ART FORM : WILL KURTZ
PRODUCT DESIGNER : MATHIEU LEHANNEUR
vol 15 issue 03
total pages 140
March 2016
MY SPACE : ROOSHAD SHROFF
RS 100 HOME-REVIEW.COM
REINVENTING THE IRANI CAFÉ BY CLEMENT DESYLVA AN ARCHITECT’S ABODE VEEKAS STUDIO
CREATING FADS EXPERIMENTAL DESIGN BY FADD STUDIO
MAISON&OBJET 2016 VIEW REMARKABLE WORKS from THE BEST IN DESIGN
Photo: Cyrus Dalal
F
arah Ahmed and Dhaval Shellugar of Fadd Studio believe that the one constant ideal of their work should be ‘change’. Aiming to stay clear of any signature style, the creative duo crafts a vibrant apartment in Bengaluru that remains true to their belief of pushing the envelope and embracing new concepts and techniques. Designed for a young couple, the apartment signals youthful energy. Here, happy splashes of colour are juxtaposed with quirky design interventions. The team experiments with furniture, (a chair attempts to climb up a wall) unique motifs and upcycled articles to create an interesting mélange of design details. In keeping with the client brief, the apartment is also automated. Almost everything in the home can be controlled with the help of an app on your phone, making this apartment not only refreshing to the eye, but also extremely high-tech. The ‘out-of-the box’ thinking duo manage to deliver a design solution that is a clever combination of creativity and technology - certainly not a fad, and something that is here to stay just like their design studio! A lot has been written about quirky eating establishments, however at the SodaBottleOpenerWala (a recast version of a ‘Bombay Irani Café’ of yesteryears) you are able to relive a dying legacy. This café, designed by architect Clement DeSylva along with AD Singh and his wife Sabina, pays tribute to the iconic décor and delectable food of an Irani Café. The design here is old-world and authentic. The walls are lined with vintage photo frames and bric-a-brac, while many of the accessories are salvaged and restored elements sourced from Chor Bazar in Mumbai. The attention to detail is palpable, from tables that have traditional red and white checked tablecloths, to the uniforms for the restaurant staff, right down to the design of the valet ticket. While a jukebox plays retro music to keep you company, the playful atmosphere is further enhanced with graphics, large menus and signs that read out the house rules: “No laughing loudly. No Singing. No Childish Tantrums.” - diktats you can safely ignore at this charming blast from the past! Anish Bajaj, Editor anish@marvelinfomedia.com
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32 24
For me, architectural education trains you to think differently and equips you to tackle design at every scale
ROOSHAD SHROFF
20
The industrial quality of the Mumbai Metro shines through via its structure and the myriad of shadows it presents
36
Cover Story Young, buoyant, with happy splashes of colour, this apartment in Bengaluru by Fadd Studio is a holistic representation of the brief of the youthful clients
´ The latest addition to the SodaBottleOpenerWala franchise done up by Clement DeSylva at BKC, Mumbai stays true to all the eccentric Irani café inspirations
44
March
Liberation from the shackles of a client’s brief enables Kalpak Bhandari to tailor a home for himself in Pune, to the preferences of his own family
51 By Arpit Verma and Anirudh Pratap Singh
54 An oasis of serenity in Bangkok city, Shangri-La’s premier location on the Chao Phraya River has contributed to its precipitous popularity and success
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61 The architectural transformation of a Beaux Arts train station into an art museum set an early example of adaptive reuse and its architect Gae Aulenti’s genius
64
74 art 79
69
product
designer
form
Will Kurtz’s art forms have a distinct emotive quality that virtually captures the spirit of routine life
Maison&Objet
Design connoisseurs showcased mind-blowing innovations and products amalgamating a fusion of styles at Maison&Objet Paris this January
French designer Mathieu Lehanneur is going places with his futuristic designs
94 Gaurav Kharkar & Associates have an eye for detailing, a sense of functionality, and a motivated drive to achieve sustainability in their projects
98
SAN FRANCISCO
march
A DESIGN DESTINATION
104 Two festivals across the country - Travel Photo Jaipur and St+art India Foundation - display astounding works of art at several public locations
THE MARKETPLACE
110
Get your hands on the latest products to hit the market
Translating the founders’ vision of funky and quirky, they wanted a brand name that would fit their creative thinking. So along came Square Barrel
120
115 GREEN PROJECT Sanwell’s new headquarters in Perth is a modern workspace with natural form and function and has a substantially low ecological footprint
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Landscapes
124 130
Driven by the notion ‘design is where art and technology break even’, Locus Design Arbeit has designed a residence using traditional and contemporary design elements
Architect Kalpak Bhave’s landscaping project, Dargah-E-Hakimi is a reflection of creativity evolved in sync with a community’s religious beliefs
Devyani Jayakar Freelance Writer An abiding fascination with language, culminated in a Master’s degree in English Literature and a post graduate diploma in Communications Media. Convinced that there is nothing more addictive than luxury, leads her to contribute regularly to several publications on lifestyle topics including interiors, design, architecture and art.
Editor & Publisher Anish Bajaj Creative Director Natalie Pedder-Bajaj Features Editor Mala Bajaj Assistant Editor Shweta Salvi Senior Sub Editor Rehana Hussain Contributing Writers Chryselle D’Silva Dias Christabelle Athaide Devyani Jayakar Dhanishta Shah Himali Kothari K Parvathy Menon Shruti Nambiar Designers Asif Shayannawar Darshan Palav Pooja Modak Snigdha Hodarkar
Arushi Chaudhary Freelance Writer A journalist by profession, freelance writer by choice, she is most content in the company of words. When not writing, she spends her time juggling roles as an army wife and mommy.
Dhanishta Shah Freelance Writer She believes that writing gives sense to experience and her areas of interest span a diverse range including interior design, fashion, watches, luxury, parenting, art, business, health and travel.
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Editorial & Marketing Mumbai Mr. Rakesh Kini (Head - Marketing) Mr. Ganesh Gurav, Mr. Vivek Jadhav, B-62, Cotton Exchange bldg., Cotton Green, Mumbai 400 033 T 022 23736133 / 23736131 / 23743069 E response@marvelinfomedia.com
FADD Studio Creating Fads, Page 24. FADD Studio was established in 2012, by Farah Ahmed and Dhaval Shellugar who believe that the purpose of design is to push beyond the known. Their philosophy is about revisiting older trends that were set decades ago and reinterpreting them in a fresh and contemporary way.
Delhi Ms. Sumita Prakash Flat F 304, Rajasthan C.G.H.S. Ltd, Plot No. 36, Sector 4, Dwarka, New Delhi 110075 Tel 09899179540, Email: sumitabiswas63@gmail.com Chennai Mr. S. Venkataraaman Flat No. 2, 3rd Flr, E-Block, Hansa Garden, 30 Madampakkam Main Rd, Rajakilpakkam, Chennai 600 073 Tel 044 22281180 / 09444021128 Email: svenkat@marvelinfomedia.com Kolkata Mr. Subrata Mazumder 2, Nabapalli (Bidhanpalli). Kolkata 700084 Tel 033 2410 4296 Mob 9831131395 Telefax 033 2410 7605 Email: subrata22@rediffmail.com Publishing Director Mr. R.I. Bajaj Distributed in India by India Book House Pvt. Ltd. 412, Tulsiani Chambers, Nariman Point, Mumbai 400 021. This issue has a total of 140 pages comprising of a 4 page cover and 136 inside pages. We welcome unsolicited material but do not take responsibility for the same. Letters are welcome but subject to editing. All rights reserved. Nothing may beprinted in whole or part without written permission of the publisher. The editors do their best to verify the information published but do not take responsibility for the absolute accuracy of the information. All objections, disputes, differences, claims and proceedings are subject to Mumbai Jurisdiction. Editor Mr. Anish Bajaj. Published and Printed by Mr. Anish Bajaj on behalf of the owner Marvel Infomedia Pvt. Ltd, B-62, Cotton Exchange bldg, Cotton Green, Mumbai 400 033.
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Clement DeSylva Associates Reinventing The Irani CafĂŠ, Page 36. Design changes your space. When your interaction with that space changes, you change. This is at the forefront with whatever they design. A seaside resort (Manoribel), an orphanage for girls (Snehasadan), restaurants, homes, offices and everything in between. They aim for their designs to help people live better wherever they are and doing whatever it is they do.
Braham Architects Greening The Workspace, Page 115. Benjamin Braham is the principal of Braham Architects and has 15 years of international experience across a diverse range of project types. His thesis analyses a globalised form of architecture and the elements employed to contextualise it, forms the basis for his architectural thinking of the imperative nature of society, site and environment of any project.
emails + feedback Talented Ceramic Artists A Different Avatar For Stone! We’ve always perceived stone to be stagnant, motionless. But Hirotoshi Itoh transforms these lifeless objects into something more and gives them an edge. I was captivated by the images; good choice by the team. Marina D’Souza By Email
Decidedly Social The grunge-industrial look given to the interiors of restaurants and cafes these days is on an upswing. Truly love their office-by-daypub-at-night philosophy and the way it has been portrayed by Home Review. I feel it’s an apt choice for the cover; as interior design is leaning this way.
Let us know what you love and hate about this issue. Mail us at letters@marvelinfomedia.com
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Suyash Bengaluru
The story of the pottery community in Jaipur is uplifting. To read about the dying crafts of India and how a select few are actually involved in bringing a change to the design landscape is inspiring. They do have some marvellous products to boot. Mira Sahni By Email
Sri Lankan Beauty Simple and serene can best describe this house in Sri Lanka. Architect Chinthaka Wickramage has done a fantastic job in renovating the extension to his home. Thanks to the Home Review team for bringing such gems to the spotlight. Sreeni By Email
PAST & FUTURE
E V E N T S 23Launch JAN of Le Creuset’s
This showroom in Mumbai is set out to be one of the best, featuring more than 300 varieties of stones as well as a section reserved to porcelain tiles that have been acknowledged globally. These tiles include Techlam from Spain and Iris from Italy. There are over ten Classic Marble Company showrooms all over India. This new launch will be the company’s second showroom in Mumbai.
Showroom, Mumbai
www.classicmarble.com
18 FEB
The collection was launched in 1978 and has since delivered authentic and exquisite designs that are timelessly fashionable. At the Mumbai store, this collection is emphasised through living room, dining room and bedroom settings. The collection features crafted furniture including luxurious sofas, armchairs, chaise lounges and detailed and hand-carved beds. It also consists of centre tables, dining tables, bookshelves, cabinets, décor accessories, mirrors, lighting and rugs. One of the world’s leading cookware brands, Le Creuset recently opened its new showroom in Mumbai. The brand is renowned for its durable, innovative and attractive cookware, as well as its assurance of quality ranges of enamelled cast iron cookware, multi-ply stainless steel, toughened non-stick and stoneware. Le Creuset’s new showroom in Mumbai aims at being a one-stop shop for the kitchen. The store is spread over 585 sq. feet and features a wide range of products including cast iron cookware, three ply stainless steel, toughened non-stick, silicone tools, textiles and wine accessories. The store emphasises on its varied products, the available colour options and providing the best in class merchandising.
www.roche-bobois.com
10Launch FEB Of Classic Marble
Company’s Showroom, Mumbai Griha Summit 2016, held over four days, was dedicated to sustainable and green development. It took place in association with Parryware as well as The Energy and Resources Institute (TERI) and Ministry of New and Renewable Energy (MNRE). The theme of the summit was “Cities of the Future” with the issues discussed include combating climate change and leading Indian cities into a sustainable future. The summit served as a platform and facilitated the exchange of ideas between governments, academia, civil society organisations and professionals belonging to architecture, engineering and construction.
www.lecreuset.com
29Roche JAN Bobois Store Launch, Mumbai
The French luxury furniture brand Roche Bobois unveiled its second exclusive store in the city of Mumbai, featuring especially the grand Nouveaux Classiques collection. The store is spread across 4000 sq. feet and displays its Nouveaux Classiques, a collection that serves as testimony that contemporary design and period style can be effectively conjoined.
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Griha Summit 2016, New Delhi
Classic Marble Company recently launched a showroom in Mumbai. The showroom will display, apart from some of the finest kinds of marble in the world, a collection of several other designer stones including the likes of granite, quartzite, onyx, travertine and limestone. KalingaStone, the company’s flagship brand, will also be displayed along with the wide variety of products.
Some of the issues that the summit focused on include water distress in cities, the problem of greenhouse gas emissions and how to curb them, the latest trends and innovations in the area of sustainability, etc. Parryware, one of India’s leading manufacturers of bath products, also displayed some of its most eco-friendly products. www.grihaindia.org/grihasummit
PAST & FUTURE
E V E N T S 2 MAR
displaying their work alongside emergent designers at the fair. There will also be a fiveday programme taking place throughout the fair that includes talks, panel discussions, live performances, practical workshops and even mentorship sessions.
Launch of Parryware Display Studio, Gurgaon
The work gathers artwork from different periods of time in Ravi Varma’s life and also from different locations in the country where the artist visited, seeking patronage and inspiration. Raja Ravi Varma has been hailed as one of the greatest painters in the history of Indian art.
Parryware recently launched its first Display Studio in India. With the available retail space of 2600 sq. feet, the studio was inaugurated by Mr. Pau Abello, Managing Director, Roca Bathrooms Products Pvt. Ltd. Parryware’s first and one of its kind studio offers a space to architects, designers, B2B buyers and customers to envision, recommend and design bathrooms of their choice and provides a one-stop solution for your bathroom needs. The company is motivated by its adage, “Bathrooms are the New Living Rooms.” Parryware is now also available offline to its customers through this Display Studio, thereby presenting high-quality and aesthetically appealing bathroom solutions for professionals and influencers as well as end customers. Featured at this display centre are ranges by Parryware including sanitary ware, bathroom vanity/ furniture, faucets, fittings, kitchen sinks, electronic toilets, plastic cisterns, plastic seat covers and also wellness products.
He is sometimes considered as the one who commenced modern Indian art. Ravi Varma is renowned for creating affordable lithographs of his paintings. As an artist, he is famous for his paintings that fuse European techniques with the sensibility of Indian traditions.
18 TO 21 AND 28 TO 31 MAR
China International Furniture Fair, Guangzhou, China
www.piramalartfoundation.com
14 TO 18 MAR
Design Days Dubai 2016, Dubai
26 FEB TO 30 APR
Exhibition on Raja Ravi Varma, Mumbai
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www.designdaysdubai.ae
The work displayed of the artist comprises over 120 pieces of artwork, 28 paintings of the artist and his family members borrowed from several collections and several prints, postcards, porcelains, rare album prints inspired by Ravi Varma and his paintings. Vaishnavi Ramanathan and Farah Siddiqui are the curators of this exhibition.
www.parryware.in
Piramal Museum of Art recently launched an exhibition in Mumbai celebrating the works of artist Raja Ravi Varma. The exhibition is touted to remain open until 30th April. The museum unveiled its new show named ‘Pages of a Mind, Raja Ravi Varma: Life and Expressions’.
The programme has been kept open to all without an extra charge but the workshops require prior registration. This is sure to be beneficial both to professionals as well as design enthusiasts. The programme serves as an opportunity to really engage with design and facilitates discussions and the exchange of ideas.
One of the leading fairs in the Middle East and South Asia region, Design Days Dubai returns for its fifth edition this year. The event is dedicated to collectibles and limited edition furniture as well as design objects. The event draws visitors and exhibitors from the world over. Leading international designers and galleries will be
China International Furniture Fair, in its 37th edition now, returns to Guangzhou to serve as one of China’s most important platforms for displaying classic and luxurious furniture designs. The event is organised with the aim of connecting Asian markets with each other and opens up new avenues and opportunities for professionals in the furniture and design industries. Professionals will be given a chance to further their works in the sectors of modern furniture, outdoor & leisure, home furniture, office furniture, home décor, etc. at this international platform. The event will be taking place in two phases, the first one running from 18th to 21st March and the second taking place from 28th to 31st March. The first phase will feature exhibitions of home furniture, home décor, home textiles, outdoor furniture and leisure products. The second phase will include office furniture, hotel furniture, public furniture, furniture machinery and raw materials. More than 4000 exhibitors are expected to participate from over 32 countries. www.ciff-gz.com
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A closer look at architect Rooshad Shroff’s career graph - which is indisputably impressive - highlights his conspicuous devotion towards anything design. Raised in a family where architecture was a regular staple at the dinner table conversations, it comes as no real surprise that Rooshad has made an early and a definite mark in the design domain today. Furthermore, studying in top universities and work experience at renowned firms boosted an already bright looking career path. Ever since he started his firm in 2011, the studio has stretched the boundaries of architecture and design. Despite spending several years overseas, Rooshad has effortlessly embraced his roots and developed a unique narrative, where traditional craftsmanship meets contemporary brilliance. Today, many designers work with traditional crafts but they generally tend to lean more towards reverence than innovation. Rooshad’s experimentations, which are always backed by thorough research, display certain playfulness and stretches the limits of the materials and indigenous crafts. Each project helmed by the firm - it could be a large-scale architectural project or a single piece furniture – eventually evolves into edgy aesthetics. In this interview, Rooshad provides his insightful views on design and shares some enriching experiences.
Interview by Shweta Salvi
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As for drawbacks, I wouldn’t call them drawbacks, but being from a family of architects there is always the constant referencing between father and son or the pressure to perform. The family becomes the biggest critics which in fact help enrich the work, as it’s the most honest and helpful feedback one can receive. We all at present run 3 independent firms, which couldn’t be more different in style an approach.
You come from a strong architectural background, how has that helped your design sensibilities? Do tell us of drawbacks, if any, of such fine lineage.
Indian architectural institutes at the time, I felt, lacked the holistic approach to design. The educational system stressed on technical training but failed to shape conceptual thinking.
Photo Credit Fram Petit
Photo Credit Taras Taraporvala
Being raised in a family of architects, there has always been a subconscious association with design and architecture. Be it visits to my father’s office as a kid, or through travels with the family. We would always engage in immersing with the arts through museums, design shows or even visits to important buildings - both contemporary as well as historic monuments. So it is this exposure to design and architecture right from an early stage that got me interested in the field and has influenced me in the way I look at design today.
Overseas education, especially from universities like Cornell and Harvard come with attached reverence. Tell us about your experience studying in these schools. And just to compare, what do the Indian architectural institutes lack? Before I went to the US, I started my architectural education in Mumbai at Kamla Raheja (KRVIA). After spending 3 years, I decided to start all over and enrolled for the 5 year undergraduate program at Cornell University. Of course, these universities being #1 in the US for both the undergrad and grad program respectively, come with a lot of years of experience and the resources are second to none.
The enriching part of each program is the great database of architects that come in either as professors or guest lecturers that help give you access to the world’s Pritzker prize winners on a weekly basis. Also, you interact with a diverse range of students from across the world. You have the most ambitious and hardworking classmates who motivate you to excel, and by default you learn the most from your peers. Indian architectural institutes at the time, I felt, lacked the holistic approach to design. The educational system stressed on technical training but failed to shape conceptual thinking. However, I feel this is rapidly changing with the way studios are now conducted in a number of schools where I go often as a guest critic for their final juries.
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For me, architectural education trains you to think differently and equips you to tackle design at every scale.
Conceptual Rigour. You have worked with two of the current leading architectural practices in the world; Zaha Hadid’s and OMA/REX’s work exhibits intense parametric design, while you have this unique inclination towards reinterpreting traditional techniques. If not the style, what did you take away from your experience with these firms? Both the firms had a very different way of approaching a project from design conception to final realisation. For me, it was the process that was more important. For example - to take a program and to conceptually re-think what it could be and to find a solution quite different from the mundane was the enriching part of both offices. While at OMA/REX, the concept design was the most enriching for me - the way in which a project would be approached, understood and then delivered through a series of iterations and model making and finally come up with the best possible solution. This process of working has definitely been a great influence and can be seen in the way in which I approach most of my own projects.
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Photo Credit Sebastian Zachariah
One crucial stage/technique of the design process that architects/ designers tend to skip but should not…
You have used traditional craft techniques on unconventional media - as seen in the embroidered wooden screen at Louboutin store - this must require a certain research and development period. Do you do exhaustive R&D on project basis or is it an ongoing process? As an office we specialise in creating special materials for most of our projects - be it residential or commercial. A large part of the practice focuses on R&D- be it techniques of making or material development. Often they are derived for a particular project. However, due to a continuous R&D we now have an entire library of materials that have been created and sometimes get appropriated into projects if they work conceptually. The R&D process is crucial for us, as we want to give a great emphasis on the handmade and the use of local artisans and the amazingly skilled craftsman from different regions of the country.
Apart from architectural projects you are fast gaining recognition for your work in allied design fields, what inspires you to stretch your abilities? I have always been interested in different fields of design - be it graphics/ furniture/ product or fashion and have explored these different avenues right from undergraduate studies. For me, architectural education trains you to think differently and equips you to tackle design at every scale. For example, when one does an interior job, there is a fine line between where the architect stops and other disciplines take over. The project needs to be tackled in totality and hence it is important to look into the furniture/ graphics, etc. After doing this for a few projects, now I am increasingly taking on projects where by we can have complete design role, handling each of these different departments to create a holistic project.
We get to witness your keen admiration of Indian craft in your projects, any particular craft you look forward to working on?
More architectural projects, to begin with, and as the practice grows, I hope we can have a separate division for R&D, where we can continuously develop new materials/ techniques which could serve as a strong database, not just for our use but for other architects to tap into.
Not at all. It’s all work in progress and a continious learning process. With every project, we learn, which further influences and enriches our future work. On a lighter note... Any of your contemporaries that you admire? My brother’s firm - ShroffLeon, Ashiesh Shah and Rajiv Saini.
One thing about your profession that really irks you… Indecisive clients that lead to never ending projects. If you had not been an architect, you would be... Chef. rooshad@rooshadshroff.com
Photo Credit Sebastian Zachariah
Yours is a fairly young practice, what kind of work do you envisage the studio doing in the future?
Your career is dotted with exceptional milestones and that too in a rather short span. Amidst all the hits do the misses bother you?
Photo Credit Design Architect: 212 Box
It’s an ongoing research and quite often, during my travels when I stumble upon a new craft or craftsman, I often create a collection of furniture based on the possibilities of making. The craft in a way influences the design process and not the other way around.
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CREATING FADS
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Young, buoyant, with happy splashes of colour, this apartment in Bengaluru by Farah Ahmed and Dhaval Shellugar of Fadd Studio is a holistic representation of the brief of the youthful clients; the architects have deftly combined the different requirements to create a hardy work space which is also easy on the eye.
An arresting ‘crawling’ chair in the foyer of this home is a harbinger of the quirky design sensibility within the space. With two legs propped at 90° to the adjacent wall, it appears to valiantly ‘climb’ the vertical surface. The SS stencilling on the cement floor picks up a motif from the three different wallpapers, which are from the same family. “We were lucky to get these clients,” says Farah. “In their late twenties, they were open to an experimental, ‘out-of-the-box’ design which ventured out of ‘safe’ zones. They also had great taste, a reasonable budget and didn’t insist on carpets, which many clients do. In them, we just got the whole package,” she laughs.
Text By Devyani Jayakar Photographs By Shamanth Patil
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While the husband, Pallav Nadhani, was on Forbes Magazine’s ‘Under 30’ list for a tech company called Fusion Charts which he set up when he was just a teenager, the wife, Puja, is a fashion designer. Pallav was insistent that this should be a smart home, with wi-fi connectivity at all times. If he was out of the country and had a guest who needed to stay in his home, he wanted to be able to open the door for his guest, turn on the lights and play the guest’s favourite music - all remotely, using just his iPhone. “We joked that that there is more wire than wood in this apartment, because of the number of things that had to be connected and automated. This turned out to be the biggest challenge and the most time consuming one,” says Dhaval. Puja, on the other hand, brought her sense of aesthetics to the design brief. While modifying the layout, Farah and Dhaval removed all existing curvatures, such as the arch of the foyer to the living entry and the curved wall between the master and the adjoining bedroom.
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Instead, they constructed straight-lined doorways. In the master bedroom, they demolished the curved wall for more functionality. The marble floor was replaced with twelve foot long tiles simulating wooden planks. These were interspersed with grey and brown tiles of the same size. At the entrance, a vibrant blue door has wrought iron hardware which would be perfectly at home in a castle. The walls are a cool azure with white panelling and the room doors are a powder blue, imparting a soothing, fresh feel to the whole space. There is a profusion of floral patterns, sobered by neutral solids. In the dining area, blue bookshelves provide a colour-saturated backdrop for the oak dining table with bright blue upholstered chairs. The pendant lamps above the dining table, once temple bells, offer evidence of upcycling.
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Within, a neutral shell of whites and greys has blue as an accent an English and French
theme play out,
contemporary in spite of their
vintage lineage.
In the living space, a stark white Natuzzi sofa sits in front of a grey bookshelf with shutters sandwiching a vintage floral fabric. A brighter but similar fabric is used in the two single seaters that are in a Scandinavian style. A deep pink carpet adds a pop of colour under the Lignet Roset coffee table which offers versatile usage with its rotating surfaces.
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A narrow passage, a gallery of sorts, leads to three bedrooms that echo the softness of the living area, but in three different colours - lilac, olive and beige. The walls of the bedrooms are solids and curtains are in florals and a vintage distressed print. The master bedroom is in olive, with a headboard which goes all the way up to the ceiling. Louvered white closets have mirrors on alternate shutters, while a bright yellow printed blind offsets the olive wall. The bathroom has distressed tiles in similar colours with sanitary ware in the luxurious stone series from Villeroy and Boch. A guest room in lavender has a floral curtain, a simple beige upholstered bed and a lacquered study. The flooring is a light brown laminate. The bath echoes the lavender tones, in addition to a gold mosaic with a grey floor. A second smaller guest bedroom has the bed and closets in one continuous unit to maximise space. The floor is a laminate with a vintage aesthetic.
A side table created from a tree trunk and another from a cycle add to the quirk quotient. In the balcony outside, an outdoor bench has been made from old surfboards - it sits on a rubbery circular mosaic floor which looks like candy!
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Farah and Dhaval, from whose names the acronym Fadd has been derived, have also created an intended pun on the word ‘fad.’ “It’s so easy to stagnate into a style that becomes a firm’s identity. We believe that having a singular style defies the purpose of design, which is to push beyond the expected, to achieve something novel and unique in every project, and be constantly propelled out of our comfort zone into a world where we not only embrace new concepts and techniques but also create fads of our own,” says Farah. So maybe we should be prepared to see a mushrooming of “crawling” chairs as the latest ‘fad,’ courtesy Fadd Studio. info@faddstudio.com www.faddstudio.com
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The Hovering shades of grey TEXT BY VISHANKA GANDHI PHOTOGRAPHS IRA GOSALIA | PHOTOGRAPHIX ira.gosalia@gmail.com How often have people proclaimed that Mumbai never sleeps?! The constant motion of vehicles and people whizzing past creates a visual of lights and colours. Amidst this display is nestled a subdued, yet engaging graphical interplay of lines and shadows cast by the Mumbai metro.
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Predominantly guided by functionality, the structure has an industrial quality. Squint your eyes and the vertical poles, railings, the criss-crossing trusses and the horizontal tread lines, together with the changing sunlight, emit a layer of orthogonal shadows. The streamlined metro periodically swishes through a steel cage and emerges onto the platform, breaking the ethereal glow within, where humans too appear as mere shadows.
This curved, distorted shadow of human life on robust grey elements heightens the drama between animate and inanimate objects. Suspended above the vibrant city, the sombre metro continues to make its presence felt. From below, the bridge, its linear electric poles and dangling wires is a graphic of black lines of varying intensity. And when you look down from the metro station, the city is captured as a geometric abstraction in shades of grey and teal.
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The SodaBottleOpenerWala restaurants stay true to their eccentric Irani Cafe inspirations; offering you an eclectic cuisine they leave you hungry for the good old days.
The charm of old Bombay lies in its historic buildings, Victorian facades and eccentric Irani cafes. Much has been written about these quirky eating establishments, with their serious yet rib-tickling rules, their iconic décor and art, and of course the delectable food. With an increase in rents and a reduction in the community’s numbers, these family-run restaurants are fast dying out, leaving a hole in the city’s cultural legacy.
Text By Chryselle D’Silva Dias Photographs Courtesy The Architect
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REINVENTING ´ THE IRANI CAFE
Traditional armchairs didn’t fit into this space in the way we wanted, so we had to design new ones.� Some tables have traditional red and white checked tablecloths while others have special wooden frames with glass inserts that have a layer of chai glasses underneath.
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Step in any one of the SodaBottleOpenerWala (SBOW) restaurants, though, and you’ll be instantly transported to another era. The SBOW chain is part of the Olive group of restaurants’ “tribute to the dying legacy of a Bombay Irani Café”. There are five SBOWs including the latest in Mumbai’s Bandra-Kurla Complex (BKC) and a sixth in progress in Noida. “SodaBottleOpenerWala is a concept restaurant with a bar. For my wife Sabina and me, Mumbai is an integral part of the journey of our lives. The Bombay Irani restaurant is a rich part of the Mumbai tapestry and, sadly, a dying legacy. We delved deep within its unique world to bring alive the nuances - both for cuisine and its atmosphere. The familiarity of an Irani restaurant is key to the experience. Architect Clement DeSylva and Sabina brought that canvas to life,” says AD Singh of the Olive group. Architect Clement DeSylva has been associated with Olive for many years. To design SBOW he called upon his own years growing up in Bombay (before it was Mumbai) where long hours were spent at Irani cafés with friends, having long discussions over tea and biscuits. The memory of that time has served him well, for SBOW has all those elements clutter enough to make it unpretentious, food authentic enough to make you want to linger and a vibe safe enough for you to sit back and relax for a while. overall design is old world and } The authentic to the glory days of the Irani
café. The walls are lined with vintage photo frames and bric-a-brac. These were sourced from Chor Bazar in Mumbai and also from old houses belonging to families who had migrated to foreign shores, leaving behind a lot of their personal items. “It is tragic to see these old photos just lying about and destined to be sold. One feels sad to think that these framed photos have such little value for their family members and that they choose to discard this legacy, this reminder of a family member, rather than keep it,” says Clement.
Large graphics are enhanced with vintage photographs sourced from flea markets and old houses.
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The façade of the Mumbai SBOW in busy BKC reflects the atmosphere present inside – calm, friendly and inviting.
The vintage photos get a new lease of life here and sometimes, clients are even delighted to recognise their family members on the walls; all this adds to the nostalgia and emotion of the place. Many of the accessories are old, salvaged and restored elements. The attention to detail, however, shows in the newer additions.
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The furniture, for example, was made for the restaurant. “Traditional armchairs didn’t fit into this space in the way we wanted, so we had to design new ones.” Some tables have traditional red and white checked tablecloths while others have special wooden frames with glass inserts that have a layer of ‘chai’ glasses underneath. A jukebox plays retro music that keeps you company while you munch on the traditional Parsi fare served in steel tiffins. The playful atmosphere is further enhanced with graphics, large menus, and signs that read out the Irani café riot act to you: “No laughing loudly. No Singing. No Childish Tantrums.” Unlike your neighbourhood ‘Irani restaurant’, you can safely ignore these rules in SBOW. “You won’t find something similar elsewhere. We don’t do run-of-the-mill concepts,” says Clement. Indeed, each SBOW restaurant follows the Irani café concept but is a standalone space with additions made depending on the layout and location. This can sometimes prove to be a challenge as Clement found out. “Over the restaurant is a jewellery shop, so we had to work only at night as we couldn’t risk any diamonds or precious stones being dislodged during polishing!” he says with a laugh.
The walls are lined with vintage photo frames. These were sourced from Chor Bazar in Mumbai and also from old houses where families had migrated to foreign shores.This one is a hilarious family tree.
Thankfully, the team has the concept down to an art. It takes an average of two to three months for them to put things into place, which is pretty efficient by most standards. “Our designs are an emotive experience; we plan every last detail in collaboration with our team. From the fashion designer who designs the clothes for the restaurant staff, to the design of the valet ticket, every little detail is looked at.” SBOW resurrects a dying era, the glory days of Bombay. “I would love to do a SBOW in an existing Irani restaurant,” says Clement, but those are understandably hard to come by. Until then, get your fix at an old-meetsnew SBOW near you. clemde@gmail.com www.clemd.com
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THE INSIDE TRACK NOW ON APPLE AND ANDROID
DOWNLOAD YOUR FREE COPY* OF THE INSIDE TRACK AND STAY CONNECTED All you need to do is download the free Magzter app. Apple users can download Magzter from the App Store. Android users can download Magzter from Android Market. Try it out today.
* Limited Period Offer Home Review March 2015 13
In the living room, most of the furniture has deliberately been kept lightweight, to facilitate moving it around. A Versailles chair adds visual interest with its elaborately styled shape. Frequent guests and entertainment requires a casual rearrangement of seating, unencumbered by heavy immovable pieces.
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An Architect’s Abode
Liberation from the shackles of a client’s brief enables Kalpak Bhandari to tailor this home for himself in Pune, to the preferences of his own family. Adopting a fusion of styles, it is filled with furniture and artefacts that he and wife, Pooja are particularly partial to.
Text By Devyani Jayakar Photographs By Shirish Ghate Home Review March 2016
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When an architect designs a home for himself, we know that there is freedom from the tyranny of a client’s brief. So Kalpak Bhandari decided to have no specific theme or style when he created this 2,500 sq ft three-bedroom home for himself and his family - though he does mention a vintage French inspiration. “None of the finishes are so expensive that we would be reluctant to change them… and most of the furniture has been manufactured by us in mango wood, making it more affordable. This wood has the same qualities as teak wood in terms of its workability and the way in which it can be carved,” he says.
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At the entrance of the apartment, a large mirror in a carved wooden frame visually doubles the area of this transitional space. Further inside, an entire wall clad from floor to ceiling with framed mirrors in different shapes makes for an eye catching display. “Like a piece of art, no two frames are identical,” says Kalpesh. Within this display is a door to the household help’s room. Discreetly set within the multiple frames, it is almost invisible, unless one goes looking for it. In the living room, most of the furniture has deliberately been kept lightweight, to facilitate moving it around whenever required. A Versailles chair adds visual interest with its elaborately styled shape. Frequent guests and entertainment requires a casual rearrangement of seating, unencumbered by heavy immovable pieces. “Earlier, we lived in a bungalow where there were no amenities available for our son, but since we’ve moved here, we do quite a bit of entertaining,” says Kalpak’s wife Pooja. A jewellery designer by profession, she brought her sense of aesthetics to the soft furnishings, wallpaper, artefacts and the kitchen. The main light fixture has been fabricated in-house by Kalpesh.
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The dining table has Crotch veneer on its surface with the grains running outwards from the midline in a symmetrical mirror image fashion. This highly prized pattern of grain is revealed when a trunk or heavy branch with two forking branches is cut through the centre of the fork. The terrace outside has a 6m high ceiling. The alcove for seating creates a cosy cocoon at one end and has vertical panelling for the backrest. Most of the wood finishes are in a distressed look, with a cream and gold patina. “We prefer texture to the smooth gloss of glass,” says Kalpesh. So the natural texture of the veneer has been retained, with knots and grains visible, without any attempt to smoothen the surface. The flooring is a combination of Italian marble and glass mosaic tiles. The joints of the mosaic are filled with epoxy grout, so as to add to the texture. Fabrics used include silk and linen. “If it looks good and feels good, we don’t mind the maintenance,” says Pooja. Most of the fabrics had been purchased from a visit to Panipat several years back. “We knew that we’d use it someday, at some place,” says Kalpesh. The master bedroom has an antique dummy door for a headboard, in the aforementioned distressed finish. With chandeliers hanging from the ceiling for bedside lights, there is an old world charm to this room. “The chandeliers ensure that the surface of the bedside tables, which is small enough to start with, is not cluttered further,” says Kalpesh.
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The master bath has Italian marble wall cladding in a warm beige tone. Pooja keeps her bead necklaces handy for daily use on the extendable arm of the magnifying mirror.
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The son is a football fan, so the roller blinds in his room bear life-size images of star players Messi and Neymar. On the wall above the study table, a bookshelf in a complex geometry is from MDF Italia. The sofa-cum-bed offers floor space for fun and games, when not in use for sleeping. Another sofa-cum-bed performs a similar function in the guest room, which is used as a home theatre and a study most of the time. The retractable screen of the TV is out of sight when not in use.
“Everything used in our home is a reflection of who we are, what we love and what gives us comfort. The art and the artefacts have been collected over a decade during our travels to different parts of the world. We’ve collaborated with different artisans to create different customised pieces in the interiors...like door handles in metal and wood, light fixtures, the highlight wall in carved wooden frames, a few pieces of furniture and so on,” says Kalpesh.
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At the entrance of the apartment, a large mirror in a carved wooden frame visually doubles the area of this transitional space.
“We thoroughly enjoyed the customisation process and feel that this is what makes our home a very personal and intimate space for us. The fusion, materials, colours and textures are a true reflection of our taste. Moreover, efficient use of space and detailed planning ensured that all the functional requirements were met and key issues were successfully addressed in the design,� concludes Kalpesh.
kalpak@veekas.studio www.veekas.studio.com
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Designing The Right Way
By Arpit Verma and Anirudh Pratap Singh
DESIGNQUEST
“We’ll think about it in the rickshaw…” This simple statement led us on to accomplish our big dreams in life. We both are like brothers from different mothers hailing from Lucknow, then meeting in college and ending up as partners in crime. That’s how the story of our design firm started - from an auto, which was the main mode of transport back in our college days. We used to come up with the weirdest of ideas of bringing something new to the society which eventually lead to the inception of AutoDesign Studio in 2014.
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Spa Nation Tones of black and gold were used to bring in an aura of luxury.
Humming Birds Spa (first branch) The concept of lines was chosen to break the monotony.
AutoDesign Studio was formed with the basic motive of “bridging the gap between the designers and common masses and not just for the classes.” We at AutoDesign Studio (ADS) are ‘master of all and jack of none’ where the root to any design is the application of design thinking, and whether a project is residential or commercial we always assist with the design to clients, professionals, architects, builders and also labourers. We have travelled a long way in our journey of over a year, from graphic design for a local food shop to an exhibition for Late Shri Abdul Kalam Sahab at IIM to doing interiors for high end brands at malls.
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Our firm has been recently acknowledged and renowned for doing projects which are different from the rest and we make sure to bring up design and business together. But this design journey has not been easy for us. After striking six at our first project, we landed up with no projects for months. The more we tried to approach people with our work, the further we were delayed in achieving our dreams and goals. The struggle definitely made us lose our heart and sometimes even patience to such a level that we almost ended up quitting or sometimes for survival we used to end up with projects with a very low budget. Though our journey as design entrepreneurs is still on, but luckily we don’t reflect much on the past now.
At AutoDesign studio, we brainstorm about the basic need of the client and why he has hired us as the designers. Designing interactive and theme related spaces is our area of expertise as theme based spas have an additional identity and are appreciated by everyone. We also ensure that each and every detail is so precisely finished that it adds value to the whole space. The ICCIG exhibition was a collaborated effort of the National Innovation Foundation (NIF), Sristi and Honeybee Network to showcase several innovations done by people from various parts of the country.
The interiors of one branch of the Humming Birds Spa in Rajkot were more challenging than interesting. We chose the concept of lines to break the monotony and make a small space look bigger and added subtle colours to the interiors. This turned out to be a major task as well an achievement. The second outlet of Humming Birds Spa we created the concept of the spa being born from the Earth. We chose white and brown as the colour theme showcasing nature with elements like pebbles which add simplicity to the spa.
To conclude over here, I would say that ‘satisfaction is never in our dictionary’ and this helps us in pushing ourselves to our fullest and achieve our goal of becoming a multi-functionary firm with a motive to help our customers to attain their desired goals with appropriate design solutions.
write2autodesign@gmail.com
Spa Nation A theme of a temple, yoga and mudras was incorporated to show calmness and peace.
Spa Nation is one of the most adorable additions into our work bank. It is a luxury spa with a mix of spa therapies for bringing various cultures of the world under one roof. The extravagant black and gold brings with itself the aura of peace with luxury. A theme of a temple, yoga and mudras was incorporated in order to show calmness and peace in the spa.
ICCIG Exhibition The theme for the exhibition was transparency and sustainability.
HummingBirds Spa (second branch) The interiors of this spa in Rajkot were more challenging than interesting.
The exhibition was also an experiment of playing with collapsible designs and structures. The theme was transparency and sustainability where everything used was a recycled material. The exhibition was done within 15 days (start to execution).
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An oasis of serenity, relaxation and uber luxury in the heart of Bangkok city, Shangri-La’s premier location on the famous Chao Phraya River has contributed to its precipitous popularity and success. Text By Natalie Pedder-Bajaj Photographs Courtesy Shangri-La, Bangkok
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RIVER OF DREAMS
An oasis of serenity, relaxation and uber luxury in the heart of Bangkok city, Shangri-La’s premier location on the famous Chao Phraya River has contributed to its precipitous popularity and success.
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The interiors of the guestrooms have been inspired by ethnic elements like Thai silks, wood from Southeast Asia, artefacts and paintings with an Asian flavour.
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The triumph of the first 25 storey Shangri-La Wing led to the opening of the smaller, yet more exclusive Krungthep Wing, both connected by elegant lobbies from the inside and lush gardens on the outside. Planned by architect Kanko Kikaku Sekkisha (KKS) from Japan and experts Leese Robertson Freeman Designers Ltd. (Shangri-La Wing) and Graham Design Ltd. (Krungthep Wing), the hotel offers elegant surroundings coupled with superior levels of service for which Shangri-La has become well-known. Echoing tradition, yet not totally indigenous, the entrance, lounge and lobby have been peppered with abstract art pieces that tell a story. ‘Spiritual in Triangle’ by local artist Khun Thongchai Srisukpraser depicts living happily in a heaven made on earth. The triangles represent mountains, while the bottom of each piece is like a gateway that also signifies an entry to Shangri-La, purporting hotel guests with a long and happy life. Towering over the Chao Phraya River on the top four floors of the Shangri-La Wing is the Horizon Club with a choice of 63 swanky guestrooms and 27 suites. The interiors, inspired by ethnic Thai theatre have been enhanced through Thai silks, wood from Southeast Asia, artefacts and paintings with an Asian flavour. While, the design of the Horizon Club Lounge on the 24th floor has been inspired by the exquisite Royal Barges found in native Thai art. Bensley Design Studios also designed the Salathip restaurant with its signature teak pavilions that celebrate Thai chic, while Tokyo based design outfit Super Potato enhanced the buffet dining experience of the river side dining area at NEXT2 Café. The terrace featuring theatre style kitchens extends along the edge of the river, allowing diners privileged views of the passing long tailed boats. Angelini, debuted in December 2007 following a transformation by Baldauf Catton von Eckartsberg Architects (BCV Architects) from California, resonates with a clean modern airy aesthetic, while threelevel heighted windows frame the river, providing a magnificent setting for the restaurant’s delectable Italian cuisine.
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Top landscape architect Bill Bensley redesigned the pool with gently sloping edges intended for lounging in the water.
The free form swimming pool forms the heart of this resort with three restaurants clustered around it, all overlooking the banks of the languid Chao Phraya. Top landscape architect Bill Bensley redesigned the pool with gently sloping edges intended for lounging in the water. Swaying palm trees, flowering bougainvillea, orchids and bird of paradise flowers lend to this exotic ambience.
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The Chocolate Boutique and The Long Bar, that also overlook the river at the lobby level, have been designed by Wilson and Associates in an elegant contemporary style. Bilkey Llinas Design planned the meeting rooms of the Garden Rooms – event suites for Bangkok’s stylish functions and social events. The meeting rooms offer guests the feeling of a stately villa, and include the Chairman’s Room and the Garden Gallery, which both open onto verdant pool side gardens. Designed by Julian Coombs and Associates, CHI was envisaged as a haven of calmness inspired by the legend of ‘Shangri-La’. The 1,000 square metre spa was driven by the architectural principles of Asian temples, using authentic Asian artifacts and design elements, whilst employing the Chinese principles of harmony and balance. From the moment one enters the spa, contemporary interpretations of traditional works and genuine antique artworks sourced from the region abound. Walking through the spa suites, the lighting becomes more dramatic as light shafts penetrate screens, washing down stone walls. Colours are rich and finishes are understated and simple in this tranquil space. All the feature walls are completed in a split-face stone and are amplified by a delicate light wash. Another signature design feature of CHI, which can be found in each of the eleven private spa suites, is the expansive teak sliding screen that resonates with the traditional lattice work found in Asia. The Shangri-La Hotel in Bangkok has taken several steps to offer its guests comfort, facilities and resources in a ‘green’ environment.
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With a capital investment of 13 million baht, Shangri-La has installed solar panels across a 938 square metre space on its rooftop that powers a solar water heating system - the largest ever installed in any hotel in Thailand!
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Bensley Design Studios also designed the Salathip restaurant with its signature teak pavilions that celebrate Thai chic.
Even though the Shangri-La has amalgamated various design ideas, architects and interiors over a period of time, they all seem to tell the same story, beautifully threading through all the spaces spanning almost a quarter of a mile on the Chao Phraya River. slbk@shangri-la.com www.shangri-la.com/bangkok/shangrila
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Photo credit Daniel Vorndran
The Musee d’Orsay seen from across the Seine. The exteriors were left practically unchanged during its conversion from train station to museum.
Gare to Musee: Gae Aulenti's tryst with d'Orsay
The magnificent architectural transformation of a Beaux Arts train station into an art museum set an early example of adaptive reuse and its architect Gae Aulenti’s genius.
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The juxtaposition of Beaux Arts interior with Aulenti’s industrial aesthetic creates an incredible variety of spaces within one building.
Designed and built between 1898 and 1900 by French architect Victor Laloux, the Gare d’Orsay station and hotel was a much celebrated landmark that inspired subsequent stations around the world. However, by 1940 Gare d’Orsay was already ill-considered due to its logistical shortcomings in an age that saw rapid advancement of locomotives. In 1978, the French government commissioned Gae Aulenti (pronounced ‘guy’), an Italian architect and industrial designer of international repute, to adapt the majestic building into an art museum. The backbone of the new undertaking was the visionary museological programme developed by Michel Laclotte, then Inspector General of French National Museums.
The barrel-vaulted skylit central spine of the museum that once served as a railway concourse.
Intricate industrial details beautifully punctuate the museum at various points.
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The logic of Laclotte’s programme was that it was to be ‘encyclopaedic’ for people to see canonical greats such as Monet and Van Gogh beside less famous artists such Achille Lauge and Henri-Edmond Cross, turning the experience of discovery into an education. And for a museum that also hosts furniture, sculpture, photographs and architectural models, this logic works beautifully. The central barrel-vaulted space which once housed the railway tracks and platforms now serves as the atrium for the museum. Sky-lit, spacious and filled with a warm colour scheme, the atmosphere of created is one of intrigue and familiarity. Very much of what the promise of a museum ought to be. The architectural forms deployed here make abstract references to historical styles as noted by the historian Bruno Zevi but Aulenti steadfastly denied subscribing to any architectural style statements. Her defiance of style extended to a personal level. She famously told the Women’s Wear Daily in 1971 that the moment red was loudly announced to be in fashion, she stopped wearing the colour and would instead wear green.
Nonetheless, Aulenti and Laclotte together synthesized art and architecture to produce one of the most remarkable museums in the world. One can say that the two were able to understand each other owing to Aulenti’s decade-long experience as Art Director of Casabella magazine early in her professional life and her longstanding belief that architects ought to be immersed in a wide range of subjects. Her subsequent experience in industrial and furniture design all find echoes in her architecture at the Musee d’Orsay. Given Aulenti’s honed industrial aesthetic, the setting of the Gare d’Orsay building must have been a marriage made in heaven. There is a clear parti to her details at the museum - a kind of assembly of myriad materials ranging from stone and concrete to iron girders and steel meshes knowing exactly where something would be appropriate or not. To not ignore the most important element for art appreciation - light - Aulenti very consciously superimposes natural and artificial light to create a kind of space that is now rare in large museums worldwide.
While the labyrinthine galleries at the Musee d’Orsay on the lower and intermediate levels offer relatively dimly lit environments, the floors above allow skylight filtering from exposed trusses to play with dark coloured planes and create effervescent viewing spaces. Once within any gallery at the museum, the focus never shifts from the art but stepping out into more public areas, one can appreciate the larger composition of its sculpture collection against the old and new architecture. And if the sights within the museum are not enough, Aulenti invites visitors to peer at the Seine and Montmartre through one of the original clocks retained from the Gare d’Orsay exteriors. French President Mitterrand inaugurated the Musee d’Orsay in 1986 to vicious criticism from the domestic and international press. Gae Aulenti had retorted to the Liberation paper: “The press were very rude. But 20,000 people a day stand in line waiting to get in.” Elegant, poised and self-assured, Aulenti undoubtedly put some of her strong personality into the Musee d’Orsay’s design.
Looking down at the linear organisation of tectonics that serve viewing of sculptures and circulation areas
She was also rare for her enthusiastic admission of collaborating on design with younger designers on her team and modestly attributed her tenacity and success to this collaboration. In 1987, France conferred her with the Chevalier de la Legion d’Honneur in recognition of her contribution to French culture. I doubt if any other city is as fiercely democratic and outspoken about its built environment than Paris. Every remarkable piece of contemporary architecture built in the city has been the subject of critique, commentary and appreciation. Nonetheless, the city has, time and again, managed to inspire champions who have found exceptional courage to boldly build and impose their vision onto the Parisian urban fabric. And while not all have been unequivocally successful, very few cities in the world can claim to offer as much visual delight as Paris. To then add that a lot many of these architectural gems have been built by foreign nationals further testifies the city’s undying appetite for welcoming a medley of artistic interpretations while consciously creating and retaining its own unique cultural heritage. If that does not demonstrate an evolved sense of self-confidence, what does?
Aftab Jalia Aftab studied architecture at Pune University and the Massachusetts Institute of Technology. He loves graphic novels and is currently pursuing his Ph.D. from Cambridge University.
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Have you heard someone utter the phrase ‘touch wood’ after speaking of their good luck and following it up with a tap on the nearest patch of wood? Or perhaps you have done it yourself? The traditional act of knocking on wood stems from cultures who worshiped trees to ward off evil spirits or to maintain their good fortune. The origins of this term may be archaic, but its connotation in the following pages is very ultra-chic. A furniture design house initiated in a garage with a few tools and two carpenters has brought along with it tons of good luck, which might have had something to do with the name they picked – Knock On Wood. Aarti Aggarwal, ex-alumnus of University of Arts, London is the founder of Knock On Wood (KNW), while also heading the creative design team at KNW. Based out of New Delhi and Chandigarh, with a focus on customised and bespoke hardwood furniture, KNW voices stories through its designs, and is a craftsman’s and design connoisseur’s paradise.
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CHISEL AWAY ! TEXT BY REHANA HUSSAIN
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They offer a wide range of customised products like coffee tables, consoles, sofas, chairs, trolleys, bars, beds and cabinets. In Aarti’s own words, “My journey began with a simple idea; a desire to express myself; to create something unique out of the natural elements, using my skill, craft and knowledge.” Initiated as House of Design in her parents’ garage with two thousand dollars in hand, a saw and surface planer and two enthusiastic workers, Aarti had an inkling that her first line inspired by the Coronation chair of the Ming Dynasty would lead to ‘something bigger and better’.
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“By the time we were done with the sawing, joining and polishing, I knew it was the beginning of a dream. Together we designed, drew, cut, sawed and chiselled our way to create a design company,” she says. She started experimenting with chairs after a specialisation in Chair Design from Danish Skole of Design, Copenhagen. “The story started with chairs, but soon my clients wanted accompaniments. So I went on to design tables, beds, consoles and more,” she elucidates. Aarti’s strong design sensibility articulates her international exposure and innate love for Indian art and culture. The seeds of design were sown in Aarti long before she came into the realm of institutionalised furniture design. Since building furniture was her father’s hobby, there was always a carpenter in their backyard; thus she was initiated to this craft early in life. “The thrill of seeing a log change shape motivated me. Design for me is a way of life; you don’t choose to design, it just needs to be done,” says Aarti. It was a conscious decision to shift from House of Design to Knock On Wood to atone for the dearth of custom created quality furniture in the market. Brand KNW has built itself from a legacy of over a decade from the home brand, House of Design. It is now a dedicated furniture and product design studio that prioritises quality over quantity and is focused on creating bespoke furniture pieces that take centre stage in its client’s space. KNW has carved a niche identity for itself in the market, leading to secure global brands such as Taj, Jecc Jaipur and Wave in the corporate, hospitality and residential sector as their clients. The reason behind this, as Aarti enlightens us, is, “We combine traditional manufacturing techniques with the latest technological methods to transform the finest materials into furniture that exudes both classic and contemporary persona. With KNW, our focus is on high quality craftsmanship, fine detail and elegant style, where the creations will reflect our inspirations and our customer’s personality.”
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To support this, they have a modern manufacturing facility of around 10,000 sq. ft. and a special R&D lab is dedicated to implement research on device machinery, working mechanisms for specific applications, and to test the behaviour of various finishes on wood and metal. The lab also implements stress-testing to avoid risk tool design for special applications. They use oak, teak, pine, ash, cedar for their furniture which is locally sourced from vendors. To do their bit for the environment, KNW doesn’t cut trees occasionally, but chooses those that have fallen and engages in recycling whenever possible. It takes a lot of sweat and grime to start a business and keep it going, which wouldn’t be possible without a dedicated workforce. Aarti shares about her current team at KNW, “We have a qualified design team of 12 people (8 designers, 4 engineers) engaged in customer interface, design, approval, project planning and delivery, as well as retail showroom support. Our manufacturing team of 45 comprises highly skilled carvers, carpenters, craftsmen for semi-precious stones inlay work, paint and polish experts, welders, lathe operators, tool room experts, 5 axis router programmer and operators, packers and administration.” Ask her about any new developments that we can expect from their brand and Aarti is quick to respond, “The idea of an accent furniture piece actually being a multifunctional addition to the room greatly appeals to me. With this in mind I have launched a new collection ‘Yours Truly’. This collection comprises of the Solemate, Butler, Mistress and PA. It is a set of cabinets that attends to a multitude of individual requirements.” Quality, custom made furniture has chiselled a home for itself at Knock On Wood. Try them out and see if they are tailored for your home as well.
Knock On Wood Hauz Khas Enclave, New Delhi. 011 64714649 info@knockonwood.in www.knockonwood.in
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MATHIEU LEHANNEUR
French designer Mathieu Lehanneur is going places with his futuristic designs.
Text By Chryselle D’Silva Dias Photographs Courtesy The Designer
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In 2010, noted designer Philippe Starck named Mathieu Lehanneur as one of France’s top ten designers, “the future of industrial design”. It is easy to see why. Lehanneur has made a special space for himself in the design world with his edgy and futuristic designs for objects as varied as street furniture to chandeliers.
Andrea
Lehanneur graduation project at ENSCOLes Ateliers (‘École Nationale Supérieure de Création Industrielle) was entitled “Theurapeutic Objectc”, which explores the relationship of humankind and drugs. It is now part of the MoMa (New York) permanent collection, which also houses another Lehanneur design - Andrea.
Les Cordes
Andrea (2009) is one of Lehanneur’s most iconic designs. Created in collaboration with David Edwards of Harvard University, Andrea is a “living air filter” which absorbs toxins from the air around us. The filter uses plants that are known for their air-purifying properties (the gerbera, philodendron and pothos, for example). One of his early designs is ‘Gary Copper’ (2009), a radiator unlike others you have seen before. This stylish design looks like a piece of sculptural furniture but don’t be taken in by its good looks. Polished copper increases heat conduction and thermal efficiency can be improved by “multiplying the fins, thus increasing the surface area of heat diffusion”. The dB (2006) is one device that should probably be widely popular for its noisereduction properties. Shaped like a ball, the dB moves around constantly capturing the sound levels around it. When it finds a level ‘unacceptable’, it positions itself close to the source of the noise and emits ‘white noise’, which is the sum of all frequencies audible to the human ear. White noise creates a soothing frequency and one can literally ‘turn off’ the other loud noise.
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Local River
The Les Cordes is a stunning piece of lighting doubling up as a work of art. “Conceived as a rope of light criss-crossing the ceiling, only bands of light and glass are visible.” Lehanneur further describes it as “... the light itself seems to live and circulate...as if stitched onto the building itself.”
Cellbag
The Sunflower Chandelier (2003) is another brilliant design for simple yet impactful lighting. The multiple lamps of the chandelier look like sunflower petals and bring a unique ambience to the space it inhabits. In 2008, Lehanneur introduced Local River, a home storage unit for “fish and greens” which offered storage for live freshwater fish combined with a mini vegetable patch. The plants act as a natural filter that purifies the water and in return they get their nutrients from the fish. The same technique is used in large scale fish farms and this smaller version responds to the desire for fresh food that is “100% traceable and locally farmed.”
Clover
Similarly, the ‘Cellbag’ (2011) is making a difference to the communities it is used in. The second collaboration between David Edwards and Lehanneur, this is inspired by the way in which biological cells transport water and nutrients. The urban version combines a bag and water container and hopes to improve sanitary conditions for water transportation in poor countries. The Cellbag is currently being used in South Africa. One of Lehanneur’s recently acclaimed designs is the brilliant ‘Clover’, a street lamp powered by solar energy. Clover (2015) was created for the climate change talks in Paris. Designed from a carved wooden mast, the Clover has a floor lamp and bench made of an amalgamation of several local woods. EN 03
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Fixed large aluminium domes at the top distribute light downward to reduce light pollution. A solar panel provides 3-hours worth of light. Another interesting feature is a small hatch which allows you to recharge your smartphone. The bench can be stretched to 15 metres if necessary, making it a flexible answer to an urban space.
ArtScience
Lehanneur’s innovative designs also extend to interiors. Cafe ArtScience, for example, is positioned between Harvard and MIT Universities and brings together ideas, a concept shop, an art gallery and a restaurant. It is an outcome of a new collaboration with David Edwards (of ‘Andrea’) and the space offers ample opportunity for collaborations and demonstrations. Paola Antonelli, MoMa’s curator of architecture and design describes Lehanneur as “a champion of the intellectual agility of today’s design.” His thoughtful designs for urban spaces certainly prove that good design can be useful, practical and elegant, all at the same time.
Maison Cailler
studio@mathieulehanneur.com www.mathieulehanneur.fr
Smoke
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His art forms have a distinct emotive quality that captures the spirit of routine life.
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art form
When News Makes Art! It is often said that art enables us to both find ourselves and lose ourselves, all at the same time. Will Kurtz’s pieces are standing proofs of just this belief!
The verbal and the visual operate in different dimensions. Art picks clues from both and eventually elevates itself from being a thing to becoming a way of life. It most curiously combines the means of expression and the expression itself, requiring no prattling exegesis to explain it. It is an inspirational tool that washes from the soul, the dust of everyday life. As Will Kurtz puts it, “People and animals fascinate me,” thus his subjects rely on people and animals who are almost undistinguished and who live on the margins of society. His art form has a distinct emotive quality that virtually captures the spirit of routine life.
Through his sculptures Will expresses the subjects’ innocence and humour which directly has a universal appeal.
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Born in Flint, Michigan, Will practiced as a landscape architect for 25 years throughout the United States and Canada. It wasn’t until he was in his mid-thirties that he began creating art as a self-taught artist. Eventually his passion of art superceded landscape architecture and he moved to New York to attend graduate school at the New York Academy of Art. He says, “At fifty, I changed careers. To me personally, art is finding my purpose and doing what comes naturally - doing something that affects other people.” It’s true that an artist’s world is limitless. It can be found anywhere - far from where he lives or just a few feet away. It’s always around. Will uses photography to capture his art world by clicking moments from daily lives. He then goes on to create realistic life size figures of people and animals using pieces of newspapers and magazines with an internal structure made of wood and wire. The newspaper and magazine pages that he uses to create his art have a collage of words and colourful advertising. Will capitalises upon them and uses them in a spontaneous, painterly fashion to reflect the mood and life of the individual he is trying to model. Will explains, “It’s the anatomy underneath which makes the newspaper feel so alive. There’s this underlying reality and believability to it.” His subjects are often comic in character, dress or body type. The posture, gestures and clothing bring the figures to life.
“Firstly, instead of a paint brush and paint, I use the collage of newspaper and magazine bits as my paint.”
Will most adeptly captures both resilience and vulnerability to embody a true empathy for the hardships we all share. He shares how he created a life size sculpture of Linda, the dog walker who walks 16 dogs at a time every day - “She is this amazing inspiration behind this piece; she is really brave. She lets all the dogs loose and then manages to keep track of all of them.” The animals that Will crafts are selected to show off their unique breed, size, shape or type of hair. Through them, Will expresses their innocence and humour both of which have a universal appeal.
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The animals he duplicates are selected to show off their unique breed, size, shape or type of hair.
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When art evolves to defy the boundaries of language, it translates into not something that the artist sees but what he makes the world see. It uplifts itself into a visual conversation that keeps one engaged. As an artist, Will chooses sculpture over paintings to communicate his arty vision. He explains, “I just have this affinity for sculptures. I can see things three dimensionally. I like seeing things all the way around. I like to create objects that are based on realism and sculpture has a sense of realism.” All of Will’s pieces are created using newspaper and magazine cutouts. He uses newspaper as a medium of choice as it gives a raw, imperfect ephemeral quality that reminds us that we are only here on Earth for a short while. His pieces are a perfect composition of colour and newsprint. He shares, “Firstly, instead of painting, I create a collage and then use it as paint. I have an idea about the colour scheme and it’s just so funny, that I merely have to see a picture in a magazine or newspaper and I know what I am going to do with it; it is almost accidental but it fits in amazingly in the sculpture.” With the world steering towards recyclable materials, Will’s passionate use of old newspapers and magazines to form art is a great initiative. Looking at ten years from now, Will shares, “I don’t know if I’ll be doing this but whatever I do will be based on reality and observation. I would want to be able to do small shows around the world as I really want to make enough work to be able to go to different places.”
The sculptures have a collage of words and colourful advertising that is applied in a spontaneously painterly fashion to reflect the mood of the subject.
His advice to upcoming artists is that, “Never try to make anything that you think will sell. Don’t discount ideas as these are coming from somewhere. Just look inside and find out what matters the most to you and turn that into art – I like people and animals and I make just these. To do what you love and get paid for it? My God, how wonderful is that!” will.kurtz@gmail.com www.willkurtz.com
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Redefining luxury
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Inimitable Designs
MAISON&OBJET 2016 SPECIAL
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Pioneering Innovations
Maison&Objet Paris witnessed myriad design stalwarts showcase their innovations in the home decor and accessories segment. Our special section brings you details of the event.
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Home DĂŠcor and accessories
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Gravity-defying Leap of Creativity
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Rising Talents
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MAISON&OBJET PARIS 2016 In its 21-year-long journey, Maison&Objet has brought together the best in the world of home decor and furnishings under one roof. It has grown into a hallmark of excellence in the world of decoration and design. It wouldn’t be offthe-mark to say you haven’t truly arrived at the international scene if you haven’t exhibited at this iconic event that defines luxury through the prism of excellence, innovation and new trends.
Text By Arushi Chaudhary
The who’s who of the design industry descended on Paris between January 22 and 26, 2016, to witness awe-inspiring products, innovations and ideas from the realm of home decor and furnishings. A staggering 2978 exhibitors from 59 countries across the globe - including 700 debutants - participated in the event. Maison&Objet has emerged as a celebration of diverse displays and out-of-the-box innovations. Like always, this edition too presented itself as a catalyst of growth for the industry.
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Photo Credit Govin Sorel
Photo Credit Govin Sorel
Photo Credit Govin Sorel
In this section, we trace the developments in the home decor industry by giving you a glimpse into the works of some globally acclaimed manufacturers and designers. From modern furniture and accessories to lighting, upholstery and inimitable home decor items, our editorial team has uncovered the best that the fair has to offer to compile an info-packed edition that chronicles the latest happenings from this event.
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Redefining luxury
The high end products displayed under the Actuel and Eclectic categories saw an amalgamation of cultures from different parts of the world presented through inspiring designs and atypical concepts that are a treat to behold. Here’s our pick of a few from this arena of delightful decorations.
CHADKO CAPPÉ The Cappé collection by Chadko is a fusion of composite materials and atypical designs. The Cappé furniture pieces stand out in terms of design as the collection is characterised by a profiled front supported by twin high legs at the rear, giving the seats an angled look. The curved seat in the middle upholstered with woven woollen fabric in rich, vibrant hues accentuates the appeal manifold.
INSIDHERLAND THREE ROCKS The Three Rocks tables from Insidherland’s Beyond Memory Collection are designed to stand the test of time, not only in terms of durability but also their aesthetic appeal. The furniture pieces are inspired to create spaces where ‘A tale never loses in the telling’. These Three Rocks tables are shaped with irregular cuts and finished with high gloss varnish that enhances the smoky brown veneers. The glossy varnish creates the watery-effect while the nodules in the veneers look like pebbles, giving these tables the look of a lake in autumn. www.insidherland.com
BRABBU CASEGOODS MOOGOO CREATIVE AFRICA POST OIL COLLECTION The post oil collection stands out for its creativity and ecofriendliness. Artisans from Burkina Faso, one of the poorest countries in Africa, have created stunning pieces of art out of recycled oil barrels. The locally produced decor and furniture items have elements of contemporary design and yet bear the trademark finish of the traditional arts and crafts of the region. www.moogoo-creative-africa.com
The casegoods collection exhibited by Brabbu is designed to bring elements of intensity, fierceness and strength into the urban way of life. These luxury products are designed to redefine the modern way to living. In addition to casegoods that include designer mirrors, bookcases, cabinet, centre tables, dining tables and more, the company also deals in a wide selection of upholstery, lighting and rugs. www.brabbu.com
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NAA DESIGN TCHAA CUP Naa Design brings to Maison and Objet the traditional teacup made from sandstone with a modern dimension and a novel aesthetic finish. The sandstone teacup that is a popular household item throughout Asia has been presented with a whole new interpretation through use of unorthodox mix of colours and materials. Tchha Cup, which literally means teacups in Thai, is a statement of NAA Design’s creative outlook that has been inspired by the culture, materials, colours and craftsmanship of Thailand. www.naadesign.com
AURA TANGO CHAIR
BCM SITTING
The Tango Chair, a chic piece from the handcrafted, retro-classic range of furniture exhibited by Aura Living at Maison & Objet, is the perfect illustration of what modern furniture must be - high on quality and creativity, and adapted to suit the customer lifestyle. Like several of their past creations, the furniture pieces exhibited this year too are inspired by the golden era of French cabinetwork. The attention to details, stunning clear lines handcrafted by some of the most skilled carpenters and craftsmen using classic cabinet-making techniques make these products a hallmark of excellence.
This handmade stool from BCM, a dynamic and young company best known for its unique choice of materials, has a raw, rustic appeal to it. The frame of the stool is crafted out of corten flat profile, while the seat is made of sheet metal. BCM specialises in creating artefacts and utility products such as railings, security gates, and driveways from wrought iron. www.bcm.flazio.com
www.auralivingstyle.com
LE LABO DESIGN FRACTALE PLATES The metal curtains, known as Fractale plates, are the USP of Le Labo Design, as nearly no one else in the world makes them. These curtains are made from stainless steel. Different strings of curtain are held together by welded rings and given a lacquered or polished finish in bronze, white, black or gold colours. The metal curtains by Le Labo are a highly customised piece of decor, as each curtain is made to order as per the customers’ specifications and requirements. www.lelabo-design.com
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Inimitable Designs
This segment of Maison&Objet is dedicated to artists and craftsmen who add an element of rarity by presenting pieces that present a fusion of traditional and contemporary appeal. The unique creations displayed here are a reflection of exceptional know-how and precision of artisanal productions.
BENOIT AVERLY 3 GROOVES WHEELS This unique sculpture is a result of intricate sculpting on wood. The set of white wheels has been moulded by hand, making it a highly customised piece. The piece bears allegiance to Benoit Averly’s style of work, which is best defined by the refined and discreet lines he uses to wooden wall panels and sculptures of varying dimensions. www.benoitaverly.com
ELISABETH BOURGET GALET ‘SÉRÉNITÉ’ This decor piece from the Roches collection by Elisabeth Bourget is a unique handmade creation made by fusing different kinds of clays together and coloured with oxides to give a terre polie finish. The ceramic sculptures displayed by the artist are a tribute to a complementary universe that touches and induces our creative journey. The universal appeal of the Galet ‘Sérénité’ makes it a perfect decor item for balconies, living rooms, bedrooms, offices and even gardens. www.elisaceramique.odexpo.com
ODILE MOULIN SCULPTURES FAIRY DANCE COLLECTION PARISPARIS PETIT PHOTOPHORE DE BÉTON Artist and designer Patrick Paris’s creations are a result of having explored the possibilities of working with concrete for over a decade. Using his unique design techniques, Patrick Paris has created the Parisparis armchair that is soft and welcoming to behold and touch that has built using two block of concrete connect by steel bars and taut elastic cables. www.parisparis.biz
The limited edition fairy dance collection by Odile Moulin comprises an array of unique, handmade sculptures created from white sandstone, depicting the designer’s signature theme of flight and movement. The current collection exhibited at the latest edition of Maison&Objet represents messenger doves wearing mandalas, rosettes and openwork. The beauty of these creations lies in the fact that each piece is designed to interact with the environment and narrate the story. www.odilemoulin.com
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SILENE FORÊT DE BAMBOUS Forêt de Bambous, the handmade limited edition pieces in lace woodwork from Silene, is a tribute to the forest and the timeless might of trees. The wood silhouettes are a recreation of designer Claire’s original drawings inspired by encounters with nature on hardwood materials. A combination of woodworking, marquetry and fine fretwork skills is used to create these intricate pieces with extreme attention to detail. www.silene-creation.fr
IN’OVE ORIGINEL DESIGN SAS ZEN DESIRE
ATELIER ROUGE CERISE RÊVE
In its Zen Desire collection, In’ove seeks to reinvent the concept of nap breaks by creating the perfect space of tranquillity that invites you for a well-deserved break from the maddening rush of the modern lifestyle. The piece with an egg shell like exterior will perfectly fit in both open and closed environments, be it an office, terrace or a garden.
The Rêve lounge chair designed by Olivier Biscarrat for Atelier Rouge Cerise is a classic rendition of the design company’s speciality in creating indoor and outdoor furniture pieces with a contemporary appeal. Atelier Rouge Cerise is driven by the zeal to imagine, conceive and execute out-of-the-box furniture designs that are in sync with a modern lifestyle. The Rêve lounge chair is made from an unusual combination of oak wood, burnished steel and leather. www.atelier-rougecerise.fr
www.inove.paris/en/
SOFTHEADS SOFT UNICORN RABBITS The Soft Unicorn Rabbit has been handcrafted using natural beech wood horn and special edition fabrics. Like all Softheads creations, the Soft Unicorn Rabbits created in a combination of beige and blue is a humorous and pacifistic play on the once fashionable trend of displaying animal heads as hunting trophies. Softheads works with locally produced textiles for these artistic creations. www.softheads.net
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Pioneering Innovations The Scènes D’Intérieur and Now! Design À Vivre segments were dedicated to ‘the soul of design’. The exhibitors used transformed materials and offbeat combinations to present bold, beautiful and fully functional products and furniture pieces.
TALA ZION 6W Zion 6W is a pioneering product from the LED range built by Tala for creating a lively and contemporary atmosphere by focusing on high-colour rendering that oozes warmth. By using high quality components, Tala creates lights that are not only visually stunning but also 90 % more energy efficient and also more durable. Or as they like to say, “We create the world’s most beautiful LED light bulbs.” www.talaled.com
MOLO CLOUD FLOOR TABLE SOFT LIGHT Inspired by explorations of space, Molo studio experiments with offbeat materials, structures and manufacturing processes to deliver some stunning works of creativity in the field of architecture, design and even art. The cloud floor table soft light, which is one in a series of lightweight lamps inspired by cloud formations, has been built on delicate structures, lending it a sense of fluidity. The lamps have been fitted with dimmable LED lights to create a daylight white effect. www.molodesign.com
FEELGOOD DESIGNS C317 BOCA DO LOBO FORTUNA DINING TABLE Boca Do Lobo furniture is characterised by contemporary designs created to fit the ambit of exclusive home interiors. The shimmering Fortuna Dining Table finds true allegiance to this concept. The dining table is a statement piece bearing the stamp of Boca Do Lobo’s aesthetic sensibilities and an unrelenting love for golds. www.bocadolobo.com
FeelGood Designs, an Australian brand, came to Maison & Objet with a furniture collection that had sustainability and timelessness written all over. The C317 lounge seat is part of the collection that has been inspired by Japanese and Scandinavian design concepts. Like all its flagship furniture pieces, the C317 - and the rest of the collection - has been made of intricately handwoven rattan used steel to create chic and slender pieces of furniture. www.feelgooddesigns.eu
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DUPONT BERLIN POSEIDON German artist Klaus Dupont presented his artistic creations under the ornamentation category. The decorative piece Poseidon from Dupont’s Unique Piece of Art collection, made from a combination of antique elements has been designed to enhance the aesthetics of any living room setting. The current collection from Dupont sees a liberal use of feathers, crystals, corals, horns, besides antique elements, for creating unique decor items. www.klaus-dupont.com
KENNETH COBONPUE PARCHMENT ARMCHAIR The Parchment chair by celebrated designer Kenneth Cobonpue has been inspired by the image of archaic manuscripts bundled up together. The designer has used his favourite technique of using natural materials in a novel process of handmade production on this current collection as well. In order to replicate the effect of manuscripts being tied together, several layers of Sunbrella acrylic fabric have been stitched together along the edges of the chairs. The legs are made from durable Maple wood and removable covers are made from washable materials.
PORTEGO SELF PORTRAIT The Self Portrait is inspired by an amalgamation of the hand-held fan with the vanity mirror to create a feminine accessory that is symbolic of beauty and luxury. The intricacies of a paper fan, complete with wrinkles and contours, has been recreated in wood. The expert Italian designer has managed to retain the lightness and finesse of paper in these creations. The vanity mirror has been made from galvanized sheets of steel. www.portego.it
www.kennethcobonpue.com
GINGER & JAGGER PEARL WALL LAMP Ginger and Jagger is known for creating aesthetically poetic pieces that seek to eternalise the various bounties of nature. The Pearl Wall Lamp handcrafted in marble and metal is a tribute to one of the most mysterious creations of nature - pearl nestled in an oyster shell. The magnificence of naturally created pearls has been replicated in the unique sculpture of these handmade lamps. www.gingerandjagger.com
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FENDI CASA CONTEMPORARY COLLECTION Designed by Toan Nguyen, the Fendi Casa Contemporary Collection celebrates the finest in the world of Italian craftsmanship and presents it through a reinterpretation of the Fendi Casa codes. The Blixen line of seating by Fendi Casa, for instance, symbolises the marriage of a great design with formal rigour. The Blixen range embodies the perfect balance between minimalism and functionality, thus, celebrating the Fendi aesthetics. www.luxurylivinggroup.com
DESIGN SOPHIE VILLEPIGUE
DELIGHTFULL HENDRIX SUSPENSION LAMP
Since 1995, Design Sophie Villepigue has been involved with creating outstanding luxury collections of decorative objects and tableware. Each item is entirely handmade in France by their highly skilled staff and craftsmen of the luxury industry. Their product range includes silver or gold plated flatware and hollow-ware, crystalware and glassware and woodwork items; the bespoke collections uses gold, platinum, silver, gemstones as well as Swarovski elements.
At Maison&Objet, DelightFull focused on industrialist style and brutalist approach, popular in the 1950s. Classic styling aspects of these lighting fixtures exposed concrete walls that have been designed to lend these creations an unpretentious and raw look. The Hendrix suspension lamp is inspired and redesigned in the nostalgic vinyl player, is a tribute to jazz music and one of the most creative and influential musicians of the 70s. www.delightfull.eu
www.designsophievillepigue.com
SICIS The pieces exhibited by SICIS carry a stamp of their true signature style that celebrates the merger of artistry and refinement of beautiful materials, thereby, evolving mosaic art into a new and unique medium. The current collection uses fabrics in tones such as gold, platinum, black and white, sapphire blues and crystal whites. Every piece has been handcrafted using highest standards of artisan ability achieved through continuous experimentation with new techniques and materials. www.sicis.com
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Home Décor and accessories
The home décor and accessories segment offers a platform for innovative design studios from across the world to display unique creations that celebrate natural fabrics, handicraft skills and out-of-the-box concepts.
CASA POP COMPANY RAJ The Company Raj collection from India-based Casa Pop, brainchild of celebrated Indian lifestyle designer Raseel Gujral Ansal, is every bit a reflection of the cosmopolitan outlook of the diffusion line. The brand focuses on the young urban population and seeks to create ‘High Voltage Living’ through its design language that carries impressions from India to a global audience. www.casa-pop.com
BROSTE COPENHAGEN POUF ‘VELVET’ The Pouf ‘Velvet’ by Broste Copenhagen presents a line of pieces with a character crafted with gentle processing to retain the original feel of the materials. The popular Nordic signature that the company is known for stands out in the collection. Broste Copenhagen, one of Scandinavia’s leading interior brands, has been pushing the envelope with its innovative designs that seek to blend the trends of the moment with a classic vitality since its inception in 1955. www.brostecopenhagen.com
ABRAHAM & THAKORE EMBROIDERED CUSHION MOAVI SPRING 2016 The cushions with their earthy colours and intricate hand embroidery represent everything that Moavi stands for – the consistent sense of purpose for breathing life into the dying crafts of India. To achieve this, the design company set up in 2010 has been reaching out to a resource pool of artisans across the country and helping them rediscover a sense of respect for their unique skills. www.moavidesign.com
The simple yet elegant cushion from Abraham & Thakore’s latest collection explores patterns inspired by unique stitching and weaving techniques. The current collection by this design studio sees use of a largely monochromatic palette of chocolate, ivory, white, indigo and black used in tastefully crafted patterns with a fusion of the luxury of handicrafts into minimal contemporary spaces. www.abrahamandthakore. com
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Gravity-defying Leap of Creativity Design maestro Eugeni Quitllet, who describes himself as a dreamer and designer, is here to change the design scene with his gravity-defying, weightless works of art. Tabu chair
Cloud-io chair
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Vase-O
Dream-Air chair
Though it is hard to typecast the vast body of his work into a particular style or genre, his creations can be best described as a manifestation of unwavering enthusiasm through off-beat, contemporary, design scheme. The Tabu chair that the designer introduced at Alias, an event during Milan Fair in 2014, for instance, stands for an explosion of life. The uniqueness of the chair lies in the perfect synthesizing of robotics and elements of nature to create a digital sculpture that is as catalane as it is modern. The following year, he unveiled the Tube chairs at Mobles 114 and then Dream-Air at Kartell, both of which are a representation of his zealous pursuance of the concept of weightlessness. Later in 215, he presented the same idea of weightlessness in a whole new light through his creation labelled Cloud-io chair, a seat that looks like water droplets condensed in space, and Vase-O, a lustrously translucent vase.
Spanish designer Eugeni Quitllet, an alumnus of Llotja Art School in Barcelona, stood out in the milieu of the design stalwarts at Maison&Objet, Paris, and earned himself the coveted Designer of the Year title. Born in 1972, Eugeni is best known for bringing an element of fluidic romance to his creations through his ‘Disoñador’ - a Spanish term evolved from literally fusing Spanish words for dreamer and designer - approach. His aesthetic vision has helped him pave a future that is essentially gravity free and is best summarised through a mix of seamless curves and digital precision. In the course of his design career, Eugeni has been heralded as an artist who can create some of the bestselling pieces in a wide spectrum of categories, ranging from sculptures to drawings. The exclusivity of his works lies in his ability to master the essence of fullness and voids, and present it through elegant silhouettes concealed in the materials he works with. This incredible technique has led to the evolution of a creative vocabulary that goes beyond the gambit of regular style and functionality that home decor and furnishing items are defined by.
These iconic creations are stuff most designers fantasise about, but Eugeni has made these awe-inspiring designs a signature style. For someone who lives by the notion that ‘as soon as we try to refine a form, we end up with a knife, whether it concerns a design for a boat or a skyscraper’, excellence has to be second nature. This design maestro is poised to enrich the design world with some cutting-edge revelations.
www.eugeniquitllet.com
The early impressions of his life find a clear reflection in his works. This industrial dreamer like approach, for instance, can be attributed to having been a witness to the transformation of a rural beach in his hometown Ibiza into a hub for ultra-modern electronic music. Eugeni then moved to Barcelona - where he lives and works today - that is marked by a stark architectural divide. These elements, too, find their own unique rendition in Eugeni’s creations.
Tube chair
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Rising Talents Besides showcasing groundbreaking innovations and designs, every edition of Maison&Objet also recognises promising artists from among the crop of young professionals arriving on the design scene. The exhibition held in Paris this January showcased skilled Scandinavian designers in its ‘Talents à la Carte’ segment.
KATRIINA NUUTINEN The 32-year-old artist from Finland is already a name to reckon with in the domestic design industry. Katriina Nuutinen, who studied design at School of Arts and Design at Aalto University in Helsinki, and University College of Arts, Crafts and Design, Sweden, is seen following the legacy of some of the greatest masters of Scandinavian design through her experiments with ceramics and glass.
JONAS EDVARD Jonas Edvard, an upcoming product designer from Denmark and an alumnus of Royal Danish Academy of Fine Arts, is driven by his passion to work with natural and raw materials. To evolve a design style with its own unique characters, Jonas has been immersed in researching the history of the use of these materials and exploring possibilities about the future of their existence.
When combined with popular design materials such as fabric, leather, wood and metal, these two key components of her design translate into some stunning pieces that include light fixtures with an ethereal finish, sophisticated furniture pieces and home accessories with a touch of sensuality. Rising talent Katriina Nuutinen is indeed writing her story in her own signature style.
STUDIO KNEIP Creative works displayed by Jørgen Platou Willumsen and Stian Korntved Ruud of Norway-based Studio Kneip lie somewhere midway on the spectrum of art and design. These artists draw their inspiration from the realms of craftsmanship and bounties of nature.
This avant-garde designer came to Maison&Objet, Paris, with truly jawdropping innovations - the biodegradable MYX lamp that grows edible mushrooms and the Terroir collection comprising lamps and chairs made from a mix of paper and seaweed collected from Danish shores.
Displaying a classic example of what it means to have a hands-on approach, the designer duo is known to collect wood for their creations from the heart of the forests and dry it up before lending creative forms with great attentiveness. The same approach is replicated when they take on abandoned materials such as copper to infuse a new life into them through their creativity.
www.jonasedvard.dk
www.kneip.no
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www.katriinanuutinen.fi
FÄRG AND BLANCHE The Färg and Blanche studio in Stockholm established in the year 2010 by Swedish designer Fredrik Färg and French designer Emma Marga Blanche, is fostered by an eclectic mix of artistic vein and a penchant for fashion. Driven by this unique combination of personal passions, the designer duo seeks to explore wider horizons in the world of couture through their experiments with an innovative mix of materials.
TROELS FLENSTED This young Scandinavian talent forayed into the professional arena after completing his formal education in design in Denmark and at Central Saint Martins, London, in 2014. In less than two years of having set up his studio in Denmark, he has become a name to be reckoned with in the domestic circles and is creating ripples internationally with his creative abilities.
Their creations are characterised by a tasteful mishmash of essential practice of industrial manufacturing with exclusivity of handmade goods. The scheme of design practiced by the Färg and Blanche design studio is best summed up in the Wood Tailoring collection that combines tailoring with wood. www.fargblanche.com
KJARTAN OSKARSSON Icelandic designer Kjartan Oskarsson began his journey in the world of designing with an interior design degree from Istituto Superiore di Architettura e Design (ISAD), in Milan, Italy in 1998. He then ventured into the arena of furniture design after obtaining a Master’s degree in Furniture Design from the Rhode Island School of Design (RISD), USA, in 2014.
His creations are a result of exploring how different materials and colours react with each other, then freezing singular effects and displaying them on large decorative surfaces. The Poured collection by the designer, for instance, showcases side tables created from a mix of water-based resin, acrylic powder and pigments.
In a career spanning more than 16 years, Kjartan has expanded his horizons with a rich experience in interior, lighting and furniture designing. In his most recent creation of lighting and lamps, he has focused on unique interactive techniques that allow the user to explore new concepts in the process of discovering and connecting with objects.
www.troelsflensted.com
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With an eye for detailing, a keen sense of functionality, and a motivated drive to achieve sustainability in all their projects, Gaurav Kharkar & Associates takes pride in being versatile architects, as opposed to signature ones. Established in 2008 and based in Mumbai, the firm handles a wide range of architectural and interior design projects in the residential, commercial, retail and hospitality sectors. The firm has dealt with sites located in important centres such as Mumbai, Navi Mumbai, Thane, Nagpur, Pune, Ahmedabad, Udaipur, New Delhi and Dubai. Gaurav Kharkar the principal architect graduated from Bharti Vidyapeeth College of Architecture in 2004. His wife, Vidhita Parekh Kharkar the principal designer graduated from Rachna Sansad’s Academy of Interior Designing in 2005. The duo is passionate about their contemporary aesthetic, functionality and sensuality in using quality materials. Both their inspiration and the style that they employ are modern. “At the same time, we mould ourselves to the project’s demands and come up with a concept - an idea that makes the project significant in its place and for its purpose,” says Gaurav.
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The firm focuses on simplicity, clarity, proportion and rhythm and client satisfaction is their biggest reward. “It is a challenge to understand the whims and the choices of every client and then create a space they can enjoy.” Each project is approached with individuality different from earlier projects. Their work has always been about experimentation in a radical way.
The owners of this restaurant chain put forth specific criteria in their brief. Firstly, this branch was to look very different from the company’s earlier ventures. Secondly, the budget had to be kept to a minimum without compromising on design and user comfort. Being a multi-cuisine restaurant, the idea was to achieve global appeal with the interiors. The 2075 sq ft space is divided into a waiting area, chaat counter area, dining area and a space for private parties. Additionally, there is a 775 sq ft kitchen with a rear service entry.
The furniture layout has been done keeping flexible seating arrangements in mind. Simple, straight line circulation ensures plenty of movement space between the tables. The architects took a conscious decision to make the flooring and ceiling the focal elements of the design. The criss-cross patterned flooring tile starts from the waiting area and continues right through, maintaining continuity. The ceiling showcases black and white vinyl photographs of Mumbai landmark places, festivals, Bollywood stars, hawkers, rickshaws and taxis - to create a sense of connectivity with its roots. The pictures are fixed onto aluminium sections above which the ceiling and exposed AC ducts are painted a subdued black. A palette of white, cement grey and brown laminate delightfully contrasts the bright blue seating.
Text By Priti Kalra Photographs By Sebastian Zachariah (Kailash Parbat, Chetan Doshi’s Residence), Parag Sawant (D. Thakkar Office)
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The chaat counter stands out as a unique wooden cube, exuding subtle hues of brown and grey. The private party hall is separated by a sliding glass door. The flooring tile, brick wall, wooden panelling, etc. continue into this area assuring a seamless blending of spaces. A combination of modern silver finished suspended lights and indirect pelmet lighting (all LED fixtures) creates a harmony of calming illumination. This swanky residence in one of Mumbai’s most posh areas is draped with luxury and grandeur. Boasting a sea facing view, the 2150 sq ft apartment has four bedrooms, a living and dining area, a kitchen and servants’ quarters. The architects were given complete freedom to explore varied materials such as exotic marbles, granites and veneers complemented with mirrors, back-painted glass and metals.
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The design maintains a contemporary look with clean straight lines, smooth planes and simple, yet intricate detailing. The living and dining areas showcase wall panelling in white onyx, mirrors from Villeroy & Boch, and alluring veneers. The wooden ceiling and Artimide hanging light accompany the Natuzzi sofa and circular dining table.
A combination of mirrored shutters, black back-painted glass, assorted veneers and Italian marbles forms the palette for the bedrooms. Bed headboards in white PU, beige leather and brown stone/wood detailing complete the concept. The bathrooms have been kept minimal with grey Italian marble and white composite marble. Branded fittings and fixtures add to the opulence. This 5000 sq ft office space belongs to an infrastructure company with a high-profile clientele. Budget not being an issue, the architects were given the opportunity to let their imaginations run wild. The reception divides the office into two parts - staff area and executive area. The staff area is simple and functional, with a palette of veneer, PU and Marbonite flooring. Slanting wall panels catch the eye upon entering the executive area - a theme which continues into the Joint Managing Director’s cabin and the Executive Directors’ rooms - giving the design the ‘edge’ that the brief demanded. The cabins are dominated by whites, veneers and greens. The conference room can hold 14 people and boasts of stateof-the-art technology. Three white bands of PU, three murals, and fancy leathercovered lights with silver leafing inside make the room interactive and cheerful. info@ gauravkarchitects.com www.gauravkarchitects.com
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DESIGN DESTINATION
SAN FRA WHERE San Francisco is the fourth most populous city in California. It is widely known for its political communities and diverse culture. The city is also known for its hilly terrain, scenic beauty and world class fine dining restaurants.
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NCISCO WHEN
WHY
One of the best things about this city is that it has great weather compared to most places around the world. It’s usually cooler in San Francisco than just outside of the city and because of this it makes it very comfortable to live here all year round or to even plan a vacation. Do note though that there are all-of-a-sudden weather changes to be expected where fog takes over and cools down the city!
Here is a city where contemporary art and culture collide. Though ‘big’ in terms of attractions and amenities, it is geographically small – only 49 square miles. This makes it very easy to see and indulge in various activities in a short period of time. A cosmopolitan community offers the benefits of a mélange of cultural experiences.
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LIVING ART Living in an art gallery may seem far-fetched. But, a hotel designed with an arty view could offer just that! With rooms showcasing the contemporary works of emerging artists from around the world, the Hotel Des Arts is located in the heart of San Francisco’s French Quarter. At the center of San Francisco’s charm and culture, this space provides an environment in which people can experience art in a new and more immediate way.
It’s just like staying in a gallery. It offers 51 guest rooms where one can find imaginative installations and edgy graffiti inspired works of art. Every room is unique. To date, the world’s top emerging artists have painted several rooms with full artistic control. The hallways are also decorated with amazing works of arts from many local and international artists. Moreover, these pieces of art are often for sale which means that it is not simply art as decoration, but art as an interactive experience. The design is complemented by neutral simplicity, modern lightings and clean lines of the furnishings. Located in the French Quarter, the Hotel des Arts is at the crossroads of Union Square, the Financial District and the Chinatown Gate; perfectly situated for business or pleasure.
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ODE TO THE SKIES The Transamerica Pyramid is the tallest building in the San Francisco skyline. It used to house the headquarters of Transamerica Corporation. The Transamerica Pyramid is located at 600 Montgomery Street in the heart of one of the most storied sections of San Francisco. Constructed in 1972 and designed by architect William Pereira, the Transamerica building boasts 48 stories of retail and office space. The radical approach to its design makes it very popular. Just as a tall tree still allows light to penetrate down, the structure is designed to allow light to stream in to the lower levels, rather than block it. The building’s façade is covered in crushed quartz, giving the building its light colour. It is a distinctive structure revered by San Franciscans and recognised internationally.
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HISTORY MEETS MUSIC
‘1300 On Fillmore’ is clearly one of the best designed restaurants in the city. The address is same as its name, which makes it an easy find as well. It is located in a historic part of the city where famous musicians, such as Louis Armstrong and Ella Fitzgerald, flocked to during the height of the jazz era. McCartan, a New York design firm, designed the space after the area’s history, giving it a luxurious and sophisticated lounge feel with its high ceilings and use of dark wood. The décor pays tribute to the Jazz Era of San Francisco’s Fillmore Street and yet encapsulates the city’s current urban vibe. The timeless jazz-style lounge in one side of the restaurant has 1950s style leather furniture stands and backlit black and white photos of jazz and blue legends. The dining area is more modern. Custom furniture and light fixtures, warm wood and plush leather couches give the dining room the same relaxed but luxe vibe as the lounge and bar. The decor successfully fuses the past, present, and future and is a must-see for music lovers.
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THE BRIDGE THAT WAS ULTIMATELY BUILT When the Golden Gate Bridge was completed in 1937 it was the world’s longest and tallest suspension bridge. It still manages to impress even the most experienced travellers with its stunning 1.7-mile span. The bridge, which was designed by engineer Joseph Strauss, was an architectural marvel at the time when it was built. The dimensions of the bridge defied all imagination, but with grit and determination it was completed. The elegant Art Deco design of the two huge towers of the bridge as well as the eye catching orange-red color of the bridge also helped its popularity. What is also appealing in its construction is the magnificent backdrop against which it was made. It is a spectacular sight which can be seen from many areas around San Francisco. The “bridge that just cannot be built” has clearly proved all its critics wrong!
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report While Travel Photo Jaipur saw acclaimed photographers from around the world display their fascinating photo essays themed on travel, St+art India Foundation's magnificent street art festival St+art Delhi 2016 witnessed the gathering of national and international street artists who worked on Delhi's Lodhi Colony.
Jaipur played host to Travel Photo Jaipur, an international open-air travel photography festival which presented a curatorial set of international photography that is seeped into the notion of travel and of journeying, and the photographers’ viewing of the places visited as outsiders. The festival featured works of 14 photographers, put up at several public locations in the city, thus inviting visitors to explore Jaipur as they gazed at the excellence on display. Some of the city’s most iconic locations were chosen for display, including Hawa Mahal, Albert Hall Museum and Jawahar Kala Kendra. The festival also incorporated a series of talks and three special interventions that discussed photography and approached it from all angles. The exhibiting photographers included Gideon Mendel, winner of six World Press Photo awards, presenting his essay titled Drowning World where floods that occurred in different parts of the world are captured, photographically depicting climate change and humankind’s vulnerability against nature’s fury.
Text By Tasneem S. Pocketwala
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Also included was Luis González Palma’s The Annunciation, conducted in collaboration with Graciela de Oliveira, which is a portrayal of hands in classical Western paintings as they showed the angel Gabriel announcing to the Virgin Mary that she would give birth to Jesus Christ.
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1. From Nishant Shukla’s ‘Brief Encounters’. 2. Albert Hall Museum, Jaipur. 3. Aitor Lara’s ‘Tower of Silence’ displayed at Hawa Mahal. 4. ‘Looking for the Masters in Ricardo’s Golden Shoes’ by Catherine Balet. 5. ‘The Pulikali Tigers’ by Anna Fox displayed at Jawahar Kala Kendra. 6. Jaipur School of Arts. 7. BIND’s Travelling Photobook Library. 8. The festival also incorporated a series of talks at Jawahar Kala Kendra.
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St+art Delhi 2016 in collaboration with Asian Paints, set out on a mission to beautify the Lodhi Colony area of the national capital, with cheerful colours. The festival, taking place from 15th December to 16th February, witnessed the gathering of national and international street artists who worked on the walls stretching between Khanna Market and Meherchand Market.
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Photo Credit Bed & Chai
Asian Paints supported the St+art Foundation, the artists and their creative endeavour. They provided the resources required by the artists to accomplish a feat of this magnanimous scale including funds, administrative support, and most importantly, paints.
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One of the festival’s foremost goals was to make art accessible to everyone and not only to an elite audience shut within the conventional gallery. By bringing art into the public space, the festival ensures that ordinary people can also engage with and discuss about art. 7
Photo Credit Bed & Chai
A significant part of the festival was WIP - The Street Art Show, which was a surreal walkthrough installation constructed with the use of 100 shipping containers. It was held at ICD (Inland Container Depot) in Tughlakabad in conjunction with CONCOR - Container Corporation of India. Here the artists worked on site, with a melange of cultural events buzzing around this dry port, Asia’s largest. The St+art Delhi festival was at once a celebration of street art and creativity, and a collaborative endeavour to bring to the Lodhi Colony of Delhi some colour and a much needed makeover.
Photo Credit Bed & Chai
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Photo Credit Hanif Kureshi
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www.st-artindia.org
Photo Credit Akshat Nauriyal
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Photo Credit Akshat Nauriyal
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1. WIP - The Street Art Show was a surreal walk through installation constructed with the use of 100 shipping containers. 2. Artist Harsh Raman (India) working on a shipping container. 3. Artists at work in Lodhi Colony. 4. Artwork by Harsh Raman. 5. Artwork by Colectivo Liquado + AlfAlfa. 6. Artwork by Anpu (India). 7. Artwork by NeverCrew (Switzerland). 8. Artwork by Borondo (Spain). 9. Inland container depot. Art by artist Harsh Raman. 10. Art by Chifumi.
Photo Credit Shijo George
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St+art Delhi 2016, at once a celebration of street art and creativity, set out on a mission to beautify the Lodhi Colony area of the national capital, with cheerful colours.
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Photo Credit Bed & Chai
Photo Credit Akshat Nauriyal
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DURAVIT SENSOWASH® SLIM SHOWER TOILETS FOR EVERYONE Duravit’s Red Dot Award winning product SensoWash® Slim offers the most natural form of hygiene possible - cleansing with water. Duravit has now introduced a new addition to its range of shower-toilet seats with the SensoWash® Slim. This new product offer all the advantages of a shower-toilet seat and it is the perfect entry-level item for those who value purism and simplicity. The flat lid-seat combination is an innovation in form, giving the ensemble the appearance of a traditional, yet elegant toilet. The outstanding practicality and simplicity of operation also makes SensoWash® Slim an ideal choice. The ultra-slim remote control, which continues the clear design of the shower-toilet seat, is used to select the desired function: Comfortwash, Rearwash or Ladywash. The intensity and position of the spray and the water temperature can be set to suit personal taste using the illuminated symbols.
For the first time the seat and showertoilet technology are completely separate: The entire SensoWash® Slim seat unit can be removed and replaced in a snap, allowing it to be cleaned quickly and easily.This is a tremendous advantage for use in semi-public and public areas. There is also a clever and convenient night-light function, with an LED which illuminates the inner basin providing orientation in the dark. It is also possible to lock or unlock all functions using a special key combination. After use, the remote control is stored in a wall-mounted holder. The seat open and close gently thanks to the soft close mechanism.
SensoWash® Slim is a discreet design object that blends into any modern bathroom ambience. In order to adhere to a broad spectrum of requirements and tastes it is available in a number of options, making it compatible with seven different Duravit bathroom ranges.
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tel: 079 66112300 respond@in.duravit.com www.duravit.in www.pro.duravit.in Home Review March 2016
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A unique feature of the design is that the walls are dressed up beautifully. Hammered-in life sized chairs, hand painted characters in different positions, frames, and quotes as well as a wire drawing on the wall catch attention.
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Retail Therapy
Out-ofthe-barrel We know that barrels cannot be square, and so when a brand like ‘Square Barrel’ comes along, we can most definitely expect stuff that is clearly out of the box! Text By Dhanishta Shah Photographs Himanshuu Sheth
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The designers have worked on familiar looking items and given them an intricate and thoughtful treatment, thus transforming their very ethos.
This is exactly what Pratik and Shikha Barasia had in mind when they started ‘Square Barrel’. Translating their vision of ‘funky’ and ‘quirky’, they wanted a brand name that would fit their creative thinking. “We chose the name Square Barrel because barrels are normally round and our ‘barrels’ are anything but that. We create objects that are anything but ordinary, objects that force you to look twice because they have a differentiating element,” explain the duo, talking about the products they house in their charming 500 square feet store.
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The décor is extremely eye-catching. Right from the time the customers get their first peek into the store through one of the long windows, they are inspired to step in and scan the entire space. The entrance has a charming old-industrial feel about it. The main door is huge and transparent. It leads to a little area, where stands a huge red arch, welcoming the visitor into the world of ‘Square Barrel’. To further engage with visitors, the store has fun quotes written all over the walls. It puts a smile on their faces as they navigate their way around the space. The display of frames on one entire wall is a clever way to add to the décor as well as showcase the products.
Good old wooden flooring provides a warm and comforting base on which the store stands. The ceiling with dark wooden beams lends a special charm and contrasts with the floor. A unique feature of the design is that the walls are dressed up beautifully. “We have hammered in life sized chairs finished in our brand colours onto one of the walls. The hand painted characters in different positions give customers a feel of our state of mind while we rack our brains to come up with quirky, out of the box designs,” they say.
When ordinary stuff is given an extraordinary touch, the object shines out, as can be seen in the products.
A wire drawing on the wall also catches attention. The thought behind it was simple - they needed a lamp, so they pulled a wire and gave it a ‘twist’! In this space, colour assumes a very important role. Each furniture piece has a different colour combination and together they completely brighten up the space. The walls are neutral in off-white, and aid in being the perfect backdrop for the products.
This is a store where the USP lies in the design of the products, and hence the display of the same becomes equally important. Every product in the store is designed and manufactured in-house. The store owners have also tried to infuse their unique sense of aesthetics into the display of the products. “Keeping the quirkiness of each piece in mind, we wanted to encourage the customer to experience each design individually. We have attempted to position them in a way that allows their uniqueness to come through and not get trumped by the quirky elements of the adjacent pieces,” they explain.
It goes without saying that they constantly change the position of the furniture in the shop because new designs are introduced almost every few weeks. In short, the look of the store is almost like that of an art gallery. When one has products, each of which is a work of art in itself, it does make good sense! www.squarebarrel.in
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GREEN PROJECT
Despite being located in the industrial zone of the Inner-Eastern suburb of Perth, Sanwell headquarters bears a contemporary look, yet seamlessly fits into its surroundings.
Greening The Workspace
Sanwell’s new headquarters in Welshpool, Perth is quite clearly a modern workspace; it is also a wonderful amalgamation of aesthetic design, natural form and function and has a substantially low ecological footprint. Text By Revati Upadhya Photographs Courtesy Braham Architects And Robert Frith (ACORN)
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A typical office space on the interior bears a contemporary, minimalist look. Fluid spaces are bathed in natural light.
Located in the thick of the industrial precinct of the inner eastern suburb of Perth the brand new headquarters of Sanwell, a company that is engaged in commercial and industrial hydraulic services, beautifully blend form, function and sustainability. However, the challenge at hand for the architectural firm of Braham Architects was to help fit in this commercial building in a typical industrial zone. They succeeded with aplomb and the result is a complex yet fluid structure; a product of a radical spin on a conventional tilt-up industrial building.
This section details the split level plan that makes the most of natural lighting and ventilation systems.
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Fluid, non-rigid workspaces encourage users to be mobile and flexible.
A project of Australia-based Braham Architects (winners of the Architecture Award for Sustainable Architecture at the WA Architecture Awards, 2015), the Sanwell Headquarters building was a product of a bare-bones project scope that evolved over time to cater to the diverse and highly developed needs of the ultimate users. “In all the projects we do, we have a strong focus toward an environmentally sustainable design. Our client didn’t request it, in actual fact, it never came up, but it’s always one of our primary considerations along with fulfilling our client brief,” says Ben Braham from the Practice Team at Braham Architects.
“Seeing that the building performs efficiently with a full consideration for the environment allows the structure to even better support its occupants. From the ground up, sustainability was addressed through, construction, future proofing, material selection, daily energy use through to end of life cycle dismantling and recycling.” Another major achievement is the drastic increase in the lifespan, flexibility and adaptability of the building achieved by its intelligent design. Clever use of space that allows for interchangeability, expansion and easy plug and play is another prominent feature at the Sanwell Headquarters.
Large breakout areas, and a fluidity between the formal/informal spaces were established; this fact invites the occupants to freely float in and out of them. Future extensions have also been facilitated by a steel structure that sits on the perimeter of the building, with the exception of two columns. Flexible planning of interior spaces has meant that several large spaces inside can potentially accommodate increased numbers of staff when future growth plans are rolled out.
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The detailing of the permeable aluminum brise-soleil facade that helps reduce solar gain drastically.
“We had to respond to an existing building on the adjacent site, a 5 to 10 year strategy for business growth, a long term consideration of 30 to 40 years of allowing the building to adapt through various iterations of developments, changing strategies and a potential for an unknown user. These challenges allowed us to strengthen the design,” says Ben. This has ensured that the building will remain relevant, valuable and functional for an extensive span of time. One of the pivotal features of the sustainable design was the use of an aluminium brise-soleil. This corrugated, perforated, anodised metal façade, hugely cuts solar gain and also provides visual connectivity.
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Ben explains the choice was an environmental one as well, “We really wanted to use a refined but industrial inspired brise-soleil to deal with the harsh environment in Welshpool. This allowed both views out and a huge increase in ambient natural light, but reduced the heat into the building and onto the building envelope by over 70%.” It is permeable, lightweight and low maintenance - all important sustainability factors. Awning windows, louvres and other highlevel openings help channel the cooling south-westerly breezes. The building therefore has enhanced natural ventilation. Combined with the decrease in solar gain, and a permeable facade, the building’s consumption of power was also reduced.
Lots of openable ventilation spaces ensure both the influx of sunlight and south-westerly breezes.
Other lighting requirements were met using low-energy LEDs that are liberally used throughout the project. A 150mm thick insulated sandwich panel ensured insulation throughout the building and over the entire roof. A keen focus not just on sustainable energy sources like solar power, but on an intelligent design that worked with the environment rather than against it ensured that the net power used to heat, cool and maintain temperatures within the structure was drastically minimised. “Our material palette was selected for environmental credentials along with a potential to dismantle and recycle upon end of use and reduced resource demand during construction,” says Braham.
The Sanwell Headquarters Building is powered by over 100 solar panels that generate 30kw of energy for the building to run on.
The Sanwell Headquarters, in addition to all of the above, also features on-site leach draining systems that not only manage all waste disposals on-site, but additionally save water thanks to the low-water trees and planting. Additional sustainable measures were: fully recyclable carpets, low odour, low VOC paints used throughout and the use of over 100 solar panels that deliver 30kw of power. That’s not all; end-of-trip facilities like an extensive bicycle parking facility encourages guests and clients to adopt healthier, sustainable means of transport to even get to the office. Tell me, if this is not taking sustainability a step further.
www.brahamarchitects.com
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Grace Wood Design Studio
Grace Wood, founder of the Grace Wood Design Studio based in NSW, Australia, uses Merino and crossbred wool from her family farm near Bathurst, to create one-of-a-kind, sustainable felt textiles. Felt is a textile that is produced by matting, condensing and pressing fibres together. It can be made out of natural fibres such as wool or even synthetic fibres such as acrylic. Grace Wood opts for using only natural fibres and those too which are accessible to her without incurring travel miles. Practising out of her studio in the Blue Mountains, Grace Wood is completely committed to an environmentally sustainable approach to design. The primary materials she employs include Australian Merino wool from the family farm and locally sourced Australian Alpaca, Mohair and Corriedale fleeces, silks and linens.
Text Compiled By Mala Bajaj
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Grace is a proud supporter of the Australian wool industry. Wool is natural and renewable, biodegradable, breathable, non-allergenic, durable and elastic, naturally insulating and multi-climatic. Australian Merino wool is celebrated throughout the world for its quality and using fleece from sheep raised on her family’s property throughout her designs adds a holistic dimension to Grace’s work.
Talking about the philosophy behind her work, Grace shares, “My work is informed by the beauty of the natural environment; the colours, textures and forms that continuously change and evolve and move fluidly within the landscape act as a catalyst for the notions and themes I explore.”
Grace’s family has a farm in the Central Tablelands NSW, and much of the wool she uses in her products comes straight from the farm. Other wool and fibres are sourced from around Australia, as locally as possible to curtail travel miles; she also prefers to buy in bulk as it reduces shipping frequency.
Through the integration of traditional crafts in her practice, Grace hopes to preserve and draw attention to the legacy they represent. In Grace’s own words, “My products are gentle to the earth because they come from the earth - the fibres I use are from animals and plants (wool, alpaca, mohair, tussah, mulberry silk and flax), and are renewable and biodegradable.” She uses flax, which is the same plant that linen is made from. The flax plant has many uses so there is usually no waste in its production; the seeds are turned into oil and flour which is used for poultices.
With a strong focus being on creating as low a carbon footprint as possible, Grace dyes her fibres almost exclusively with natural dyes derived from plants, fungi or parasites like cochineal. Other natural dyes include indigo; she was taught a special ancient technique by the indigo master Aboubakkar Fofana.
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Onion skins, madder root, dahlia and weld are yet more sources for her natural dyes. “I eschew the use of harmful synthetic chemicals that are so toxic to our waterways and to our soil. In this way I am doing my utmost to support our natural ecosystems and not become a burden on our already struggling planet,” avers Grace.
Artists and designers who aim to touch the earth lightly and reduce or limit the impact their lives and practice have on the environment have powerfully influenced Grace. “The many sustainable properties of the materials I choose to work with reflect my desire for these concerns to be both simultaneously upheld and influence others in the field and to support and encourage a generation of sustainable creativity,” she says.
Grace’s tantalising range apart from being high up on the eco-friendly quotient is also both elegant and eclectic and her objective is to always provide her audience with a context through which to encounter thoughts and feelings of curiosity, joy, delight, intrigue, warmth, comfort and connectedness. She signs off with, “Of course I aim to reuse and recycle wherever possible!” www.gracewooddesigns.com
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The client’s collection of artefacts was highlighted and its full glory showcased by reducing everything around to the bare minimum.
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GRANDEUR BY FUSION
Driven by the notion ‘design is where art and technology break even’, Amarjeet Syali and his team of designers set up the design solution company, Locus Design Arbeit.
Delhi-based design studio Locus Design Arbeit, which is the outcome of an amalgamation of construction and design expertise, specialises in construction, project management, architecture and interiors. The architectural company has recently designed a residence using a fusion of traditional and contemporary design elements. Over the past decade-and-ahalf, Locus Design Arbeit has earned itself the reputation of always delivering merit and quality-driven results. Amarjeet Syali, the design head and principal architect of Locus Design Arbeit, attributes this success story to the process of evolving the design and concept with the client’s long term goals as the focal point.
Text By Arushi Chaudhary Photographs By Kabeer Lal Home Review March 2016
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The latest addition to the design studio’s long list of successful interior design projects is a residence, situated in a posh South Delhi locality, owned by an eminent Supreme Court lawyer, named Aman Lekhi. As always, Amarjeet and his team of designers wove up a design scheme in sync with the client’s brief of creating a space that could celebrate his exquisite and mammoth art collection. Every single space in the house – from the lounge to the living area, home theatre, bedroom and even the stilt and terrace – were designed to accentuate the majesty of this unique art collection. Speaking of the extent to which the client’s collection of antiques and artworks influence the scheme of design, Amarjeet says, “One hundred percent! The brief given to us was to work around the collection and we stuck to it. At the very beginning, the client handed us a catalogue of all the artefacts that the family possessed and it was made clear that each one had to be suitably accommodated. And that was our biggest challenge. Therefore, special spaces were created to highlight each and every piece.” So, how did he ensure that these artefacts stood out as the foci of the design? “Some of these artefacts, such as a 100-year-old chandelier or the silver furniture in the living room are objects of grandeur. We were able to highlight their full glory by reducing everything around them to the bare minimum.”
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The heavy use of artefacts and antiques from the client’s collection alone would have lent a rather traditional and yesteryears’ look to the interior spaces.
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This monotony was broken by using a fusion of traditional and contemporary design elements. The seamless fusion of the two styles has been arrived at by blending the classical-traditional on the lower levels with the high-end contemporary on the upper levels. Explaining the fusion of classic-traditional and high-end contemporary, Amarjeet says, “While the formal entertainment areas were kept traditional, the personal living spaces were largely styled in a contemporary and minimalistic fashion, giving a feeling of openness to the spaces. The bedrooms and bathrooms are extremely modern and functional too.” He continues, “Also, the house is a modern smart home so the design concept had to be evolved keeping the aspect of functionality in mind. In order to camouflage the large number of tech devices, spaces were created such that conflict between the traditional and the modern was minimised, resulting in a peaceful blend of the two styles.”
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Another key element of the interiors is the use of large-sized wall art in the way of paintings and mirrors. Despite the sumptuous space in the house, these could still impart a cluttered feel to the entire ambience. How was that averted? “Some of the pieces used in the design were really huge, so we had to be especially mindful of not overcrowding the space and have a situation where nothing is able to speak for itself. The fusion strategy worked well to achieve what the client had in mind. A successful project is one that is able to strike the right balance and we managed to do just that by adopting the fusion theme,” explains Amarjeet.
A key element of the interiors is the use of large-sized wall art in the way of paintings and mirrors.
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This was the only strategy that could do justice to the client’s vast collection of artefacts and paintings in a city house. They had to ensure that the traditional elements did not become overpowering and at the same time had to make them stand out in all their grandeur. The use of lighting has played a crucial role in making the entire space more aesthetically appealing. Amarjeet agrees, “Absolutely! Lighting starts casting its spell right at the entrance gate and makes a visible impact throughout - be it in the niches on the way in the stilt or in the terrace or on the facade. Lighting is a very important element that has the potential to raise the ambience several notches higher. A wall with a nice texture, washed by a light in the right shade and intensity is in itself a complete piece of art.�
www.designarbeit.in
Spaces like the bathrooms have been kept extremely modern and functional.
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The house is a modern smart home so the design concept had to be evolved keeping the aspect of functionality in mind.
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The landscaping project was commissioned in phases, where different areas were worked on soon as the building around them was completed.
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Landscapes
Landscaping for Spirituality Architect Kalpak Bhave’s landscaping project, Dargah-EHakimi is a reflection of creativity evolved in sync with a community’s religious beliefs.
As a fresh graduate from the Academy of Architecture in Mumbai in 1989, Kalpak Y Bhave began his career by assisting a leading architect of the city at the time and was introduced to a world of seamless creativity through landscaping. The experience gripped his sensibilities, motivating him to pursue a master’s degree in landscape architecture a year later. This proved to be a turning point in his career, where he decided to focus his energies solely on landscape designing. Since 1992, when he began his journey as a landscape architect, Kalpak Bhave has created landscaping marvels across the country. One of his most popular creations includes the sprawling lawns of the Dargah-e-Hakimi.
Text By Arushi Chaudhary Photographs Courtesy Kalpak Bhave Home Review March 2016
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In all, 905 plants used in the landscape were done so precisely for the beauty of their foliage.
Located in an obscure town, Burhanpur, in Madhya Pradesh, Dargah-e-Hakimi is a shrine dedicated to Saiyyadi Abdul Qadir Hakimuddin. The place is of great religious relevance to the Dawoodi Bohras and attracts visitors from across the globe, all year round. The dargah complex spread over 125 acres of land, houses mosques, gardens and world-class accommodation facilities, for the visitors. At first glance, the structure looks more like a five-star resort, rather than a shrine. The beauty of the interiors and the tombs made of plush marble is further accentuated by its sprawling lawns, complete with colourful and intricate landscaping.
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Ask Kalpak Bhave, the man behind this landscaping marvel, what factors weighed on his mind the most when he conceived and executed the design, and he says, “Burhanpur falls in a typical climatic zone, where during summer months, the day temperature reaches up to 45 degrees and in winter, night temperature drops to 5-6 degrees. The selection of plant material had to be made keeping the weather condition in mind. The plants needed to be strong enough to sustain this variation and also look alive and fresh throughout the year, as the dargah receives visitors all year round.�
Flowering shrubs and climbers have been used at several places.
So, what kind of plants did he use for the landscaping? “In all, 905 plants used in the landscape were done so precisely for the beauty of their foliage. We have used varieties such as Durantas which offer a wide colour range, right from parrot green to dark green with a mix of white. Acalyphas in hues of dark green to red and dark brown with pink and light green have also been used. Casurina trees have been used as hedges in the pilgrim accommodation areas as they offer a thick and dark green cover and have a life span of at least 30 to 40 years.�
In addition to this, Alternanthera for its dark brown colour and Wedellia for its vibrant green with ribbon grass offering a combination of green and white, Allamanda dwarf variety that yields large yellow flowers and Lantana Sellowiana with its purple flowers, have all been used as ground covers. Over and above flowering shrubs such as Lagerstromia Indica, Bauhinia Tomentosa, Heliconia and Cannas with Bougainvillea have been planted at several places.
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Certain seasonal winter plants have been used to create temporary patterns in the lawn areas.
Kalpak adds, “Since the place has an essentially dry climate with minimal humidity, flowering trees bloom here to the maximum. Keeping this factor in mind, they used trees such as Bauhinia Purpurea, Lagerstromea Flos Reginae, Michelia Champaca, Plumeria Acutifolia and Plumeria Rubra. Certain seasonal winter plants have been used to create temporary patterns in the lawn areas, primarily with different colours of petunias.”
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Explaining how he worked around such a large space, using the natural setting as a launch pad, Kalpak says, “The overall area to be landscaped stretched over 75 acres, with sparse structure placement in between. The site was flat and did not have any contours to work with.” He continues, “The settings of proposed buildings were planned with large open areas initiating a good view of the landscape. The landscaping project was commissioned in phases, where we were offered different areas to design as each of the buildings around them was completed.”
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Alternanthera for its dark brown colour and Wedellia for its vibrant green with ribbon grass offering a combination of green and white, Allamanda dwarf variety that yields large yellow flowers and Lantana Sellowiana with its purple flowers, have all been used as ground covers.
This turned out to be benefical for him, “I had already conceived the broader landscaping picture for the entire expanse of land and this served as a good guideline towards working on one small patch at a time. This also ensured that the style of landscaping did not become hurdle for my creativity and went a long way in giving the place a cohesive, unified look.”
Speaking of his experience of taking on a design initiative of such mammoth proportions, he says, “I was most moved by the challenge of designing the landscape concept for this project. I invested a great deal of time in understanding the religious beliefs and lifestyles of the people visiting the shrine, and used that knowledge to evolve the ‘right’ style of landscape. Successfully evolving a style of landscape that is in sync with a community’s religious beliefs was the highlight of the experience for me.”
www.kalpakybhave.com
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THE MARKETPLACE VitrA Introduces Its Water Jewels Collection
Usha Launches New Models Of Its Air Cooler Range Usha International, one of India’s leading consumer durables company launches five new evaporative air coolers. The new launches include personal coolers (Stellar Range), tower coolers (Tornado Range) and window coolers (Azzuro Range). Usha air coolers are designed to cater to varied climatic and weather conditions across India. Customers will now have the choice to select coolers that combine smart design, healthy cooling and durability. Additionally, the company also offers a range of Usha Honeywell air coolers, which come with a copper winded motor that provides longevity and durability. Along with other features, these coolers have a unique ASPB function and the auto-close shutter function. The remote control function lets you relax and enjoy the cool breeze with the touch of a button. www.usha.com
VitrA, the leading bathroom solutions brand of Eczacıbaşı Building Products Division in Turkey introduces its range of colourful washbasins, the Water Jewels Series. These washbasins come with different shapes and colours, which are designed to add motion to living spaces. The Water Jewels Series was created by the Italian designer Matteo Thun, together with the VitrA Design Team. The designs of ceramic washbasins are artfully showcased. The basins are finished with brilliant metallic coatings that draw inspiration from traditional Turkish craftsmanship. The seemingly simple form and function of this collection is enhanced with PVD coatings, a stateof-the-art process of vaporising and depositing metal powder onto a surface, which remains corrosion-free and scratch-resistant. The Water Jewels Collection is available in gold, copper, platinum and traditional white gloss and is suitable for bench mount, semi-inset and under counter installation. The basins add texture, depth and a unique identity rarely seen before in bathroom design. www.vitra-india.com
Decowood By Greenlam Unveiled Its Premium Veneers Collection
Greenlam Industries Ltd. recently showcased its new Decowood collection with 78 new varieties at its manufacturing facility in Behror-Rajasthan. The collection presents new exotic variants such as oxidized, masterstroke, digital, polished panel, the plus veneer, impressions veneer and the limited edition. The range is made from over 30 wood species with an amalgamation of crafted expertise and wooden beauty. The entire range exudes an elegant and contemporary appeal.
In addition, there are customised veneers which can be made as per customer’s individual taste and preference. The new launch includes categories such as O2, which is a high character veneer developed through a special oxidization process; impression, which is all about textured veneers; and digital, which are veneers that have been introduced for the first time in India. Digital veneers are a combination of precious wood and technology. www.greenlam.com Home Review March 2016
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THE MARKETPLACE Silver Articles by Beliram Tarachand Jain
Beliram Tarachand Jain has released contemporary products made of silver. Each of the silver products is made of intricate design work and is aesthetically appealing. Quality has been taken into serious account by the brand. The products therefore are ensured to be of a high quality, expected to satisfying the needs and expectations of the buyer. All the silver products come with guarantee on purchase and are also customised. The products are rare eye-catching art pieces which are distinct and sophisticated. A wide range of silver wares are made available, such as ethereal divine sculptures, exquisite centre pieces, embossed platters, idols of Indian god and goodnesses, contemporary trays, decorative treasure boxes, ornate baskets, crystal bowls, majestic candle stands, designer photo frames and opulent clocks, and more.
Century Ply Launches New Age Panels Under the Brand Starke
One of the leading players in the plywood business in India, Century Ply has recently released new-age products under the brand name of Starke. Starke New Age panels have two variants, Starke Prime PVC Sheet and Starke Select PVC sheet. PVC sheets are environmentally friendly and are widely used for making home furniture, for application in wet areas, as sign boards, displays, and in construction applications.
Some of the key attributes of Starke PVC Sheets include easy maintenance, high resistance to fire, water proof, borer and termite proof. The sheets are also recyclable, making them green. They are also free from fungus attack and are toxin and formaldehyde free. Starke PVC Sheets are available in a wide variety of colours and design capabilities and are a great replacement for wood based products. www.centuryply.com
Franke Launches Its Tectonite Sinks
www.beliramsilver.com
Franke has recently launched its Tectonite sinks range. The Tectonite sinks come with three tiered accessories. These sinks are created to fit perfectly in functionality and design with third generation materials. A world leader in the production of sinks, Franke offers a unique range of products comprising models of both functionality and design, complete with various accessories that epitomise practicality and efficiency. Tectonite sinks give you the perfect
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opportunity to bring some style into your kitchen due to the exclusive and elegant colours available. As a material, Tectonite is extremely durable. It can resist temperatures of up to 300째C and impacts just about anything. These sinks are therefore extremely durable. Due to the exclusive Tectonite texture, the sinks can be easily cleaned. It also automatically repels liquids and dirt from the surface. www.franke.com
THE MARKETPLACE
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