on design. And Nipa Doshi and Jonathan Levien were thinking of “flexible, adaptable and movable” while designing Quilton—just like our new-found lives and living spaces. “Quilton embodies all the qualities of design we want to live with,” Doshi tells us.
Quilton is replete with delicate details—from the classic stitches that define its surface to the skilled craftsmanship of its upholstery. Rounded silhouettes give it a light, floating quality, while its complex yet harmonious surface texture distinguishes it from other modular sofas in the Hay collection. The best part? Quilton is endlessly modifiable and versatile; each individual seat can be arranged in multiple, practical ways.
Doshi Levien’s style is unique in that way. Bright and bold, reflecting a convergence of cultures. Doshi, Indian by upbringing and a strong voice in design, and Levien, who grew up in and around a Scottish toy factory where his parents used to work, met at the Royal College of Art in London and founded Doshi Levien in 2000. Their expression has always been a blend of tradition and modernity. With the Rabari rugs for Nanimarquina, Doshi Levien embraced the beauty and simplicity of folk crafts, and with Objects of Devotion made for Galerie Kreo, they brought Le Corbusier’s Chandigarh typology to interiors. With Quilton, the idea was for it to be handmade—like a quilt, from which it gets its name—and inspire a feeling of softness and femininity.
At Hay, creative talent is paramount. “Doshi Levien are designers you go to when you want a strong product,” says Rolf Hay, who, along with his wife Mette, is the force behind the eponymous Danish design brand. He adds, “They are distinguished by their ability to create products that truly stand out, and they are incredibly original and detail-oriented in the way they think about design.” From Inga Sempé to Stefan Diez and Doshi Levien, Hay continues to collaborate creatively with designers to produce highquality, affordable products suited to the evolving needs of everyday life.
Quilton is a natural fit in such a portfolio. Sculptural and effortlessly simple in appearance, it is also an example of design at its ingenious best. A glimpse into Doshi Levien’s sketchbooks and studio reveals the layered research that informs their creative process. They are artists, sculptors and architects at once, marrying playfulness with precision.
BLENDING AESTHETICS
The single largest space devoted to luxury interiors in India, FCML provides a harmonious integration of unique interior home design ideas and versatile living inspiration
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From humble beginnings in 2002, FCML today has a pan-India presence with its design hubs at Bangalore, Chennai, Delhi, Mumbai, Pune, Surat, Coimbatore, Hyderabad and Indore. Offering complete home interior solutions, the brand has carved a niche for itself in the luxury design space, for the discerning customer, ever since they started their retail journey through their first store in Delhi. As a curator of luxury interior solutions, FCML’s diverse range of products span across four categories that offer unique building blocks designed for specific functions and individual needs.
BATHROOMS
When it comes to bathrooms, FCML offers you the best in terms of quality, standard and uniqueness. If you’re looking to give your bathroom an overhaul, the brand boasts absolutely mesmerising products that will bring your vision to life and add a total splendour and grandeur to your personal space. Their expansive range includes sanitary ware, faucets, washbasins, bathtubs, whirlpools and a variety of bathroom accessories—ensuring your bath space is as aesthetically pleasing as your living room.
SURFACES
Ginger up your space! Be it textured patterns or symmetrical designs, at FCML, one will find exceptionally unique surfaces that add visual accents to your home interiors. Browse through the various IKIGAI surface collections—from floor tiles, ceramic floor tiles, granite tiles, to a host of marble and mosaic tiles—the options are endless! With a keen eye on eco-consciousness, every tile is sustainably designed and custom-created for its patrons, right here in India. The brand is especially known for its collaboration with leading designers such as JJ Valaya, Abraham and Thakore and Pero by Aneeth Arora to bring alive their aesthetics for rich storytelling on tiles. For their latest collection, they partnered with luxury interiors label Nicobar for a line of glossy ceramic wall tiles that are chic, bevelled along their edges, and peppered with motifs inspired by India’s vast coastline.
KITCHENS
FCML prides itself in providing only the finest materials to build a dream home. By collaborating with expert European manufacturers, they find the perfect mix of technology and design, fit for the Indian consumer. When it comes to kitchens, the luxury lifestyle brand has a judicious mix of contemporary designs that are aesthetically advanced and impeccable. An important part of the home interior is kitchen décor and FCML offers a wide range in this segment like kitchen fittings, countertops, slabs; in other words, a complete kitchen guide that ensures your space is unique and created in perfect harmony with design and aesthetics. FCML is also an exclusive distributor of the world’s largest and finest kitchen manufacturing brand, Ernestomeda, in India. Ernestomeda specialises in stateof-the-art modular kitchens that are an ideal blend of functionality and indulgence.
WOOD FLOORS
If you are planning to add a seamless touch of inconspicuous elegance, then there’s no better option than wood flooring that exhibits opulence and style. FCML is the comprehensive one-stop solution for living ideas that speak of good taste and refined sensibilities and where patrons are offered several choices. Choose from engineered or laminated wood floors, or bring hints of outdoor luxury with floor options that vary from unique finishes and inlay options like wood-stone, wood-leather, wood-wood etc.
