MY SPACE : RAVI VAZIRANI
vol 14 issue 09
sEPTEMBER 2015
ART FORM : FILFURY
total pages 140
DESIGN DESTINATION : MONTREAL
RS 100 HOME-REVIEW.COM
MINNIE BHATT’S GHAAS PHOOS
AT FIRST SIGHT
INFINITE POSSIBILITIES WITH URBAN STUDIO
Khosla Associates’ SUBTLE AND EARTHY PAVILION SUSTAINABILITY SPECIAL DESIGNERS WHO think, build and live green
Photo: Cyrus Dalal
D
esigned to be a staging area for visitors, a pavilion created by Khosla Associates in Ahmedabad speaks of a quiet sophistication and subtlety. Created as a gateway for a golf course and villa development the structure is defined by its flat roofs, large overhangs and a disposition that is sans any outwardly flourishes of colour and embellishment. Once inside, tall glass divisions ensure interior and exterior spaces continue uninterrupted. The chosen earthy palette of wood, stone aggregate and cement remain inconspicuous for the most part, except at night when it comes alive under the glow of warm lighting. Revelling in a state of simplicity for the most part, a design feature that stands out is a curvilinear polished cement wall that originates at the entrance court, snakes its way through the interiors and comes to an elegant stop near a wooden patio. With this pavilion, the team at Khosla Associates led by principals Sandeep Khosla and Amaresh Anand have set a pre-cursor for things to come, and we can only hope that the remaining development stays true to their discerning style of subtlety and class. What was once a bland, anonymous and boring space with a set of massive columns punctuating its volume has been recast into a transformative art destination. Credit for the reinvention of Gallery Odyssey goes to Amisha Thanawala and her team at Urban Studio. The seemingly unsurmountable task of ‘hiding’ massive columns was ingeniously circumvented by wrapping them in ‘boxes’ of plywood and transforming them into a bank of glowing, rotating and revolving cuboids. This flexible and kinetic system makes this space suitable for all kinds of installations, large and small allowing it to morph on demand based on the needs of the artist and artwork. With the sheer absence of any unnecessary furniture or clutter, this gallery invites you to move around and be taken in only by the pieces on display.
Anish Bajaj, Editor anish@marvelinfomedia.com
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Every designer has a style, but it’s important to challenge that and step out of your comfort zone
THE MARKETPLACE Get your hands on the latest products to hit the market
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Discreet elements such as the doors and windows of a structure reveal a lot about the era they belonged to and the structural know-how then
Cover Story The Entrance Pavilion at a luxury villa housing project, designed by Bengalurubased Khosla Associates is a welcoming ensconce for greet-ups and gatherings
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SEPT 126
MONTREAL A DESIGN DESTINATION
122 Pune-based studioHAUS likes to view its projects as opportunities for eclectic design innovation and customisation
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107 At Hotel Ayllon contemporary design and comforts are fitted faultlessly into the medieval charm of the small town by Lucas y Hernández-Gil Architects
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112 GREEN PROJECT American designer Sharon Davis’ home is a simple yet luxurious abode whose design was inspired by its natural surroundings
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UK-based designer Phil Robson has a serious sneaker fixation. He uses them to create art Visually busy, an assortment of elements come together to create a quirky, eclectic vibe at this eatery designed by Minnie Bhatt
47 Gallery Odyssey in Mumbai was once bland and uninspiring; it has now been transformed into an open, versatile space by design firm Urban Studio
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Danish designer Jonas Edvard creates chairs out of seaweed and lamps out of mushrooms. His designs are quirky, yet very eco-friendly
EMBER
58 You could easily miss spotting the Kruisheren hotel in Maastricht as the church it is housed in provides no clue to its existence
63 By Naina Shenoy
66 78 Projects, designers and products that rank high on the sustainability chart
74 Studio Creo – an interior design practice combined with a furnishing store exudes the legacy of accessible and creative design
Chennai based Shripal and Venkat Architects design a beachfront villa with clear-span interiors and stunning views of the sea waters Home Review September 2015
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emails + feedback Refreshing Office Interiors A Truly Chic Abode The interiors of this residence are amazingly done by Gaurav Kharkar and his team. The right kind of props, accessories and colours bring the whole look of the house together. Rahul Khanna Hyderabad
Patch Design Studio has achieved something remarkable with this office in a comparatively small space, budget and a short span of time. I love how the whole layout of the office follows an angular design scheme with enough relaxing spaces. Komal Puri By Email
Thoughtful And Minimalistic The feature on the National Institute of Faith Leadership was portrayed in a very elegant manner. Kudos to the architects for building a religious structure while balancing architecture and devotion. Suhani Ray By Email
Let us know what you love and hate about this issue. Mail us at letters@marvelinfomedia.com
Outright Weird In A Good Way Re-purposed LAN cables and acrylic waste pieces to design a bar! I was intrigued while reading about the Tetchan Yakitori Bar. Thanks to Home Review for bringing to light such an astonishing project. Mitali Ghosh Mumbai
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Editor & Publisher Anish Bajaj Creative Director Natalie Pedder-Bajaj
Chryselle D’Silva Dias Freelance writer Chryselle D’Silva Dias is a freelance writer based in Goa. She has written for TIME, BBC, Scroll.in, Marie Claire India and other leading publications. Visit her at www.chryselle.net
Features Editor Mala Bajaj Assistant Editor Shweta Salvi Sub Editor Rehana Hussain Contributing Writers Chryselle D’Silva Dias Christabelle Athaide Dhanishta Shah Himali Kothari K Parvathy Menon Shruti Nambiar Designers Asif Shayannawar Darshan Palav Snigdha Hodarkar
Naina Shenoy Furniture Designer Naina Shenoy attained her Bachelors in Furniture and Interior Design from NID Ahmedabad. She believes that furniture is construction in small scale and that’s what opened up myriad possibilities for her.
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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 23736133/1, 32958501 F 022 23743069 E response@marvelinfomedia.com
Khosla Associates At First Sight, Page 22. Khosla Associates was founded in 1995 by Principal Architect Sandeep Khosla, a New York Pratt Institute graduate and former associate at Charles Correa’s Mumbai office. Sandeep was later joined by co-director Amaresh Anand in 2000. Their contextual approach to design has resulted in a work portfolio that boasts of a wide array of projects and several laurels.
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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Shripal and Venkat Architects, SVA Shoreside Harmony, Page 66. Shripal and Venkat Architects, SVA is a boutique architectural and interior design firm based out of Chennai. Their projects are based on the principles of creating clean, positive, well-lit and airy spaces. Their global experience is evident in the design vocabulary and high quality of finishes in their projects.
Minnie Bhatt Ghaas Phoos, Page 34. Principal architect of Minnie Bhatt Design,a seven year old firm, Minnie Bhatt designs spaces which are tasteful and timeless with an emphasis on authenticity. Her design style is eclectic and contemporary and she endeavours to steer clear of doing repetitive work.
PAST & FUTURE
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PAST & FUTURE
E V E N T S 23BookAUGLaunch of 4th Dimension
Celebrating its 20th year this year, Maison & Objet Paris has decided to reinvent itself. Its aim being to facilitate an enriched visit, the show features three poles for comfort in navigation and also new synergies. The poles include Maison, that comprises decorative interiors such as lighting and fabrics and furniture; Objet, comprising objects in all sizes and shapes; and lastly, Luxe, Design & Architecture D’Intérieur which comprises design and luxury lifestyle. The show also highlights emergent designers through the awards Designer of the Year and Talents à la Carte.
Architecture, Mumbai
www.maison-objet.com Title Waves bookstore in Mumbai saw the launch of the book ‘4th Dimension Architecture’ by Architect Chandrakant Patel, the man behind the Bombay Stock Exchange building. Present at the unveiling of the book were celebrities Asha Parekh and John Abraham, both of whom were enthralled by the architect. While Asha Parekh expressed fascination with his designs, particularly the Bombay Stock Exchange, John Abraham expressed awe at Patel’s grit and determination throughout his career. The book tracks Chandrakant Patel’s journey from his days as a student of architecture in Europe to the icon he has become today – most significantly, his becoming the man behind the Bombay Stock Exchange. Patel takes the readers along on a journey, charting the course of his life from being Alvar Aalto’s protégé to designing buildings in Mumbai working under a few architecture firms, to starting his own firm – Architectural Research Unit. The book is split into chapters in accordance with chronological events in Patel’s life.
The Bosch showroom features free standing appliances customised to meet the Indian requirements. Bosch’s built-in appliances also offer high quality and design in products that fit snugly into kitchen cabinets.
www.siemens.co.in www.bosch-home.com/in
TO 4Maison 8 SEPT& Objet Paris
27BSHAUGHome Appliances Launches
Sir Peter Cook, one of the leading figures in architecture today, is visiting India for his first ever exhibition in Asia of his drawings and sketches. Sir Peter was in New Delhi from 18th to 26th of August but the exhibition will remain open from 21st August to 22nd September. The event is presented by Gallery Espace in association with Architecture Discipline, established by Akshat Bhatt. Gallery Espace in Delhi will display 34 sketches of the architectural icon drawn between the 60s and 2000. Since constructed development is a hot topic today, these works are very much contextual to the current milieu.
Two New Stores, New Delhi
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Peter Cook, New Delhi
The Siemens store has on offer a wide range of products in both the built-in and free standing categories. Siemens products combine in their make, advanced technology with aesthetically appealing design.
www.facebook.com/ArChandrakantPatel
BSH Home Appliances has recently launched two stores showcasing its two brands, Siemens and Bosch. Both showrooms are launched in Delhi’s Pitam Pura. Bosch Household Appliances is quite popular with the Indian market with its range of washing machines, washer dryers, dryers, refrigerators, dishwashers and its built-in range which includes cooking hobs, hoods and ovens. Siemens Home Appliances has also carved a niche in the Indian market, with its range of kitchen appliances and furniture.
21Exhibition AUG TO 22 SEPT of Drawings by Sir
One of the major events in the world of design, Maison & Objet returns to Paris bringing together a holistic product offering from decoration, design, furniture to textiles and accessories. The event attracts exhibitors and visitors from the world over for an international trade fair and upholds innovation and excellence above all. For its September session the event focuses more closely on the world of interior architecture and décor.
Sir Peter Cook is most renowned for his concepts and drawings for architectural projects that are avant-garde. He is also the founder of Archigram and has been a legendary figure in world architecture for over 50 years. The drawings exhibited include the 1963 Montreal Tower, ‘Trickling Towers’, the ‘Tower of Studios’ and a series of conceptual drawings under the name ‘Skywaft City’. www.galleryespace.com www.architecturediscipline.com
PAST & FUTURE
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PAST & FUTURE
E V E N T S 16 17 SEPT TO
It aims to facilitate the exchange of ideas and for Chinese as well as international designers, institutions and organisations to meet and network. The event serves as a space for innovative perspectives to inspire and mould the current design discourse.
Architect at Work Vienna, Austria
Following the demand of both exhibitors and visitors, Architect at Work premieres in Austria this September. The event boasts of a unique concept that is reflected in its unique exhibition layout. Optimal contact between visitors and exhibitors is taken to be crucial and to ensure that, visitors are led along a path that winds through small, uniform modules. The innovations displayed by the exhibitors are presented in corner units and on the walls. Before showcasing products at the event they have to be first approved by a judging panel comprising architects and interior designers. All products are assessed based on their degree of innovation and the information provided by the exhibitor. The event also incorporates various seminars aiming to provide an opportunity for fellow architects to share their experiences with visitors and talk about current issues pertaining to the sector. Visitors at this event will include architects, interior architects, designers, urban planners, government agencies and lecturers.
The festival comprises sundry events in collaboration with the Victoria and Albert Museum which, as the central hub location for the festival, will house an array of activities including installations, events, talks and workshops. A significant aspect of the festival’s programme is the presentation of Landmark Projects in several locations in the city. These projects are site-specific installations that are meant to showcase the imaginative talent of their designers. Other programmes enlisted include the Global Design Forum, which holds talks and discussions to explore the place and role of design in a sustainable future. A wondrous location housing several of the projects this year will be the Somerset House. This setting is touted to be a crucial destination for the visitors, as it is a centre of London’s arts and culture.
23 SEPT TO 7 OCT
Beijing Design Week Beijing, China
19 TO 27 SEPT
London Design Festival London
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www.bjdw.org
26 OCT
Registration for Red Dot Award: Product Design Begins Essen, Germany
www.londondesignfestival.com
www.architectatwork.at
The London Design Festival is one of the most significant annual design events, providing a platform for emergent design talents with over 350 events and installations. The Festival has been readied to showcase ideas from over 250 partners and represents the heart of the city’s vibrant design community.
Some of the key sessions under this event include Design Night; Design Awards that seek to honour the most inspirational and innovative design projects or work; Design Trade; Design Service, which aims to promote business start-up and innovation; and Design Hop, which is a citywide event of exhibitions, installations, pop-ups, workshops and seminars.
Beijing Design Week is an international design event which serves as one of the largest and most influential platforms in Asia for the display and promotion of creative designs, for trading and the exchange of creative ideas. This event will display and introduce the most innovative products out of the design industry.
The registration period of the Red Dot Award: Product Design 2016 begins on 26th October 2015. There are three registration phases – ‘Early Bird’, ‘Regular’, and ‘Latecomer’ that provide hopeful participants time until 10th February 2016 to send in their products. Designers and manufacturers from the world over are invited to submit their original products for a chance at winning the coveted ‘Red Dot’. The reputed international competition awards the best products in the world of design with the help of a jury of experts. International brands, established luminaries, emerging professionals and medium-sized businesses can compete for the award in equal measure. The competition takes into account neither the selling price nor the popularity of the brand, focussing instead on the product’s quality and originality. The products will be judged under 31 categories. Participants are judged along the lines of innovation, functionality, formal quality and ecological compatibility. www.red-dot.org
PAST & FUTURE
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Formal education can at times take the term ‘discipline’ to another level. However, excessive disciplining in a creative field shackles originality – a lineal archetype can construct obtrusive professional boundaries, restricting creativity to precast moulds. Eliminating these very boundaries and celebrating intuitive design is Mumbai-based designer Ravi Vazirani. A natural aesthete, Ravi has the ability to bring in a spurt of freshness in his every project – there is no marked signature that his craft is based on, and that is his biggest strength. After exploring space design for seven years he finally set practice in 2010. Ravi Vazirani Design Studio’s (RVDS) adept sense of space, function and style has earned the firm a distinguished oeuvre of residential, retail and hospitality projects. There is a certain intimacy in the studio’s projects that shines through the purposeful detailing that goes in their every design assignment – exclusively fashioned furniture and fittings bring it all together giving the space a distinct narrative. Ravi’s natural ability to learn and find inspiration in the mundane allows him to conceive his projects with a special sense of quirkiness. Through this interview, we try to pan in on the secrets of what makes Ravi Vazirani’s work so organically stylish.
Interview by Shweta Salvi
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Things that inspire you (apart from design/architecture) and support your ideation process... Tell us about your journey as a designer. How has your practice evolved? Being self-taught, I am continuously evolving as a designer. There’s so much to learn, so much to see that one can never really stop absorbing/learning. I believe the lack of a formal/structured approach to design education, makes it a lot more exciting because you have no preconceived ideas of the field. From when the studio started to now, I sense a strong focus on creating quality design as opposed to just designing spaces because it’s required. Over the years, the studio is beginning to appreciate details and indulging in them. That includes customising almost everything or investing in products that have that element of detail in. We appreciate the nuances of design, something I believe one needs to have a keen eye for.
Every designer has a style, but it’s important to challenge that and step out of your comfort zone.
Everything inspires me, which is a bit overwhelming sometimes. The dressing style of my domestic staff, which is so beautifully rural, to the kitschy fabric of a taxi, to the streets of Spain, to the chaos of Dharavi. I love observing people in their spaces, spaces that have not been designed, but are a natural evolution of their style. It fascinates me to see someone’s inherent personality take over a space, regardless of the final effect being good or bad. I would never imagine a space with electric blue walls and metallic floors, but nevertheless it is definitely interesting to observe someone in that space.
Metros like Mumbai are increasingly facing the predicament of ever-shrinking square footage. What are the dos and don’ts that you follow when you design for small spaces? Don’t follow trends. Don’t be overly ambitious. Be realistic. You cannot have everything, so define your priorities. For example, if you like colour, make choices that compliment your need for colour. You can’t do colour, oversized furniture, patterns and prints all in one space. It doesn’t work.
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I am a great fan of Bijoy Jain’s work. (It) reinforces my belief that design is all in the details. You don’t need to be ornate, simplicity can be beautiful too.
You pay great attention to detail as is evident in most of your projects. Tell us about the significance of art of accessorising and choosing suitable artwork for a project. We try and imagine a space as a whole before we begin the actual process on site. This helps the studio understand; rather than define what is priority and what is not. So as opposed to “needing” artwork, because we have proposed it, we look at art that inspires us when we conceptualise and revolve the space around it. That way, you’re not accessorising the house, because it needs to be done, you’re building a house around things you actually like and would love to live with. You can replace art with stone that I may have spotted on a recce or a particular piece of furniture, the idea is to imagine the space as a whole. We really enjoy seeing a project through to a point of completion where the smallest aspects are taken care of. If that means commissioning china to match the décor, so be it.
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A project which is very close to your heart... Most projects are, but I guess my first coffee shop I ever designed called “The Stolen Coffee Room” is very special. With changing trends, occasional fanciful patrons and ever evolving design perceptions how does a designer manage to maintain his/her individuality in their designs? Simple. Don’t follow trends. Be aware, but don’t blindly follow something because it’s in vogue. Design must be timeless. Every designer has a style, but it’s important to challenge that and step out of your comfort zone. Attempt that and surprise yourself is what I believe. That helps me understand what I do best and how do I get better. It helps me adapt and add to my style and maintaining an aesthetic that is still mine and not borrowed or trending.
Could you list a few design practices across the globe that inspire you, and why? The list is endless. Autoban from Istanbul. Their work is very inspiring. Beautiful combination of old and new. Language is continuous, but there’s always an element of new. Can you name one country (not India) whose cultural heritage charms you and has great design potential? I found design in Istanbul, Turkey to be a beautiful combination of the old and new. The heritage is so beautifully evident everywhere and blends into the new with great ease.
Vincent Wolf, New York. I love his style. It’s organic. Spaces he creates feel real, they don’t feel manufactured. They are timeless. I love that.
What are you currently working on?
Greyhound, Thailand. As a design house, they are more into fashion and less into architecture and interiors, but I love how beautifully harmonious the brand communication is over several platforms. Be it food, fashion or home products.
A range of projects that involve high-end homes, bars, stores and some private offices. We just finished our first international project for Atmosphere in Singapore.
Roman & Williams. I love their work. Great design, great style. Beautiful industrial spaces with an amazing blend of old and new. Bijoy Jain, India. I am a great fan of his work. Reinforces my belief that design is all in the details. You don’t need to be ornate, simplicity can be beautiful too.
What immediate goals have you lined out for the practice? I’d love to see RVDS grow as a brand that is synonymous with good design. We are working on a range of lifestyle products which we hope to launch soon. I don’t plan for the studio to be a very large studio. I like it being intimate. I’d rather our body of work grow through collaboration with other designers and artists. If not designer what profession would you have loved to take up? Considering I have already been that person who used to do something else before I took up design, that’s a wee bit hard to answer. However, on days when I do feel I’d like to change professions just for the joy of it, I think I would have been a baker.
studio@ravivazirani.com
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AT FIRST SIGHT 22 Home Review September 2015
The Entrance Pavilion at the luxury villa housing project, Glade One, in Ahmedabad, has been designed by Bengaluru-based Khosla Associates as a simple, welcoming ensconce for visitor greet-ups, display and for social gatherings. Bengaluru-based Khosla Associates was brought on board by BSafal Constructions Pvt. Ltd. to design an entrance pavilion for their ambitious golf course villa housing project, Glade One, located at Sanand in Ahmedabad, Gujarat. The team, led by Principals Sandeep Khosla and Amaresh Anand, had to create a 6,000 sq. ft. space that would make the perfect first impression on visitors, before they moved on to view the project’s vast lifestyle offerings, including a 250-acre golf course, and club house, resort and spa facilities.
Text By Shruti Nambiar Photographs Jignesh Vishwanath Home Review September 2015
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In the words of the firm, the Pavilion had to be “an entry and greeting point”. Though at the outset that may seem like the spare and simple objective of building this space, the Entrance Pavilion in reality encompasses many functions within its elegant, roomy folds. One of its major functions is to act as a display destination that showcases the perks of being a resident of the Glade One development project; as well as the levels of progress it traversed, the distinguishing features, and more. The warm, welcoming tenor of the Pavilion is established by a low-frill, sturdy approach to space division and construction. The prominent materials here are wood, stone aggregate, and cement, and this combination comes alive at night with the help of sublime warm lighting. “The external walls are a judicious mix of stone aggregate plaster and polished cement offset with timber on the roofs,” states Sandeep Khosla, Principal and founder of the firm. The designers were aiming for earthy tones for the Pavilion, a wise choice as it both complements and enhances the expanse of natural beauty all around the building. This is in fact one of the prime achievements of this space, that it manages to impress with its subtlety and class, but in no way attempts to usurp the charm of its surroundings, or of the luxuries that lie ahead of it.
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Aside from entry and display, the pavilion also had to become a space that is ready to serve and entertain guests on occasion. This is a de rigueur arrangement at housing projects of the size of Glade One – the presence of small, cosy structures where the residents, otherwise separated by private walls, can once in a while gather and socialise at. The overall stretch and elevation of the Pavilion is largely flat, and runs across in a mostly uninterrupted, elongated sequence of grey epoxy flooring. “A linear proportion for the floor plate was considered for our design, as the entrance to the overall development was fairly narrow,� attests Sandeep.
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Tall glass divisions make sure that the smooth flow of
the formal
and informal,
interior and external spaces continues
uninterrupted.
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Elevations
The entrance court is carpeted with pebbles and sits overlooking a wide portico space that is flanked by trees. And “looming above is a sweeping butterfly roof with large overhangs, clad on the underside entirely in slats of timber.� This rather traditional spread thus makes even small flashes of design visually arresting. Like a shallow water feature near the main door, and a curvilinear wall defying all the straight angles around. Keeping in good stead with the breathy surroundings, the exterior as well as the interiors are characterised by wide spaces and minimal furnishing. And then again there is that polished cement curvilinear feature wall. It originates at the entrance court, cleaves and curves through the interiors to enclose a reception table and create a coffee bar, before jutting out from the western end of the building, where it dips to meet the ground and comes to an elegant stop near the wooden patio. Though still far from wildly eccentric, this addition to the scheme is a delightful surprise. Home Review September 2015
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The Glade One Visitor Entrance Pavilion looks like an appropriately luxurious living room space rather than a stiflingly formal structure that could host get-togethers. A brilliant stroke of design wisdom by the team at Khosla Associates, as avoiding the temptation of adding ostentatious props and rooms at a luxury project is always a tough choice to make. info@khoslaassociates.com www.khoslaassociates.com
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One of the many government buildings in Kolkata’s BBD Bagh with a characteristic red brick facade and blue windows.
Doors and Windows TEXT AND PHOTOS BY KUNAL BHATIA kunal@kunalbhatia.net www.kunalbhatia.net Architecture has always been a fundamental expression of mankind and also a reflection of a society’s economical, social, political and technological standing. Innovative engineering and artistic embellishments are often common parameters to understand a structure and define its merits. However, much can also be understood from elements that may be as inconspicuous and ordinary-sounding as its doors and windows.
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At a first glance, doors and windows reveal knowledge about the fundamental constraints that may have shaped them: such as the climatic zone in which they were built; the structural know-how during those times; the materials that were popular and readily available or simply the presence or lack of wealth of their patrons. Standing at a threshold, they not only govern physical factors like movement; tangible conditions like light, sound and air; but can also reveal some unsaid equations within communities, relations between their inhabitants or distribution of power within society.
Still images have the power to make one pause. And as one looks at these photographs, one can’t help but wonder more not only about the larger structures that these doors and windows are a part of and about the eras in which they flourished, but more importantly, also about the people that lived behind them or passed through them. Though no people are in direct view, their presence within the frame cannot be completely ruled out. From obvious indicators such as drawn curtains to an unoccupied bench or an empty flight of steps - humans and their elements quite literally breathe a sense of life into these images.
The sombre khaki coloured buildings of the Old Town of Bern, the capital of Switzerland, are punctuated by colourful window shutters, bright awnings and vividly blooming flowers.
In Switzerland, an assortment of objects, from plumbing fixtures to barometers, sit atop a recycled anchor next to a bright red-and-white door.
An attendant sits outside a carved door leading into a series of chambers in the erstwhile royal quarters of Jodhpur’s Mehrangarh Fort.
Quaint doors and windows in the Vlaeykensgang - a narrow, historic 16th residential alley in Antwerp. Home Review September 2015
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The walls and doors of the Knesset Eliyahoo synagogue, Mumbai are washed blue, a colour that symbolises divinity and equilibrium in Judaism.
A beautifully carved, sensuous wooden door flanked by two smaller openings set into a brick façade in the town of Ghent, Belgium.
Le Corbusier made extensive use of brise-soleils (sun shading elements) that are customised as per the geographical location of each structure. Their envelope around the façade of Chandigarh’s High Court building gives it a distinct character.
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The brief specified that the space should look like the home of a well-travelled person. Another requirement was that it should not look Indian, since the restaurant serves vegetarian food from all over the world.
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GHAAS PHOOS Taking its name from the dismissive term used by meat eaters to describe vegetarian food, a vegetarian eatery in Korum Mall, Thane, designed by Minnie Bhatt has a predominantly white interior. Visually busy, an assortment of elements come together to create a quirky, eclectic vibe. Restaurants, like people, have personalities. The personality of a restaurant should be defined and programmed, visualised before the first sketch of the restaurant design is even considered. A restaurant engages all of the senses - certainly sight, smell, taste, touch and sound. And of course, every restaurant wants to distinguish itself from the rest. They don’t merely want to be considered the best of the pack – they usually prefer to be considered the only ones who do what they do. And décor plays a huge role, going by what the customer experiences. After all, it’s the architect’s decision on things like decor, lighting effects, and where to place the kitchen that can mean the difference between an enjoyable dining experience or not. “But in vegetarian restaurants, the décor is usually given very little importance,” says Minnie Bhatt.
Text By Devyani Jayakar Photographs Courtesy Ghaas Phoos restaurant Home Review September 2015
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The brief specified that the space should look like the home of a well-travelled person. Another requirement was that it should not look Indian, since the restaurant serves vegetarian food from all over the world. “A fictitious foodie became the starting point of our design. Books, souvenirs, even a bicycle are part of the design,” she adds.
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A clock, candle stands and a cat created in fibre add to the ambience. The vibe is one of casual dining. Visually busy, the look stops short of clutter with the colour white uniting most of the design. A faux coat and hat stand, a large candelabra, a faux chandelier, a staircase, a desk with a reading lamp and a library add to the quirky feel of the space. In this eclectic aesthetic, there are different types of tables and chairs; the latter are tied together with white painted woodwork. The upholstery also follows the mismatched precedent set by the rest of the design, sporting either English flowers or stripes. A private dining room seating ten has been accommodated in a separate niche. The open kitchen is not ‘open’ simply by virtue of puncturing a window in a wall. Like a home, it has cabinets with shelves, styled like the kitchen of a country home in England, its visibility demonstrating the confidence of the owners in how they handle this space which is usually hidden from view. David Rockwell, founder and CEO of Rockwell Group, and the restaurant architect, once explained to Business Insider: “You have to think of a restaurant as a series of impressions. But there’s no one answer that’s right for every restaurant.” However, one theme Rockwell does follow in all of his designs: the relationship and overlap between theatre and architecture. “It’s about entrances. When you come in to a restaurant, the first impression is critical,” Rockwell says.
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So it’s clearly intentional that the façade of Ghaas Phoos has four arches and simple signage, resembling the entrance to a private home. Rockwell’s love for entrances, exits, first impressions and drama are a large part of his design. But his rational architect side is also omnipresent. “Can you read the menus? Is the chair a 45-minute chair or is it a two and half hour chair? Does that match the rhythm the chef has in mind?” Rockwell is not only the architect of your restaurant experience, but the choreographer, setting the pace for the entire meal from the greeting to the bill. In Mumbai, Minnie is something of a ‘restaurant specialist,’ herself, with 15-16 restaurants under her belt, including Burma Burma, Silver Beach Café, Radio Bar and Nom Nom. And of course, a warm and inviting vibe is the essence of any restaurant, she states. Restaurant design plays a critical role in attracting and retaining customers. At the same time, good design must facilitate food preparation and service. An understanding is required of the restaurant’s front as well as back-of-the-house operations, integrating it into a design that meets the needs of the restaurant’s owners, staff, and clientele. Moreover, an understanding of the restaurant’s concept, market and menu facilitates a seamless operation and enhances the dining experience. Don’t all restaurants attempt to elevate the experience of dining out? As Megan Willet says in Why A Restaurant’s Design Is As Important As The Food, “The next time you’re in a restaurant, take a good look around you - where you’re sitting, what you’re sitting on, if you can see the menu, and how far away you are from the table next to you - and remember it was all decided by the vision of the restaurant’s designer.” minnie@minniebhatt.com www.minniebhatt.com The façade of Ghaas Phoos has four arches and simple signage, resembling the entrance to a private home.
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Like a home, the open kitchen has cabinets with shelves, styled like the kitchen of a country home in England.
The chairs are tied together with white painted woodwork. The upholstery also follows the mismatched precedent set by the rest of the design, sporting either English flowers or stripes.
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Filfury’s design process: shoe + camera + coffee + sketchbook + Google image search + Photoshop.
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art form
It's Shoe-Time What’s the next best thing to do with your sneakers other than using them to work out? Why, using them to create art, of course.
UK-based designer Phil Robson aka Filfury has a serious sneaker fixation. Both his children have middle names inspired by sneakers and the designer confesses his shoe closet once accommodated 100 pairs of sneakers before he was compelled to donate most of them while moving home. Thankfully the designer’s fascination with sneakers is not just limited to keeping up with the latest fads. As a director, designer and artist, Filfury’s mind is so wired to think divergently that when he comes face-to-face with his sneakers what he sees are not laces, stitching and mesh but the vague forms of bats, guns, butterflies, skulls and other assorted objects floating before his eyes.
Sometimes his subject matter is inspired by the design of the shoe; other times the artist manipulates the shoe parts to create an image he has in mind.
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Inspired by the hidden worlds within a pair of shoes, the artist salvages the sneaker parts digitally to create clever collages. His design process, he shares, involves, “Shoe + camera + coffee + sketchbook + Google image search + Photoshop.” And may we add – an imagination on the loose? Answering what is perhaps an oft-repeated question – “Why sneakers of all the things?” Filfury responds emphatically, “Why not! I love sneakers.” As a graphic designer, Filfury spends a fair amount of time in front of the computer screen manipulating images and it was only a matter of time before his work and shoe fetish collided on Photoshop. He admits as much, “I’m a graphic designer, so it was natural, playing with photography and digital manipulation.” The artist first experimented with digital collages of sneakers a couple of years ago and was encouraged to continue creating as the process was enjoyable and the art paying. He says that the one-liner brief he gives himself when beginning work is, “Have fun. Create something you haven’t done yet.” Despite his enormous collection of sneakers, Filfury manages to narrow his favourites down to a few saying, “I love Nike Air Max, and anything with a bubble. Although I’ve given my children sneaker-inspired middle names – Cortez and Blazer, so these sneakers too should be on the list.” Speaking about his creative process he says, “I always start with the shoe. So it depends how I am inspired, whether I think - wouldn’t it be cool if I could turn this into (something), or if I see the shoe and think this reminds me of (something).
His collages are really ingenious and turn creepy things like beetles, flying bats and skulls into cool art.
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In the case of his Beretta collage it was the shape of the gun that inspired him to cut up an Airmax sneaker digitally. The artist says, “I wanted to create that shape and form; that was the challenge.”
The artist is keen on turning his digital collages into 3D sculptures. We’re not sure if this means he will be willing to disembowel his beloved sneakers in the process, but it will be interesting to observe.
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“Have fun. Create something you haven’t done yet”, is the simple brief the artist gives himself when starting on a new work of art.
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At other times, it is the unusual design of the sneaker that triggers his thinking. “My recent Manta Ray Tubular was based off me seeing the shoe and thinking that it reminded me of that creature,” he points out. Irrespective of the design triggers, in the end all that matters is the aesthetic value of the collages and Filfury certainly does not disappoint on that count. His collages are really ingenious and turn creepy things like beetles, flying bats and skulls into cool art. In fact they even have you thinking of the possibility of these as 3D sculptures. It’s a thought that hasn’t escaped the artist’s attention either. He says, “I have played with this (3D sculptures), and it’s nice stepping away from the computer. So 2015 should see some sculptural work come to life.” It’s not clear if this means he will disembowel his beloved sneakers to bring his imagination to life, but it will be interesting to observe the process. ”Other things he foresees for himself in the near future include, “Being a full time artist… more adventurous creations, large format pieces, tactile sculptures and exhibitions.” Though there is no specific artist who inspires his art, Filfury does go on to mention several artists whose work he admires. “I could list Ron English, Tinker Hatfield, Peter Saville, Ewen Spencer, Roger Dean, Dave White… all different artists in different fields,” he says. Filfury’s art is playful, fresh and original and reminds us that there is beauty to be found everywhere, if only we choose to look. www.filfury.com Looking at the collages, it’s tempting to work backwards and figure out which parts came from where; that’s part of the interactive thrill that Filfury’s art offers.
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INFINITE POSSIBILITIES
Gallery Odyssey in Mumbai was once bland and uninspiring; it has now been transformed into an open, versatile space by design firm Urban Studio.
Text By Chryselle D’Silva Dias Photographs Urban Studio and Sebastian Zachariah
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Gallery Odyssey is a new entrant on Mumbai’s art scene. Owned by Divya and Sameer Gehlaut of India Bulls, the gallery aims to promote works of Indian and international artists. A partnership with London’s Halcyon Gallery has led to its first successful exhibition of selected pieces of noted sculptor Lorenzo Quinn. In an interview to the Times of India, founder Divya Gehlaut said, “Odyssey would be like an art museum. The brand wants to bring art into the public sphere so that people are able to appreciate art in its different forms.” The gallery is situated on the ground floor of a commercial building in Lower Parel, the now hip mill district of Mumbai. The original space was bland, anonymous and boring. A bank of windows on the rear façade brought in light but was not suitable to a gallery setting. The biggest obstacle, literally, were two rows of massive columns with large bases. “The space was not suited to an art gallery, with those columns,” says Amisha Thanawala, of Urban Studio, the firm that designed the gallery. “The columns cut up the room visually. We needed to figure something around them and decided that they had to go.” How do you make a solid row of columns vanish? Urban Studio invented a bank of “glowing, rotating and revolving cuboids to reconfigure spaces and situate art.” The columns were screened off and wrapped with ‘boxes’ of plywood, which are mounted on hardware invented by Urban Studio.
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The unique hardware allows the cuboids to rotate, slide and swivel, creating an impressive range of flexible formats suitable for all kinds of installations, large and small. Art of all sizes can be hung on the cuboids, which can also be brought together to create longer display spaces if required. The cuboids are lit from within and create an alternate light source to the track lighting.
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Each light can be individually programmed, allowing the gallery to set a scene that is as theatrical or dramatic as the art demands. Audio-visual projectors make it easy to project sound or video as well. The design of the ceiling and floor is deliberate too. “We kept the pattern of the floor angular with an orthogonal configuration, keeping basic geometry in mind.” “The space is very kinetic,” says Amisha. There is a sheer absence of unnecessary furniture or clutter. The gallery invites you to move around. After nine months of work, the gallery opened earlier this year. “The owners are art lovers and were very involved with the work. They were flexible and gave us a free hand for the design, which means that the designer takes the responsibility for creating a versatile space.” “The project is intuitive and important for us,” explains Amisha. “We learned to transform a site and develop programmes for a project like this. There was no baggage from earlier projects that could have influenced us in this one. That’s what defining our own practice right now and this excites us. Every site is different. We have a carnal connection with the site, a primitive response and one which we are very happy to keep going.”
“There are nine scenes programmed into the space, allowing for a wide range of narratives,” says Amisha.
Amisha points out that they are constantly bombarded with media images of projects and products and it becomes very hard to distance from that and come up with something creative and original. “We work intuitively and go with our gut instinct. We try to use the emotion a site arouses. In this case, we turned a drawback into an asset and created a well-oiled machine, one that is flexible, not based on current trends, but not too futuristic either. The design of the cuboids is unique and perhaps the only one of its kind in the world.”
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“There is a sheer absence of unnecessary furniture or clutter. The gallery invites you to move around,” says Amisha.
The concept of Odyssey has been to create a space for art, something more than an art gallery. “There are not many multifunctional spaces in the city. The public is bereft of opportunities to engage in such spaces here. In Mumbai, the city is chaotic and there is complete apathy – there’s no space for projects to be in tandem with each other.” Odyssey has made a splash with its first international exhibition. One can only wait and see what the gallery, with its unique and distinct identity, has in store. Watch this space, as they say; or even better, go visit! ustudioindia@gmail.com www.urbanstudioindia.com
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JONAS EOVARO
Young Danish designer Jonas Edvard conjures up chairs out of seaweed, lamps out of edible mushrooms, cutlery disguised as protection devices. What will he come up with next? We wonder.. Text By Chryselle D’Silva Dias Photographs Courtesy The Designer Home Review September 2015
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Jonas Edvard is a young Danish designer working and living in Copenhagen, Denmark. He graduated from the Royal Danish Academy, School of Design in 2013 with an MA in product design. Edvard’s interest lies in sustainable design and although his studio is still very new, his products and concepts have been garnering a fair bit of attention already.
Prosaic Lamp
One of Edvard’s earliest designs is Hangover (2010), a sleek modern bench that is familiar yet unusual. The oakwood and MDF creation is inspired by objects and the relationship they have with each other. The bench is multi-purpose; it can be used as a single bench or double up as a picnic table, with attached bench. In 2010, Edvard undertook a 3 week outdoor experiment to “seek out the possibility to live without any essentials.” He called this ‘Fail’. In a series of experiments he “created objects from found materials, including “a transport vehicle in the shape of a river raft, a sleeping cocoon and a resting chair with storage.” Prolong (2010) is an unusual take on traditional cutlery. The knife and fork are embedded into an ash wood handle, tied together with a rubber band. Why would you need an extra-long knife or fork? “The stick provides one with extra ferocity and damage control when it comes to dealing with obstacles that needs to be either eaten or scared off.” An intriguing concept for sure and one you might want to carry along when you go camping. Tektonik Cup
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Konkret Pendant
The Prosaic (2012) Lamp is a bit more sedate but equally unusual and thoughtprovoking. Cast in glazed concrete, the lampshade also doubles up as a ‘lock’ that holds the wooden structure in place. “The projects combine traditional handicraft techniques with the technical aspects of concrete to challenge the designer’s role as inventor and manufacturer.”
Bricoleur Model Chair
The Tektonik (2012) porcelain cup is a play on stacked objects and a comment on mass-produced objects that “pile up in the homes of individuals.” The cup looks like it is stacked but it is actually a single unit, beautifully layered. Edvard’s Konkret wood pendant (2012) is an interesting light pendant crafted in ash wood with an unusual leather strap. Contrary to what the name sounds like, there’s no concrete here at all. Instead, the basket-shaped lamp is coloured with traditional wood stain which gives it a lovely softness. The handle on top allows it to be hung in unusual ways. You can also carry the lamp wherever you like. The Konkret won the 2nd prize in Danish Brand Muuto’s talent award. The Bricoleur (2012) is a messy looking lamp made from plywood and coloured glue – a combination you don’t see often in industrial design! The combination and the method give one a new perspective on shape and material.
Bricoleur Lamp
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One of Edvard’s more remarkable and sustainable designs has been the Myx lamp (2013). He is perhaps one of the world’s few designers to use living organisms (Mushroom Mycelium, in this case) as the medium for a product design. Over his Myx lamps, Edvard grows a mixture of fungi and plant filaments. Over three weeks, the lamp ‘grows’ organically “to create a vast network of threads that adheres the plant filament together.” Each lamp generates 500-600 grams of oyster mushrooms, which after harvesting leave a dry and light lampshade ready for use.
Myx Lamp
It is a remarkable concept and perhaps the world is ready for an edible, compostable lamp now. The Myx won a Green Furniture Award in Rotterdam, London in 2013. Edvard’s most recent creation was made in collaboration with designer Nikolaj Steenfatt. The Terroir (2014) is a collection of a chair and pendant lamps, made from (you’ll never guess) seaweed. The duo harvested the seaweed Fucus – a type of algae – from 8000 km of the Danish coastline. They dried and ground this seaweed into a powder which was then cooked into a glue. “Combining the seaweed glue with paper results in a tough and durable material similar to cork, which is then turned into the products of the Terroir collection.” The colour of the product is determined by the species of seaweed as the final product is really just seaweed and paper. Why seaweed? It contains a high quantity of salt which not only acts as a preservative but is also a natural flame-retardant. “The material can be broken down and reused, or recycled as natural fertiliser, as it contains large amounts of nitrogen, iodine, magnesium and calcium.” It is fascinating how Edvard comes up with new ideas for sustainable products that are useful, have character and also derive from the cultural landscape. He may still be a new face in the competitive design world, but Jonas Edvard’s creations may soon top the sustainable products’ chart. info@jonasedvard.dk www.jonasedvard.dk
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Terroir Lamp
Terroir Chair
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The Kruisheren hotel in Maastricht, a member of Design HotelsTM is literally concealed in an exquisite piece of history; so much so that you could easily miss spotting it as the church it is housed in provides no clue to its existence.
A calm and quiet bolthole located in the city centre of Maastricht in the Netherlands and located within the renovated 15th century monastery of the Crutched Friars offers you an incredible combination of an authentic Gothic exterior and a sleek, full of restraint modern interior. The narrow entrance to the hotel is just a small arch which leads you inside through a short tunnel made fully out of copper. Once you step inside this full of character hotel, it is a scene of profound calm and the sobriety where its frill free interior becomes just the right foil for the medieval architecture exuding a religious vibe.
Text By Mala Bajaj Photographs Courtesy Design Hotels
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THANK THE LORD
Located within a renovated 15th century monastery, the Kruisheren hotel offers you an incredible combination of an authentic Gothic exterior and a sleek, full of restraint modern interior.
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Camille Oostwegel is every inch a Limburg hotelier and all of his hotels and restaurants are housed in monumental buildings that he restored to their former glory, including the Kruisheren hotel Maastricht, where smart design lives somewhere between heaven and earth. It is an art to convert a house of worship into a hotel and with Kruisheren, architect Henk Vos has done a splendid job of preserving the past and still meeting with the expectations of the well travelled vacationer. He has created an individual contemporary character for each room, using various colour schemes, styles and furnishings. Resting on basic principles of transparency, space, modernity and comfort, the interiors are enhanced by exciting contrasts with the stained glass windows and the stunning, authentic wall and ceiling paintings. The overall result is visually challenging and is in a fine balance between paying tribute to contemporary architectural design and honouring ageold construction and detailing.
The narrow entrance is a small arch which leads you inside through a short tunnel made fully out of copper.
Refurbished with the intent of showcasing the beauty of the original architecture, many challenges in the building were met with innovative solutions, like a free standing glass elevator which connects the church to the monastery area. No part of the facility actually touches the walls of the shell that is the church, and so ingeniously is the hotel housed in the church space that if asked to vacate, it can be packed up and out in just days without leaving a trace behind. The 60-room Kruisheren, Maastricht complex consists of the original monastery and a Gothic Church, which now houses the reception area and several other facilities, including conference rooms, a library, a boutique, a restaurant and a wine bar.
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A newly installed mezzanine in the erstwhile church space is used for serving breakfast to the guests who are spoilt with views of the city as seen through the beautiful chancel windows. The espace vinicole or wine bar is another dramatic location where the guests may be indulged with an impressive range of wines; the large glass vault which holds the wines makes a striking picture. Beautiful monastery gardens present on the premises are perfect to sit in with a drink and a book in good weather.
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A beautiful monastery courtyard present on the premises becomes the perfect place to sit in with a drink and a book in good weather.
Exciting and unique elements may be discovered all over the hotel, which not only inspire much thought but also impart a blissful feeling of seeing things that have been carefully preserved through the ages; for example, on a closer look embedded in the floor of the lobby is a monk’s grave.
The colour red is a vestige from the days when scarlet was the Papal colour and here at Kruisheren it is peppered all over the space carefully. It shows up in places like the upholstery, curtains, carpets, etc. and reinforces the religious virtue of the place.
The iconic artist Henri Landier’s paintings grace the walls and become just the apt type of art as the artist is known for his renditions of the old Masters.
Candles placed all over, the faded frescoes on the walls and the lights hanging from the ceiling looking nothing less than celestial, further tie up the intended ambience. All over the old elements of the church are preserved fiercely but given newer functions.
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Maastricht is a great city with many historical structures and squares. But there’s one place in particular that you cannot miss visiting and that’s ‘het Vrijthof’, which is very close to Kruisheren. Vrijthof square has attracted people since medieval times when pilgrims came to see the grave of Saint Servatius. These days, Vrijthof is known for its outdoor cafés and events. To a list that includes ice, tree, underwater and cave hotels, you can now add a stay at a ‘church hotel’. Amen! www.designhotels.com/hotels netherlands/maastricht/kruisherenhotel-n maastricht
A WOODY STORY From a young age, I have been a planner and maker of small things. I picked up dexterous hobbies like crochet, painting, knitting, paper-craft, beadwork and such craft work at home owing to my family member’s home projects. I was always interested and keen on learning to create new things. On the other hand, along with my brother I would partake in activities of deconstructing broken watches, video games, binoculars, etc. to satisfy our curiosity of what things looked like inside.
By Naina Shenoy
DESIGNQUEST
This curiosity only grew when I graduated from school to college. My mother saw an artistic fold in me very early on, and a possibility of a successful career in design. Due to this, I was never nudged towards the conventional study of commerce or the sciences. My research into design schools during my pre-university days only re-enforced my mother’s belief in me. My four years at the National Institute of Design, Ahmedabad, nurtured my capabilities and exposed me toward the right direction that I soon became passionate about. I graduated with a Bachelors in Furniture and Interior Design.
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The Shady Ray is a shade that I developed to be installed at city centres with open parking plots. It is designed to work as a parking port around where people come, park and enjoy small meet-ups. This was a practice seen in local Ahmedabad all through the day. Poh was part of a small lighting workshop in college. We had to make a lamp for Diwali and could use any material for making it. My concept was inspired from a South-Indian oil diya that was lit at temples.
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Tropic Of Canara The name for this set of furniture is inspired by the solid wooden houses that were built around the South Canara District.
Mantis Chair A folding chair for lounging which one can carry around to various outdoor spaces near one’s home such as a park, beach, etc.
Public Furniture A furniture piece designed for the waiting area outside a theatre for plays. The piece is versatile; like characters in a play interacting with each other.
Furniture is what developed my interest in structures and construction. I believe furniture is construction in small scale and is pure structure. Secondly, it opened up a world of possibilities for me in terms of materials, processes, form and my love for wood. My nascent career revolves around wood and engineered wood, and hence that is what my collection of professional work is mostly concerned with.
The product is made with a plastic spice box procured from the local market, white plastic spoons, a polystyrene infill for it to balance in water, an LED switch operated circuit and a laser cut ethnic paper cutting for a decorative look. My first exposure in the industry was an internship at a furniture design and manufacturing company – Quetzel Designs, Bangalore. It was like my second school for furniture studies. I was under the mentorship of Sandeep Mukherjee, Director at Quetzel, who is an NID Furniture alumnus himself. Here I was exposed to a lot of knowledge and practice about manufacturing processes, hardware, wood detailing, wood construction, etc. My project there was to develop a set of living room furniture, which comprised of a large 3-seater sofa, a single seater and a centre table. I included different processes so that I could learn and at the same time create a unique product.
Tropic of Canara was my final college project. The name is after the solid wooden houses that were built around the South Canara district, which was my inspiration for this furniture range. The three-seater sofa has three varied processes explored: wood work (base structure), bent ply lamination (armrests) and weaving (backrest).
Pico Pico – a range of home furniture.
Structure Stall for a public event to display home furniture.
Pico is made in European steamed beech. The furniture is dual toned in teak to accentuate its construction and form. The range comprises of the most basic pieces of furniture for four spaces in a home – living room, bedroom, dining room and a study. The words to describe Pico would be tropical, breezy, wide and lean. My journey so far in furniture has been very exciting and fruitful. We are tackling to understand how people live at homes in the urban scenario. This helps me understand the dynamics and functionality a piece of furniture can play in the everyday life of a user. In the future I would always want to design for the masses as well as for specialised needs. I am looking to stretching my boundaries and I would want to explore and design varied products for changing times. nainashenoy@gmail.com
Poh Poh – a floating LED Diwali lamp.
Shady Ray Shady Ray – an outdoor furniture project.
After completing my internship, I went to work with Furlenco, a startup based in Bangalore, where I currently am a senior furniture designer. Furlenco is the only organised rental company of premium home furniture. My CEO was always keen to make premium furniture in wood accessible to the masses by means of rental. It was a very exciting brief as I had important rules to play with while making the furniture: flat pack, mass production friendly and easy assembly. This, for me was the most interesting brief that I could find.
This is where I was given all the liberty to design my first range of home furniture called Pico that includes 13 solid wood products. They are already a part of 500 odd homes in Bangalore, and this is what has given me the confidence and an immense joy as a Furniture Designer. Pico won the CII Design Excellence Award for the year 2014 in the Architecture and Interior Products category that was held in Delhi.
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Chennai based Shripal and Venkat Architects design a beachfront villa with clear-span interiors and stunning views of the sea waters. Inspired by the five natural elements, the house is a continuous dialogue between nature and architecture.
Text By K Parvathy Menon Photographs Mia Studio, Auroville
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SHORESIDE HARMONY
An open plan connects the spaces on either side of the central axis with the sea which is the central core.
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Pools disappear into the infinity of sea waters, and the building sits at peace in the planar landscape which seems to be merely an extension of the sandy shore - this simple and stunning beachfront villa on Chennai’s East Coast Road pulls out all stops. Designed by SVA, Shripal and Venkat Architects, the elegant contemporary home showcases the vast sea as the main feature of its design, while creating within the spaces, a calm escape from the hustle-bustle of urban life. The 1000 sq. m. contemporary rectilinear villa is in direct response to the client’s brief, which sought a ‘simple, clean residence for the family - a home that connected with nature.’ Architect Shripal Munshi, one of the principals at SVA, explains, “In architecture there can be many solutions to one situation and all of them can be equally good. The challenge is to find the appropriate one.” With nature as inspiration, the SVA team, conceived the villa as ‘a pavilion nestled between the East and West halves of the site, poised among the five natural elements.’ “The idea was to strike a balance between nature and architecture, hence the theme - ‘the house of earth, sky, water and Prana,” architect Shripal elaborates. Adhering to ‘Vaastu’ principles, SVA designed the architecture, keeping the dominating influence of the sea as the core – hence a linear plan around the central East-West axis with large glazed openings, was devised. This not only allowed the inner spaces to flow unhindered outside onto the decks, giving the external facade a very fluid and light appeal; but also maximised cross ventilation while taking full advantage of the surrounding views and perpetual breeze.
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Capturing our attention as soon as we enter inside is the large uninterrupted span of the spaces augmenting the spectacular views with natural ease. Points out architect Shripal, “There was a perfect marriage of architecture and structural design, which helped us achieve our concept of ‘fluid yet intimate spaces’. A clever combination of post tensioned slabs and shear walls, eliminated the need for perimeter beams and big columns, thus allowing cantilevered floating planes, and enabling the large spans we wanted.” As we further explore the monochromatic beige interiors, an SVA trademark, it is hard to miss the underlying mantra - ‘less is more and less is good’, which has been diligently followed in all aspects of the project - architecture, landscape and interiors. Breaking this beige simplicity are warm hardwood panels and veneer accents, which together reinforce the open, large spatial span.
“The best place in the house is the South-East upper deck where the omnipresent connection with nature as well as the predominant wind direction is beautifully captured,” says architect Shripal.
Continuing the minimalistic vocabulary, the designers subtly give the open floor plan a clear zonal distinction, using textured walls in mushroom tones to highlight planes and the central lines. Says the team, “In the understated elegance envisaged, the challenge was not about what to put on the walls and in the spaces but rather what to keep out.” So they avoided superficial treatments and architectural strategies and instead used Indian and Balinese art to adorn some of the key focal points. Even on the upper floors the bedrooms follow a similar minimalist, elegant style, but the material palette varies as travertine marble and elaborate wood accents define the spaces.
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Without doubt, the most alluring feature of the villa is the way the perimeter glazed surfaces blur the margins between inside and outside spaces, and add to the elegant simplicity. While decks and pools, continuing from the living and dining space, create a heavenly atmosphere on the lower floor, on the upper floor semi-covered terraces become the private paradise.
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The natural setting makes it easy for any architecture on the beachfront to be a mesmerising space, but the SVA team took it a notch higher. Using large spans, open planning and minimalist architectural language they let nature be at the fore, dominating every space of the villa, allowing the elements of ‘earth, sky and water’ to come together in perfect harmony with the architecture.
Architect Shripal Munshi believes that, “in this house where there is abundant light and air with unending views of the sea and sky – there is ‘high prana’.” And a building with its soul connecting with nature becomes almost timeless. info@sva.net.in www.sva.net.in
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An ia nive c e rsar y S p
We Are Turning 9! In celebration, we present a stellar anniversary edition sizzling with the latest trade news and trends from the design and building products industry. Email: response@marvelinfomedia.com Web site: www.theinsidetrack.in Tel: +91 22 23736133 / 23736131, 32958501
The endeavour was to create an experience for walk-ins at the showroom, one that connects with the customer, rather than merely screaming out different design sensibilities.
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Retail Therapy
Eclectic Shopping Accessibility to good design is something that is often taken for granted. Parushni Aggarwal-Gupta, Owner & Creative Director, Studio Creo aims to change that‌.
Text By Dhanishta Shah Photographs Studio Creo
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The walls are dressed in sober white or beige and the simple flooring is that of easy-to-maintain tiles and stone.
“Creo” means ‘to create’ in Italian. It is no wonder then that Studio Creo exudes the legacy of creative design. “My passion for good, accessible design prompted me to start Studio Creo – an interior design practice combined with a furnishing store. With minimalistic touches given to works of art and design, we try to bring together inspirational and eclectic collections in a visually stimulating environment. With Studio Creo we have tried to set the standard for elegance and taste in interiors with my minimalist yet opulent style,” explains Aggarwal-Gupta.
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Since tiles form an important part of the product range, they have been creatively displayed on the walls as well.
The entire idea of the store is to create modern furniture for clients in a very luxurious environment. The 10,000 square foot space located in the heart of Delhi, has been designed under the stringent direction of Aggarwal-Gupta. The massive area is spread across the three floors of the building, giving justice to the displays that it houses. The external façade has a modern vibe, which echoes the interiors. At the entrance, a simple slogan, “We love what we do” sums up the feel of the expansive area.
The showroom features room vignettes, which combine a variety of design styles. In effect, it portrays a focused and tranquil environment of a museum or a gallery where the pieces of furniture act like pieces of art placed delicately together. The store showcases the finest interiors from around the world to suit every style and design taste, from traditional elegance to ultra modern chic, and from simple practicality to a focus on style, opulence and glamour. Every area in the store is specially designed according to the product in question. Hence, every aspect of the studio has a different story to tell. The uniqueness in the design of the various areas is to give out a feel of the product to the client.
Every area in the store is specially designed according to the product. Hence, every aspect of the studio has a different to story to tell.
In this sense, more than the design of the store, it is the design and essence of the product that steals the show. For example, a kitchen installation will be done in a way that the entire focus is on the product, without any space constraints, and the elements of the store remain muted in the background. Unsurprisingly, the walls are dressed in sober white or beige and the simple flooring is that of easy-to-maintain tiles and stone. Since tiles form an important part of the product range, they have been creatively displayed on walls as well, thus contributing to the décor and giving the customers an idea of how they actually look on installation.
The store portrays a focused and tranquil environment such as of a museum or a gallery. The pieces of furniture act like pieces of art placed delicately together.
The endeavour is to create an experience for walk-ins at the showroom space that connects with the customer, rather than merely screaming out different design sensibilities. The store offers a unique and personal blend of furniture, lighting, flooring and home accessories from some of the most iconic Italian brands. All products are arranged category wise on different floors. The ground floor houses bathrooms, kitchen and moss tiles whereas the first floor has office furniture, sofas and chairs. The second floor houses the Studio Creo team and their own offices.
Clients get a better understanding about the complete look and feel of the product after installation. This entices them to buy the product. After all, they have already experienced it! This is probably the exact reason why the product is the star at this store. Since the products go on changing, the “look” does so as well! “We do change the look on the basis of the new products we get at the store, which is quite often. It gives us an opportunity to redesign our store on multiple occasions,” concludes Aggarwal-Gupta. Indeed, this is design that relates both to the soul of the products and the needs of the clients! www.studiocreo.com
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SUSTAINABLE LIVING Eco-sensitive living and green buildings and solutions are the way forward. Home Review’s Sustainable Living segment offers you an insightful read into systems and solutions for a greener tomorrow.
A CUBE INC
iSTUDIO ARCHITECTURE
BANDUKSMITH STUDIO
GREEN PRODUCTS
BENNY KURIAKOSE
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AYUSH KASLIWAL
INTACH
MADE IN EARTH
ROBERT HARVEY OSHATZ
WONDER GRASS
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SUSTAINABLE LIVING
Chair 21 by A Cube Inc
Brick House by iStudio Architecture
A greener way of living and building is the need of the hour to slow down the environmental impact that is underway. India has realised this concern and at 3.11 billion sq.ft. is already the world’s second largest in terms of green building footprint. However, to sustain this upswing we need to keep evolving our methodologies, updating our technology and materials to foster a sustainable built environment. Our sustainable living segment brings to the fore the latest from the sustainability sector. Two progressive firms demonstrate the splendid use of local materials and resources in their respective structures in India; while a holistic dwelling sits in sync with its natural surroundings in Oregon. From bricks made out of mushrooms, furniture and art created out of materials ranging from discarded ropes and wine bottles to broken glass; and windows that minimise heat and solar gain, materials and products are going green in innovative ways.
Cheraman Juma Masjid restored by Benny Kuriakose
Indian designers too have opted for the eco-friendly route and are designing products that are making a mark in India; while check out the firm that constructs bridges and houses purely out of bamboo. Besides this, learn about who are the people behind preserving and restoring India’s architectural heritage.
Text By Rehana Hussain
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a cube inc
With an eye for detail, traditional methods of creating furniture and reclaimed wood, the products from A Cube Inc are finely crafted and speak of quality and love. Text By Chryselle D’Silva Dias
A Cube Inc. is an Ahmedabad-based design studio owned by brothers Anand and Anuj Ambalal, who along with master craftsman Prabhudas Mistry create individually crafted furniture for homes and corporates.
“Joinery in our furniture holds a very important place and wherever applicable special nail less joinery system has been introduced to enhance furniture aesthetics and for increased longevity,” explains Anuj.
Their elegant furniture has a considerable reclaimed element with old wood (from demolished old houses and factories) going into the making of sensuous chairs, contemporary tables and practical products. “Our reclaimed teak has been in use for at least 50 years to 70 years and above! Wine matures with age, and so does teak. It is the age that makes this material special as it has gone through a natural seasoning process, thus reducing its moisture contents to a bare minimum resulting in an exponential diminution of warping and bending,” says Anuj Ambalal. The studio follows a policy of zero stock, i.e. furniture pieces are manufactured only after an order is booked. The firm’s focus on old-style joinery is a welcome feature too.
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Chair 21
Their products are sturdy, practical and have a local flavour. ‘The Retro Chair’, for example, is made out of reclaimed teak with textured seat made out of Bhindi - a hand woven string made out of natural fibres. The ‘Som and Serena Sittings’ are made out of cane and a woven, textured seat. In contrast, ‘Springs’, fun stools “meant for adults only” are made of coiled steel and a mango wood top. The ‘C Series’ Sofa is a good example of the nail-less joinery system the firm promotes. Their ashtrays in wood with brass bases inside have a beautifully curved shape and are also available in a steel version. ‘Jalso’ is a drinks trolley with Jalso
Serra stool
a difference, with its black glass and powder coated railings. The studio also follows their product philosophy and every material in here - the stone (flooring), glass, wood, roofing and bricks are all recycled. With an eye to detail and superior, traditional craftsmanship and use of solid materials, A Cube Inc. is showcasing an impressive portfolio of furniture and home décor products.
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Earth Suspension Lamp
Our reclaimed teak has been in use for at least 50 years to 70 years and above
anuj@acubeinc.net www.acubeinc.net
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studio Architecture
An experiment in sustainable architecture by iStudio sheds light on design, materials and processes most suited to building an eco-friendly residence. All you need now is the will. Text By Christabelle Athaide
Located on the outskirts of Mumbai, Brick House twists and turns out of the earth, opening to the sky like a flower to the sun. This residence was designed by iStudio architecture with the objective of creating a space that merged naturally with its surroundings, responded to climatic conditions, used local materials in its raw form as well as harnessed energy efficient and low cost technologies.
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Besides sustainability, the house has a charming rusticity that allows the residents to connect with nature even while inside the house
In essence, it is a house that wholly subscribes to the concept of sustainable living and explores the potential of natural materials like brick, black basalt stone, kadappa, bamboo, wood, ferrocement and RCC for its structure and interiors. These along with low-cost, eco-friendly techniques like rat-trap bond, brick jali, brick arches, concrete floors and filler slab keep consumption and cost of materials to a minimum. “The project is a sustainable, experimental endeavour and the client was open to the idea of using techniques which help reduce material consumption, use less energy-intensive materials like concrete and steel and leave the materials in their natural form to save on plaster and paint,� say the architects.
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Apart from sustainability, the house has a charming rusticity that allows the residents to connect with nature even while inside the house. On entering the house, one is immediately confronted by stone arches, brick walls, a water feature and a Frangipani tree. Taking into consideration important factors like climatic conditions and picturesque views, the space is organised to include a master bedroom, study area, open court, kitchen, living and dining room on the ground floor while the top floor has a private bedroom and open terrace.
Energy-saving is another appreciable feature of this residence. Take for instance the strategically sized and positioned openings that ensure cross ventilation and eliminate the need for any air-conditioning. The building is also designed to gain maximum natural light and ventilation and hence reduce power consumption. The cavity in the rat-trap bond brickwork further ensures thermal insulation and at the same time allows for electric conduits to run within the wall, eliminating the need of plaster to hide the same. The installed solar photovoltaic system provides electricity for basic day-to-day requirements like lights, fans, etc. By adopting the right methodology and technology, iStudio helped create an energy efficient and low-cost residence proving that ‘green living’ can be achieved even on a budget. istudioarchitecture@gmail.com www.istudioarchitecture.com
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Banduksmith studio
Banduksmithstudio is an architectural and urban design firm that creates airy and light-filled buildings through the integration of space and contemporary design. Founded by architects Sachin Bandukwala and Melissa Smith, Banduksmithstudio is an architecture, urban design and research practice based in Ahmedabad. Through the exploration of space and material they “make (and remake) buildings”, furniture and other products. The firm’s portfolio spreads across the range of residential, commercial and institutional properties. Their designs are clean and contemporary, while using sustainable materials to build and renovate. Some of their most striking work is also their most innovative. The 2’ x 2’ terrace in Ahmedabad, for example, uses a grid to structure this unusual gathering space. Using the teakwood strips to anchor the design, benches, tables, a bar with lights and even a serving counter find a home on the terrace. White marble cubes and planters elevate the space into a complete relaxation zone and space for events. Interestingly, this project was done through “remote supervision, through skype, photos and phone calls” while the architects travelled.
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The Three Tree House in Ahmedabad is another project that bridges fantasy and practicality using innovative materials. A new lounge was added to the existing house, connected via a bridge. The lounge was built overlooking a tree grove, the plane of the roof in line with the level of the trees. Rustic and contemporary elements work well inside, with the wood balancing the prominent steel elements. A balcony overlooks the pool, a lotus pond and the surrounding estate making it a grown version of a treehouse, with lots of place to play. The Wind House, on the other hand, is being constructed “to withstand the harsh climate of northern Gujarat.” This underconstruction home in Deesa, Gujarat, for a multi-generational family of eight consists of several volumes clustered around an L-shaped verandah. The deep verandah adds depth to the house and protects the home from the sun. The rooms are surrounded by open passages “that draw the wind through the house like a sieve.” Ventilation is also incorporated in the open terrace where high walls with openings convert the space into a summertime sleeping area.
Two Square House
Another project that uses ventilation and natural light effectively is the 2 Square House. Literally made up of two cubes which are connected by a bridge, this four-bedroom house is light and airy. The pitched roof allows for light to come in while openings throughout the building bring in fresh air. An interesting aspect to this project was the fabricated pulley system with silk threads which are used to open the windows. The studio continues to do interesting projects with several residential and corporate buildings in the conceptual stage or in progress. design@banduksmithstudio.in www.banduksmithstudio.in
Text By Chryselle D’Silva Dias
Wind House
Three Tree House
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Through the exploration of space and material they make (and remake) buildings
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Green PRODUCTS
When it comes to home décor, green is the new black. Meet individuals and companies who take great pride in being green crusaders and are busy diverting waste from landfills or supporting vulnerable communities to make the planet a better place. Text By Christabelle Athaide and Chryselle D’Silva Dias
MOSAIC TABLETOP BY ANJALI VENKAT
POROTHERM CLAY BRICKS BY WIENERBERGER INDIA
Anjali Venkat is a glass artist who enjoys the challenge of transforming society’s undesirable waste into something that is functional and aesthetically pleasing. This 16” up-cycled glass tabletop is a flat mosaic made from discarded and broken window glass. The broken sheets of clear float glass were coloured with glass powders and subsequently fused in a kiln. The large pieces of glass were then cut into smaller shapes and assembled into a mosaic.
With a capacity of over 100 million bricks each year, the fully automated Wienerberger India plant on the outskirts of Bengaluru is one of its kind in the country. Porotherm is a horizontally perforated clay brick that is billed as the “strongest non-load bearing walling material in the market”. The bricks require no curing post installation, nor usage of sand and cement, making it cost and material effective. www.wienerberger.in
www.anjalidesign.com
KATRAN COLLECTION BY SAHIL & SARTHAK Designers Sarthik and Sahil believe that designing beautiful and functional products/projects should be combined with efforts to preserve local traditions and local craftsmanship. Their Katran collection puts these beliefs into action by using ropes made from cloth scraps and by engaging in fair practices with local craftsmen. Due to the unique nature of the materials used as well as the fact that they are handmade, no two pieces of furniture are ever alike. www.sahilsarthak.com
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GALACTICA TABLE LAMP BY ROBERT DEBBANE It looks traditional, but the eye is easily fooled. Designer Robert Debbane’s Galactica series of lamps is made of UV-coated 3D printed ABS (a thermoplastic) with a hand-finished walnut base and includes a 15 watts energy-efficient LED bulb. The lamp design is inspired by images of space and of the cosmos and looks like the surface of the moon when unlit. www.robertdebbane.com
ECO-BLAC BRICK At the MIT Tata Center, researchers Michael Laracy and Thomas Poinot have turned industrial waste like boiler ash into innovative Eco-BLAC bricks with the help of alkali-activation technology. The aim of these bricks is to offer low-cost masonry units with added benefits of reduced energy demands, a smaller carbon footprint, and less natural resource consumption as compared to traditional masonry. According to the design team, the solution is scalable all over India as there are factories producing boiler ash waste throughout the country.
GREENLIGHT PLANET SUN KING SOLO SOLAR LIGHT With a brightness of 50 lumens, this solar light by Sun King is 5x brighter than a kerosene lantern to provide sufficient lighting in a room. It has a 3.2V 3 solar panel with 700 mW and 4.7V amorphous thin film panel with an aluminium frame. It can provide up to 24 hours of light on one day’s charge. The lamp comes with a detachable carry handle to use it solo without its reading stand. It is retailed on Amazon India. www.amazon.in
Photo Credit: Philip Ross
Photo Credit: Ben Miller/MIT Tata Center
www.tatacenter.mit.edu
ENERGY EFFICIENT DOORS AND WINDOWS BY KOLBE
MUSHROOM BUILDING BRICKS BY PHILIP ROSS
Kolbe’s LoE (Low Emissive) glass windows and doors have earned pride of place in Energy Star’s Most Efficient for 2015 ratings. The doors and windows have double or triple pane glass, with LoE coatings to minimise solar heat gain in warm climates. The wood for the products are sourced from managed forests.
Mycologist Philip Ross grows dried mycelium (root fibres of fungi) into brick shapes to create bricks that are lightweight, stronger than concrete and resistant to fire, mould and water. A variety of different lacquers and finishes can also be applied to the outer layer of the bricks to seal them and give them a glossy finish.
www.kolbe-kolbe.com
www.philross.org
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Green PRODUCTS
ECOSENSE BY ASAHI INDIA GLASS LTD. (AIS)
CONSERVE INDIA
Ecosense is a range of high-performance glasses by AIS and can be used for skylights/canopies. Ecosense comes in three ranges - Enhance (Solar Control), Exceed (Solar Control Low-E) and Essence (Low-E) high-performance glasses. These glasses provide the benefit of reducing the heat gain in buildings due to their excellent energy-saving properties without compromising on the natural light coming inside. And in winter, they ensure solar gain.
Conserve India is a social enterprise that aims to reduce and reuse India’s growing mountain of waste, and help the most vulnerable community of rag-pickers by offering them fair wages. The enterprise has patented their upcycling technology that turns discarded plastic as well as other discarded materials like iron, glass, carpets, wood and cloth into fashion accessories and home dÊcor. www.facebook.com/ConserveIndiaConserveHRP
www.aisglass.com
RETYREMENT PLAN
OXYGEN BY TICKET DESIGN
The Retyrement Plan is the brainchild of Anu Tandon Vieira, a Fine Arts graduate and postgraduate in Industrial Design from NID, Ahmedabad. Chanelling her design expertise for a good cause, Anu makes it her goal to provide a livelihood to urban migrant craftsmen in order to preserve their precious skills as well as to upcycle as much industrial waste as possible. Anu uses old tyres and ropes made from cloth scraps and discarded packaging material to create vibrant and unique furniture pieces.
Oxygen is a new continuous air freshening and odour control system created out of patented oxygen-based fuel cell technology. The wrap-around style of the dispenser is designed to maximise air circulation and allows the dispenser to be wall-mounted or kept on a table top. All the parts of the refill package are recyclable, making the product eco-friendly as well.
www.facebook.com/TheRetyrementPlan
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www.ticketdesign.com
LiGHT-FiSH
CANADIAN WOOD
LiGHT-FiSH is a product design and video animation company based in Auroville. Sustainability is considered in all of LiGHTFiSH’s designs through the materials used, the means of fabrication and the consumer usage. This chandelier, from the Grappa collection is made of recycled wine bottles and uses hi-powered LEDs. As part of its green commitment, the company uses renewable acacia wood and supports tree plantation and renewable energy production.
The next time you make wooden furniture, doors and windows, you may want to consider using Canadian Wood, imported from British Columbia – a leader in sustainable forest management. According to the Forestry Innovation Consulting India Pvt. Ltd. (FII India), importing this wood not only saves India’s forests but also creates a positive carbon footprint, despite the shipping, due to the log’s ability to absorb carbon-dioxide from the atmosphere.
www.facebook.com/LiGHTFiSHTALK
www.canadianwood.in
GLASS WALL ARTWORK BY ANJALI VENKAT
STUDIO ALTERNATIVES
Made from discarded and broken window glass, this 18” up-cycled glass wall artwork is an intricate expression of spring and its lush, beautiful greenery. First, broken sheets of clear float glass were coloured with glass powders and fused in a kiln. Smaller leaves and flowers were then cut to shape and fused onto the base sheet, creating a green canopy of beauty. www.anjalidesign.com
Alternatives is a home décor brand developed by Studio Alternatives - a design firm whose interests range from interior design to exhibition design, lighting, set and window design. The range of upcycled products from the brand is the collaborative effort of different designers and uses discarded materials like newspaper, PVC pipes, scrap plywood and laminates, old beer bottles and packaging material, etc. to create some innovative, quirky designs. www.studioalternatives.com Home Review September 2015
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BENNY KURIAKOSE
Architect Benny Kuriakose is one of India’s leading architects. A champion of vernacular architecture, Benny’s work showcases the country’s built heritage and the traditions they come from. In the world of conservation architecture in India, Benny Kuriakose is a leading light. He began his career auspiciously – training under the legendary Laurie Baker in 1984. Following a stint in the UK for his Masters in Conservation Studies, Kuriakose returned to Kerala and soon set up his practice, one that flourishes to this day. He has also worked in the post-earthquake reconstruction work in Latur and Bhuj. As a much-in-demand architect, Kuriakose’s portfolio has residential, commercial, institutional and hospitality projects. He favours vernacular architecture where local traditions and materials are incorporated into a project, thus maintaining its integrity. Traditional tiled roofs, high ceilings where possible, sun-dried bricks and textured walls, verandahs and courtyards – all of these are a staple of Kuriakose’s work. His projects include public spaces like Chandramandapa, set in the home of the late dancer Chandralekha. It is now the venue for Kalaripayattu, the setting and the textures a perfect complement to art and music.
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The real jewels, though, are his conservation projects. From old houses to palaces, Kuriakose’s forte lies in the preservation and restoration of these heritage structures. The Paliam Palace, the Paravur Synagogue, Kottappuram Fort and Market are significant examples of this work. The Muziris Heritage Project is a project close to Kuriakose’s heart. Dating back to 1 BC, the port of Muziris in Kerala was an important trade point for the Egyptians, Romans and the British. In 1341, possibly due to an earthquake or flood, the portcity literally fell off the map and vanished. Excavations in 2007 and 2008 have revealed some information about the port. The built heritage of the area includes some stunning buildings, which are being renovated painstakingly with original detail. The Paravur Synagogue, for example, dates back to 1615 and is said to have been built over the original synagogue dating to 1165. The building was in a dilapidated state when restoration work commenced and work included replication of the beautifully carved Ark, the original of
Cheraman Juma Masjid
which was taken to Israel when the last of the Jews left. One of his forthcoming projects to look forward to is the Cheraman Juma Masjid, believed to be the oldest mosque in India. The plans include excavating the basement of the building to accommodate more people and the interiors will have a significant nod to Moorish architecture and design. The awareness of traditional architecture in a contemporary setting and the desire to preserve our built heritage puts Benny Kuriakose at the forefront of Indian architectural firms today. info@bennykuriakose.com www.benny.in
Text By Chryselle D’Silva Dias
Cheraman Juma Masjid
Paliam Palace
Paliam Palace
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Traditional tiled roofs, high ceilings where possible, sun-dried bricks and textured walls, verandahs and courtyards – all of these are a staple of Kuriakose’s work
Paravur Synagogue
Paravur Synagogue
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Ayush Kasliwal
Ayush Kasliwal is a versatile Indian designer whose range of furniture, lighting and home accessories present India’s art and craft heritage in a contemporary light. Text By Christabelle Athaide
In 1997, when Ayush Kasliwal graduated as a furniture designer from NID, the idea of such a profession was relatively new to the furniture industry. Nevertheless, the designer pressed on, setting up his own design studio - AKFD in Jaipur and laying the foundations for a brand that would soon attract international attention.
One of the design studio’s objectives is to create products using local, sustainable and repurposed materials in an inventive combination of ancient techniques and high-tech modelling.
Today Ayush’s designs are retailed at the premium Crate & Barrel store and AKMD in the USA, Mater in Denmark and at several other stores. There was a time, says Ayush, when foreign brands were accustomed to sourcing inexpensive and low-quality items from India. AKFD changed all that with their focus on fine quality, design and craftsmanship, thereby creating a new market for premium handcrafted products from India. “The quality of our work speaks for itself, and the fact that our products are original, works well for the international customer,” asserts Ayush.
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Meenar Incense Burner
Sustainability is also achieved by creating products that are multi-purpose and hence have a longer lifespan; products that do not deteriorate easily with time; and finally by ensuring that a product can be taken apart and reused once its functionality ends. Ayush makes it a point to work with recycled aluminum, recycled teak, plantation timbers like mango and sustainably harvested oak. His studio is further committed to providing meaningful employment to the artisans it works with and with following fair trade practices. Ayush’s strength has always been his keen design sense and deep-rooted Wrap Bench
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Rekha Bindoo Dhurrie
Matsya Hanging Pomegranate
understanding of materials and manufacturing processes. “Our designs reflect a sense of being proud of who we are and where we come from. We enjoy taking up large and complex time-bound projects that challenge our potential and push limits,” signs-off the designer. ayush@akfdstudio.com www.akfdstudio.com www.anantayadecor.com
AKFD’s objective is to create products using local, sustainable and repurposed materials in a combination of ancient techniques and high-tech modelling
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Intach
The Indian National Trust for Art and Cultural Heritage, the world’s largest NGO in heritage conservation is making remarkable progress in conserving India’s abundant tangible and intangible heritage. Read on to know more about the organisation’s architectural initiatives. Text By Christabelle Athaide
Gohar Mahal before restoration
Nag-Ldan Stupa, Ladakh before restoration
Nag-Ldan Stupa, Ladakh after restoration
Gohar Mahal after restoration
The Indian civilisation - one of the oldest in the world - dates back to more than 2,50,000 years. Today, our heritage, accumulated over millenniums, stands threatened due to rapid and indifferent urban development. The need to preserve our heritage arises from a number of reasons, not the least of which is to give our milieu a sense of place and identity. In such a scenario, organisations like the Indian National Trust for Art and Cultural Heritage (INTACH) are stepping in to prevent the loss of our heritage - both tangible and intangible heritage - through a series of determined initiatives.
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Today INTACH is a pioneer in the field of Heritage Conservation, operating through 180 voluntary chapters spread across the country and with a membership running into thousands of people committed to the cause of heritage. Its activities and initiatives through its chapters and technical divisions are spread across the length and breadth of India, making it the world’s largest NGO in the field of Heritage Conservation. At INTACH, The Architectural Heritage Division (AHD) is dedicated to the promotion and conservation of India’s vast architectural heritage. Since its founding, it has taken on the task of supplementing the work of the Archaeological Survey of India (ASI) by accounting for the thousands of unprotected historic buildings and sites in India. Its main thrust is the documentation and conservation of built heritage. The division consists of in-house architects, conservation architects, external consultants and specialists, and looks to a dedicated Advisory Committee for direction and support.
St. Anne’s Church, Goa after restoration
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St. Anne’s Church, Goa before restoration
Architects and designers can use traditional crafts and building skills in new designs even contemporarising them for modern needs
Palamu Fort, Jharkhand
Divay Gupta, Architecture Head at the organisation suggests, “Architects could be more sensitive towards their environment while designing. They can try to incorporate existing heritage buildings within their design or make do with adaptive reuse of heritage buildings instead of demolishing and rebuilding them. Architects and designers can also use the traditional crafts and building skills in new designs even contemporarising them for modern needs.” The value of a heritage building is determined by its economic, environmental and cultural significance. You can learn more about heritage conservation through the many workshops conducted by INTACH. intangibleheritage1@gmail.com www.intach.org
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duravit’S P3 Comforts Duravit’s P3 Comforts range – perfect comfort that is perfectly cool. In creating the P3 Comforts complete bathroom range, Duravit and Phoenix Design concentrate on the definition of comfort. As design satisfies very fundamental human requirements for appearance and functionality, it also demands to be experienced by all the senses. P3 Comforts satisfies these needs, and does so with a clean and effortless design. For P3 Comforts, simple geometric forms have been modified to render them aesthetically calming ensuring that the range blends naturally into our living environment. The details are impressive: the raised tap platform on the washbasin serves as a generous shelf surface for bathroom essentials. Another practical feature is the pronounced depth of the basin, which optimizes draining and facilitates cleaning. The design of the toilet blends in seamlessly with the style of the washbasins. The additional width makes sitting noticeably more
comfortable. A number of the toilet models are rimless, with an open design of the flushing rim, which makes cleaning easier. The wide, clearly defined bathtub rim offers space for tap fittings and shampoo. The special
shower trays created with the new DuraSolid A material blend in beautifully with the overarching design of the P3 Comforts range. tel: 079 66112300 respond@in.duravit.com www.duravit.in
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Made in earth
Made in Earth created this cheerful foster home for HIV-positive children in Tamil Nadu, using sustainable techniques and community involvement. Text By Chryselle D’Silva Dias
Architect Zaha Hadid said, “Architecture is really about well-being. I think that people want to feel good in a space… On the one hand it’s about shelter, but it’s also about pleasure.” The idea of joyful architecture is one whose time has come. Many of our buildings are designed for shelter with aesthetics and pleasure coming second.
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MiE involved the local community in the construction and used traditional and local materials
It is then wonderful to come across a building that radiates joy. And this is made even more poignant by the fact that the building was designed as a foster home for HIV-positive children. Casa Rana is the first (of many ) collaboration between non-profit design firm Made in Earth and the charity Terre des Hommes Core Trust which builds homes for needy communities around the world. Made in Earth (MiE) offers architectural services for humanitarian projects and has developed four projects in Tamil Nadu, among other places. These are all small, independent projects that can be managed by the local communities ensuring a sense of ownership and pride.
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The Casa Rana project is based in Anaipirandhan village, in Tamil Nadu. The foster home has fifteen HIV-positive children who live on the premises with a caretaker. The children study and have vocational training there as well. The building is simple in its construction. Two large concrete slabs – the plinth and the walkable roof - between which the rest of the building is ‘sandwiched’. The exterior of the building is wrapped with a bamboo curtain. This creates shade and also opens up a new avenue for play. The building itself has five ‘boxes’ each having specific functions and coloured vibrantly.
Three dormitories, the caretaker’s room, a kitchen, bathrooms and storage. Skylights and chimneys (reminiscent of children’s construction ‘blocks’) are fitted into the flat roof allowing plenty of daylight to stream into the rooms. Openings in the roof are also designed to allow trees below to eventually grow through the gaps. Made in Earth involved the local community in the construction and used traditional and local materials. This is something they firmly believe in – that “architecture is a discipline with a significant social engagement, responsible towards people and the environment.” Protecting the dignity of the people in the project, paying attention to their needs and achieving social inclusion gives architecture “a chance to pursue bigger goals”. This, says Team MiE, is their idea of sustainability.
Section A
info@madeinearth.it www.madeinearth.it
Section B
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Robert Harvey oshatz
The Wilkinson residential project designed by the Oregon-based firm, Robert Harvey Oshatz, Architect, is a beautiful example of a modern home that is crucially connected to and in full respect of its natural surroundings. Text By Shruti Nambiar Photographs Courtesy The Architect
This residential project seems to be the pinnacle of Robert Harvey Oshatz’ predilection towards building meditative, spiritually self-aware, low carbon spaces within sweeping, often curvaceous, but solid shells. No sharp corners here unless absolutely necessary. The Wilkinson Residence heartily embraces the wooded surroundings of its Pacific Northwest location, with
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Leaving intact the natural vegetation was a prime concern
its entrance marked by a walkway that saunters by a Japanese garden, and a main floor that sits basking in the glory of an old tree canopy. The house continues the firm’s romance with openended but smart planning of spaces – the main level is breathy and sprawling, and is composed of a sitting area, a fireplace alcove, and the kitchen and dining areas. This level co-exists with a refreshingly un-manicured, stone-tiled deck that is spotted with the remains of old leaves, moss, and the shadows of overlooking trees. Leaving intact the natural vegetation was a prime concern. The lower level is where 3 full-bedrooms and two-and-a-half baths are. Glass walls all around let in enough natural light to flush the spaces and to create the all-important inside-outside feeling.
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Slate, wood, copper, gypsum and granite inform the natural colour scheme of the interiors. A glass-enclosed, greenery-hugged meditation room is adjacent to the main level. Even the bathroom seems to have been built like a viewing gallery for the native trees. “As the resident is a lover of music, the interior space acoustics were carefully controlled, allowing the space of the house to resonate with the flow of music,” states the team. The dining and kitchen section is a good representative of this home’s intelligent balance of the choreographed and the natural. Part open/patterned and part rug-covered flooring; part of the ceiling
heaving on laminated wood beams, while another part of a wall opening up like the sections of a looking glass; plush upholstery lit by lamps affixed inside an exposed beam; all these seemingly disparate elements come together brilliantly here to enable the ultimate aim of all – to respect and absorb undisturbed the inescapable greenery present all around. The sloping gradient of the site itself was left untampered and in fact greatly complemented the unconventional plan of the home. The façade is fashioned as horizontal layers and is made up of cedar shingles and copper, with more of the latter used to create the roof. Maybe in a concrete jungle this home would have stood out and not belonged; but here in the midst of thick natural green cover, it can exist like a hermit, peaceful at heart, well-protected against the elements and above all in full respect of the environment too. www.oshatz.com
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WONDER GRASS
Bamboo is a versatile, easy-to-use and cost-effective raw material. Why not use it for your next building project? Wonder Grass shows you how. Text By Chryselle D’Silva Dias
Remember the story of the three little goats who built their houses to get away from the big bad wolf? If the goat who with a straw house had chosen bamboo instead, the wolf would not have been able to huff and puff his way through the structure. Fairy-tales aside, bamboo is becoming a viable and cost-effective building material. Available in plenty, the eco-friendly attributes of this green material are many. It is a renewable raw material, which cuts the price of construction considerably. Vaibhav Kale, along with his younger brother Nachiket, set up Wonder Grass in 2007. The brothers were inspired by
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the work of their father, Vinoo Kaley, known as ‘bamboo man’ to his friends and colleagues. The firm “strives to bring bamboo-based building systems into the mainstream of the construction industry”. The USP of the firm is that it provides a complete ‘end-to-end’ service, including providing ready-to-assemble systems.
Wonder Grass offers a range of treated and seasoned bamboo which can be bought off the shelf and put together as per the client’s desire. They also have large panels which could be used as shading devices on rooftops and walls to reduce heat intake. Their QuB (Cottage in a box) is gaining popularity. This is a pre-fabricated, easy to assemble building which comes, literally,
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In an interview to the Economic Times in 2010, Vaibhav explains, “If you are planning to build a house in, say five years, you can plant the seedlings now and have your raw material ready by the time construction commences.”
Wonder Grass strives to bring bamboo-based building systems into the mainstream of the construction industry
in three boxes. This can be put together to add an extra room to an existing home or apartment, space permitting. An example of this is an additional office created for the Surabhi Living Heritage Foundation in Mumbai where the QuB was installed on a vacant terrace in the building. Wonder Grass is also experimenting with interior products and have a modest range of diwans, bookshelves, seating and lamps. contact@wondergrass.in www.wondergrass.in
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Š 2014 Elizabeth Felicella
GREEN PROJECT
The interiors of the home follow a largely open scheme with few doors or walls obstructing the flow of spaces.
Tranquilly Green
American designer Sharon Davis’ home in Garrison, New York, is a simple yet luxurious one-bedroom abode whose design was heavily inspired by its natural surroundings. Text By Shruti Nambiar Photographs Courtesy The Designer
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© 2014 Elizabeth Felicella © 2014 Elizabeth Felicella
Standing like a calm sentinel in the midst of a natural clearing in Garrison, New York, this outpost of privacy was built over two decades ago by American designer Sharon Davis.
Davis was “adamant that the house be small and have a light environmental footprint, while still feel comfortable, modern and luxurious.”
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© 2014 Elizabeth Felicella
© 2014 Elizabeth Felicella
A disciplined and precise scheme keeps the overall feel of the home tight even though the spaces are largely flowing into each other.
Reclaimed oak and salvaged pine was used to create the façade.
This home can well become the prototype for all abodes where respect for the environment is of uppermost consideration. Standing like a calm sentinel in the midst of a natural clearing in Garrison, New York, this outpost of privacy was built over two decades ago by American designer Sharon Davis.
There is no place for flashy colours in the design scheme. “The existing house on the site became the starting point for the design because of its elegant size. The new house was created using the original house’s footprint, but engages with the surrounding environment in numerous ways,” states the team.
It is a 3-acre site that is flanked by a nature preserve of about 70 acres area, and the Old Albany Post Road. Davis was “adamant that the house be small and have a light environmental footprint, while still be comfortable, modern and luxurious.” The 1-bedroom house is all this and more, a modern structure that is also a charming throwback to the cabin-in-thewoods times. Stark and luminous, the home’s primary tenor is inspired by its surroundings, and has been used to good complementary effect.
Reclaimed oak and salvaged pine form the simple, angular façade of the house. From outside to inside, this starkness of hue provides a good contrast with the smooth swathes of grey/black, whites and wooden browns of the interiors. The stairs on the outside have mahogany railings and are clad in bluestone slabs, which make it look like a Spartan cousin to the self-assured elegance of the blackened steel stairs inside.
The latter also lends itself to a lot of the railing and shelving, making it one of the more visually striking elements of a home mostly stripped clear of attention-seeking show-pieces. A lovely Corten Steel planter bed sits at the centre of the upper floor bedroom which is afforded ample views of the surroundings through the wide, fully retractable glass windows. If that isn’t ever enough, then just a few steps out is an Ipe wood deck where the communion with nature can be experienced ever so peacefully. The flooring and island in the lower floor kitchen were created out of poured-in-place concrete, and a fireplace made out of slate adds a charming touch. The ground floor also graced with views of the outdoors, thanks to the tall retractable windows, features simple white/cream seating and a patchwork rug in multiple blunt colours.
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© 2014 Elizabeth Felicella
© 2014 Elizabeth Felicella
Soy foam and geo-thermal temperature control arrangement are well in place in the home.
The low ceiling here splits up mid-way to make way for the staircase. All around are squares and rectangles of differing lengths, breadths, and make, forming a disciplined and precise scheme that keeps the overall feel of the home tight even though the spaces are largely flowing into each other. Adjacent to the living room are the kitchen and the small dining area, awash in natural light and almost glowing in their white-walled splendour. The lamps in this section are especially remarkable because of their quirkiness - the one above the dining table looks like a branch of a tree from which samurai swords are growing. The home’s green credentials are almost too easy to notice. All the building materials were sourced locally and consist of mostly recycled and reclaimed materials.There is soy foam and geo-thermal temperature control in place here.
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American designer Sharon Davis’ home is a simple one-bedroom escape.
“Landscape architects Nelson Byrd Woltz created a design for the site that uses only native plants – including a large wildflower meadow,” adds the team. To the back, the ground floor extends out into an array of patios linked by a small collection of steps. This can be used to access the gravel-lined landscape, a space perfect to stretch out one’s feet and stare up at starry skies at night. Indeed, ‘relaxed’ is the seemingly uninterruptible default mood of this home. All of its 900 sq ft area is committed to a deft manoeuvring between the natural and the carefully crafted and polished and the rustic and modern minimalistic. This is the kind of home that too many dreams are made of.
office@sharondavisdesign.com www.sharondavisdesign.com
© 2014 Elizabeth Felicella © 2014 Elizabeth Felicella
The home’s building materials were all locally-sourced, recycled and reclaimed.
Landscape architects Nelson Byrd Woltz created a design for the site that uses only native plants – including a large wildflower meadow.
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KARPENTER
KARPENTER is a company based in Indonesia and Italy, which believes in making furniture with a holistic and eco friendly approach. Talking about their philosophy they explain, “For the sake of the future generations, we take responsibility for the environment. We hold a certification from the Forest Stewardship Council (FSC). We also take measures to minimise our negative impact on the environment in all stages of our operations because we know that Earth is our only home.� All consumption including furniture making, has an impact on the environment. As an internationally recognised brand, Karpenter is committed to developing concepts and technologies that contribute to the sustainable management of the environment worldwide.
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Time adds character and charm to wood, which again builds relations between people and their furniture. These are the characteristics of furniture that are passed down through generations. Wood can be renewed for centuries. If necessary with time, professional refinishing can uncover new layers of beautiful wooden surfaces to make the furniture look like new.
Although Karpenter furniture is made to last, it is important to consider that old wood and metal can be recycled and made into new furniture, toys and other objects beyond our imagination. Finally, wood is naturally degradable and organically returns to nature. Ideas from creative designers are translated into craft techniques. Behind that human process, there is always the nature of the material they work with, which ultimately creates the final pieces. That is why KARPENTER says: “Designed by us, defined by nature.�
KARPENTER believes natural beauty is perfect and timeless. Combined with the human touch and creativity, KARPENTER exists to bring natural materials to adorn the rooms where you live and grow. The furniture is born from a dialogue between creative designers and technical craftspeople.
The passion of KARPENTER design is playful yet classic and timeless. Inspired from nature, life, and modern art; from the fine lines of Scandinavian minimalism, through French and Italian culture and tradition, to the simplicity of Japanese aesthetics, KARPENTER products play with metal, leather and fabrics.
A close attention to detail enhances the fine lines and curves. At the heart of KARPENTER design philosophy, flawless proportion is valued to make an equal emphasis on aesthetics and comfort. KARPENTER allows nature to define their product.
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All KARPENTER products are made from environmentally sustainable materials, techniques and technologies. Classy timeless design of superior quality is the USP of this company. For true lovers of natural beauty, Karpenter’s ‘Signature’ range allows noble materials to take centre stage. Every piece of wood has a unique and natural fingerprint that eventually shapes the character of each product. KARPENTER also believes that the carpenters and craftsmen are heroes, who value wood as a noble material and treat it with greatest respect.
This line is guided by the principle that furniture should be enjoyed for generations. Sleek, warm and up-to-date, the Twist collection serves up a clever mix of Scandinavian middle century influences and contemporary Japanese Zen minimalist furniture.
Earth is our only home. All consumption, including furniture making, has an impact on the environment. KARPENTER endeavours to create the lowest possible impact on the environment. As one of their commitments, they possess a timber legality verification and FSC certification for reclaimed wood.
Twist will definitely delight the city-resider and urban lovers of contemporary furniture. Its clean-cut curves and well-designed proportions add a sense of simplicity to hectic lives and expresses an opinion of living a cheerful and peaceful life. It is available in reclaimed teak wood, American black walnut and European white oak. www.karpenter.com
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The owner gave 3 old houses to be converted into one hotel, which was a major spatial restriction, but efficiently overcome by introducing courtyards and patios that acted not only as breakout spaces but also as links in the spatial chain.
Medieval Rustic Reconstructed
‘Modern in a rustic setting’ – Lucas y Hernández-Gil Architects get it picture perfect in Hotel Ayllon where contemporary design and comforts are fitted faultlessly into the medieval charm of the small town.
Text By K Parvathy Menon Photographs Lucas y Hernández-Gil Architects and Jara Varela Home Review September 2015
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“A contemporary reinterpretation of rustic” – that is how the owners of Hotel Ayllon, describe the quaint, charming hotel, set in the main plaza of Ayllon, a small town in Spain, where the medieval era comes alive in its narrow cobbled pathways. Castilian architecture and red rooftops blend in with green hilly fields and blue skies.
In such a locale steeped in history and tradition, to inject ‘contemporary’ is almost impossible, but Madrid based firm Lucas Y Hernández-Gil Architects have hit the right button in Hotel Ayllon which settles harmoniously in with its simple architectural surroundings. Its stony facade resembles everything around it, seeming to imitate the past... but once inside, a completely different world waits. The interiors ooze the domestic charm of the town in a spatial vocabulary that gives credence to the vernacular style yet caters to the modern, urban man. Say principal architects Cristina Dominguez-Lucas and Fernando Hernandez Gil, “The small hotel is located in an old medieval town, it was thus necessary to create a new and contemporary architecture that would adapt to the existing traditional one.” And this became their guiding mantra while delving into each tiny space within.
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The material palette oozes warmth, and by using local craftsmen for designing furniture that takes its cues from modern trends, the architects have been able to create a separate identity for all rooms already different in style.
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Taking their cue from the 20th century style, the local craftsmen have lent a Nordic appeal to the wood work which sits perfectly suited in the airy, spacious rooms.
“The theme,” architect Fernando Hernandez Gil explains, “was ‘respect’.” Expounding further, he says, “In our design we needed to maintain the scale and the traditional architecture of the town, which was actually a result of unplanned growth.”
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A twisted route through the cobbled pathways from the town entrance arch leads us to the main plaza where the hotel sits, merged into the Castilian facade. Mentions architect Cristina Dominguez-Lucas, “The houses have very little frontage, but a lot of depth.” So facade treatments were limited, and the design team stuck to stone walls and retained the original charm and beauty. While the frontal facade in the main plaza with its balconies seems like one of the many cafes on the street, the rear facade of the main hotel through a smaller plaza has more identifiable elements to it. The owner gave 3 old houses to be converted into one hotel, which was a major spatial restriction, but efficiently overcome by introducing courtyards and patios. These inside-outside spaces not just articulate the separate structures, but also link the spatial chain, while becoming the nucleus in the architectural scheme. The team tells us, “Every expanse of the 1500 sq m accommodating 18 rooms (all different) and 3 dining halls revolves around the cosy, sunlit landscaped central patio.” Connecting all the spaces, the patio is spatial flexibility in action - glazed walls and ceilings assisted by adjustable blinds and mobile openings change the dynamics as desired. Cristina Dominguez-Lucas points out, “The patio - restaurant consists of three linked dining rooms, which have different settings for different times of the day.” Splashed in neutral earthy and whitewashed tones, wooden beams, columns and minimalistic furniture is a theatre setting for the changing daylight that plays a game of ‘perspective and highlights’ with the textures and colours here. One can simply be lost in the warm Scandinavian-Nordic aura of the decor, while relaxing in one of the many wishbone chairs locally crafted. But of all spaces, the design team deem the bedrooms as their favourite zone; they further explain, “New spaces emerged as we tried to adjust the rigidity of local architecture and it provoked different experiences each time. Some bedrooms are oriented to the streets, some to the plaza or courtyard, and some even to the view of the roofs or to far visions of the surrounding landscape.”
Glazed mobile walls allow the dining rooms to spatially alter and also transform with the changing daylight.
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A common denominator in all bedrooms is the furniture - crafted by local craftsmen using locally available wood, in a manner that bridges 20th century trends and traditional vernacular style. To create depth in some of the rooms, pastel shades were chosen, and these neutral shades also act as the perfect backdrop for the material palette of light wood and Carrara marble. “We sought to create an effect of simplicity and sobriety. The location itself contributes peace and quiet, and the nuances of colour are provided by lighting. There is just a matter of ‘decoration’ and here the materials - untreated wood or stone of Sepulveda become important,” say the designers. The balance the team had wanted to create is evident in the subtle delicacy and respect towards every aspect of the design, from material palette and mixing, architectural decor to furniture styles. The authors of this hotel, the Lucas Y Hernández-Gil design team, have bridged the old and new, in styles that respect both eras; a tough benchmark to achieve surely. estudio@lucasyhernandezgil.com www.lucasyhernandezgil.com
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Pune-based studioHAUS was established by Kunaal Seolekar, and the firm much like him likes to combine multiple schools of design and inspirations to create unique projects. The firm takes a well-travelled student’s approach to design – first studying all the fundamentals thoroughly, and then whipping in a mixture of ideas to re-define and often better the look, texture, and feel of all the elements. The design boards here are busy homes of myriad patterns, colours and materials, with a steady romance with environmental sustainability running through. Any teacher would be proud of such a heady mix.
“Austerity” and “depth” are two of the many words that the team statement mentions while describing this project, and these best compliment the design effort invested here. studioHAUS was commissioned to design a showcase apartment by the Florida River Bank apartment complex in Pune’s Mundhwa area, a location like every one of those peripheral spots that are currently fast developing but just a few years ago were afterthoughts. But these areas enjoy a distinct advantage over the main city - a still-quite-generous green cover.
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“On the banks of a river, surrounded by thriving cultivation, the site is a natural habitat for several birds and native flora. Nature therefore, played a vital role in the planning and conceptualisation of the development,” confirms the team. As it is a largely aspirational space, the team has worked brilliantly to infuse the rooms with a largely white, pastel and light wood colour scheme, allowing a lot of space for imagination to take over and plan for the future.
The spaces of the flat are almost luminescent, bathed in sunlight streaming in from the wall-length windows, and aided in the mission by sheer curtains and mirrored props. The sublime hue choices help highlight the magic of natural and upholstery patterns even further – here one will notice and enjoy the whimsical patterns on birch and walnut wood, the geometry of the kitchen tiles, and the colour play of the custom-made rugs more starkly. It also helps assign a thin layer of mischief to the sudden bursts of colour peppered all around. Like a book-case, with its open bowels lined with a shiny, bright blood-red finish; or the smart placement of a neon sign spelling ‘play’ hovering over a bedstead, while a wall plastered with black-and-white, brick-wall-aping wallpaper stands by silently.
Text By Shruti Nambiar Photographs Courtesy The Designer
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It is not easy to stand out in Koregaon Park in Pune, and it is even harder to arrest anyone’s attention on the bustling North Main road, the main pathway across which vehicles, pedestrians, and streetshoppers hustle by. The O Hotel is located on this road, and when studioHAUS was pulled in to design a compound wall to go with a new entrance to the hotel, the designers decided to use this chance to install some creative artefacts to counter the chaos that brews around the location. “While in the process of referencing concepts, a meeting at our clients’ drew us to a wire framed elephant in papiermâché at their office, an earlier study of a room artefact. Taking it along to our studio, and adding a rhino for an element of interest, we conceptualised a landscaped habitat at a corner with the animals in life size to provide visual relief to the staid walled entrance,” states the team. The LED-bordered metal rhino, crafted as grazing on grass, and the elephant, its trunk aloft in salute, were created at studioHAUS’ workshop and fitted with weather-proof highgrade fiberglass. Strikingly visible during the day and aglow at night, the metal animals bring the exotic magic of the African wild to a commercially-overwhelming location. And they also become a fitting tribute to South African designer, Les Harbottle, who designed the hotel’s interiors.
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This initiative by studioHAUS is where a lot of the firm’s global ideas and inspirations are poured in and mixed together to facilitate the creation of contemporary art and design. inHAUS Worksmiths is the brainchild of Seolekar and Tony Kordolia, realised as a platform where clients can be offered a wide-ranging array of furniture pieces, lighting equipment and other design props that are innovative and distinct in their make and form. This vision is supported by intensive research, plenty of inspiration infusion from multiple travels, smart prototyping, and studies into everything from material to patterns. “The shed is an all-white contemporary workshop shed which includes the design studio, wood, metal and paint shops. A cross collaboration of practices and skills between designers and artisans is what makes this place unique, creative and a pleasure to work in,� states the team. With their insistence on customisation and eclecticism, efforts like inHAUS Worksmiths are often what distinguish modern design firms from the same old, and also raise the bar for the overall design landscape. ask@studiohaus.in www.studiohaus.in
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DESIGN DESTINATION
mont WHERE Located in the province of Quebec, Montreal is the second largest city of Canada. More than 350 years of French occupation has led to the confluence of European and North American culture in the traditions, art, design and all other aspects of life in Montreal.
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real WHEN
WHY
Montreal has four distinct seasons. Despite the extreme temperatures the line-up of festivals in summer and the Carnival at wintertime make these the peak seasons. Relatively mild temperatures, off-season crowds and beautiful fall colours are the attractions in spring and autumn.
Montreal’s rich history has created a rich historical and architectural legacy. In 2006 the city was titled a UNESCO City of Design in recognition of the influence of design in enhancing the quality of life in Montreal. The thriving cultural vibe of the city has earned it the reputation of being one of the liveliest Canadian cities.
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FOR OLD TIMES‘ SAKE The arched gables and ornate pillars that make up the façade of Montreal’s Hotel St.Paul make a stunning first impression. The building which was originally designed in the Beaux Arts style has been carefully restored without compromising on its original charm or modern comforts. A largely monochromatic colour palette ensures that the atmosphere is serene and elegant. Soft furnishings and art provide bursts of colour. Bridging history into the future through wellcrafted design earned Hotel St.Paul the distinction of being the first design hotel of Montreal. The eight floors of the Hotel alternate between two different landscape motifs – earth and sky. On the earth floors the ambience in the rooms is more tangible and solid. Deep browns, rust and reds infuse into the muted greys and whites.
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The rooms on the sky floor carry an ethereal vibe where light and air work as design elements. Antiques and bespoke modern furniture work charmingly together in one space. The large windows frame the skyline of Old Montreal which adds to the marriage between the oldworld feel and current setting. Like many old buildings the Hotel comes with the advantages of lofty ceilings, open spaces and large picture windows and the renovation has made the most of these features. Traditional materials like hardwood, exposed stone, raw metal and silk combined with contemporary styles and clean lines helps create a chic ambience in a classic context.
SCRATCH THE SURFACE Silhouettes of birds streaking across the room, white lounges set off with images of cherubs, stars and fairies against black walls‌myriad vibrant images make up the display at Surface Jalouse. Designed by graphic artists and designers, the decals provide an interesting alternative to wallpapers. The decals combine graphic design and printing technique and can be applied on any surface – walls, windows, floors, ceilings, furniture, etc. The collection helps add that extra oomph to contemporary spaces. The decals are easy to remove and thus can be used to change the look of the space as often as one wants to. Surface Jalouse houses designs ranging from bold to elegant to kid-friendly.
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FEEL AT HOME
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At first glance, Habitat 67 appears the handiwork of a giant baby who randomly piled his toy blocks over one another. A closer, longer look reveals the planned effort that would have been undertaken for this project. Habitat 67 started as a thesis for architecture by then student Moshe Safdie and was later adapted as a pavilion for the World Expo Fair to showcase an urban living experience.
Habitat 67 is made up of 354 prefabricated concrete forms laid out to create residences of varying sizes and proportions to accommodate individual needs. The project integrates the rhythm of life in the country with the economics of urban living.
HUNTING GROUND L’Original translates to moose in English and not original; one step through the door of this restaurant and the significance of the correct translation makes sense. The restaurant is located in the middle of Old Montreal but the chalet-like interiors create the atmosphere of being in the countryside. The extensive use of wood lends the space the feel of a cosy cabin. A faux head of a moose carved from wood adorns the door and a boat nailed horizontally on the wall behind the bar is fitted with shelves to hold bottles and glasses. These, combined with other elements like an antique typewriter and a lobster trap bring an eclectic touch to L’Original. Text By Himali Kothari
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From time immemorial, India bears witness to rich wooden artefacts designed by those who were dexterous with the creation of such convoluted, yet gorgeous designs. Third century Hindu temples, screens and jaalis seen in Mughal architecture and figurines of Gods and Goddesses and animals were the variety that people formerly were accustomed to. So when I came across the Uthra trio, the brains behind Woodcraft, my mind traversed to the time when umpteen examples of wood craftsmanship were found in the opulent architectural designs of doors, ceilings and windows of the yore. Pradeep Uthra, along with his sons Dhruv and Karan Uthra, are involved in this longstanding craft of wood carvings for more than 25 years. Time had a role to play here too; it was Mr. Pradeep’s father who initiated his son into the intricate art of wood work and thus started the familial leaning.
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CARVED IN TIME TEXT BY REHANA HUSSAIN
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Karan speaks about the business that started small in the capital and went on to become Woodcraft, “It was a family business that originated in New Delhi, where my father learnt the techniques from my grandfather. After shifting to Pune, my father started his own manufacturing unit and thus was born Woodcraft, which was also named by my father.� Woodcraft deals with all kinds of wooden carvings, sculptures and jaali cutting work while also offering interior solutions.
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Karan elaborates, “We are the manufacturers of all kinds of wood artefacts such as doors, mandirs, figurines, etc. and also offer customised jaali designs in MDF, ACP, plywood, laminates and other materials. These are made in our workshop at Timber Market, Bhawani Peth, Pune.” They also have a recently launched showroom in Pune. Dhruv says, “At our showroom we provide various products required by architects or interior designers to design a home such as designer laminates, designer sheets, PVC panels, wooden flooring, wallpapers, plywood, alabaster, Corian, etc.” Thus, Woodcraft can be safely tagged as a one stop shop for all interior solutions. However, the sole driving factor behind Woodcraft is their one-of-a-kind wooden carvings which are 100% customisable according to the client’s requirements. They use sagwan wood for all products – besides jaali designs, which uses MDF – unless the customer specifically asks for a different type of wood. The wood is sourced from authorised dealers in Pune. Often a customer might require a life sized figurine for their living room or an intricate, Mughal-inspired door to complement their interiors. At Woodcraft, this and more is possible as there is absolutely no limitation to the size of the sculpture or design. The unflinching credit for this feat goes to Mr. Pradeep, the man responsible for all the sketches and drawings as per a client’s whims and fancies. Hence if you go to him with a photo or a particular theme in mind, he can convert it into a masterpiece. And if you’re not that finicky, then go ahead and take your pick from Woodcraft’s vast collection. I asked Mr. Pradeep what his design inspiration is to keep coming up with such fantastic designs and he replies with a smile, “Our customers. If our customer can imagine it, then I can create the actual sculpture for them. And of course, there is no dearth to a customer’s imagination.” With a naturally endowed bent of mind towards this craft, Mr. Pradeep’s talent is seldom found in today’s mechanical age.
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The timeline of delivery for the finished product varies according to the level of difficulty of a design. “The more complicated the design, the additional time it takes to deliver. For instance, a mandir would take around 10-15 days while a door can go up to 20-25 days to finish,” says Dhruv. Sculpting and hand carving is a specialised form of art which requires specialised karigars. Finding and retaining such individuals would not be an easy task at hand, surely? Karan says, “Currently all our karigars have been with us since 10 years. But yes, it is very difficult to find a fine karigar to do this kind of a job and after hiring them we also train them to the particulars of handling each carving carefully without breaking or chipping them off.” While wooden sculptures and customised jaali designs are their most popular products, they have recently launched a guitar prototype which will be a boon for guitarists. Says Karan, “We are going to provide guitar lovers a customised guitar made with the best available wood with an exquisite design on the sound box.” So if you fancy a sculpted masterpiece for your abode, head over to Woodcraft where you will find Dhruv or Karan waiting to assist you in your endeavour.
Woodcraft Karan & Dhruv Uthra Shop no. 31 & 32, Radhey Heights, Near Dmart, Ravet, Pune – 411044. 9225644891 / 9823274939 karanuthra@gmail.com dhruvuthra@gmail.com
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THE MARKETPLACE Anchor Introduces Luxurious LED Lights
Anchor by Panasonic has recently launched its new range of luxurious LED Lights. These include the Panasonic large ceiling lights, compact ceiling lights and pendant ceiling lights. The Panasonic large ceiling lights are energy efficient and reduce lighting waste. The lighting thrown by this product is evenly bright. A smart remote enables colour tuning and dimming and also allows for remote control adjustments.
Its silver frame with decorative crystal glass adds to the aesthetics of the room. Its luminaire lumen efficacy is 71.21m/W. The compact ceiling lights have been manufactured using Panasonic Lens technology, thus enabling the product to brighten the entire room and even the surrounding area. It has an acrylic cover and makes for a great centre decoration. Its luminaire lumen efficacy is 72.6Lm/W.
Energy efficient and aesthetically appealing, pendant ceiling lights brighten up the entire room and also add to the style quotient of the house. The product has a chrome finish body with a cut glass decoration. These lights are equal to a 60W incandescent lamp. Its luminaire lumen efficacy is 47.4Lm/W. www.anchor-world.com
Zody Chairs By Haworth A high-performing task chair, Zody blends science-based wellness and comfort with sustainability and international design. This high-performance, mid-priced task chair is the first of its kind to have PAL, a passive pelvic support system and a userselected, asymmetrical lumbar support system. Zody has also been recommended by the American Physical Therapy Association.
A one of a kind task chair that is versatile and goes from the conference to the CEO’s office, the Zody chair range has been certified as a Cradle to CradleTM Gold Product by the MBDC (McDonough Braungart Design Chemistry, LLC). ap.haworth.com/zody10thanniversary
The designers of Zody conducted extensive research before coming up with this product. Its PAL back support enables users to choose the amount of support they need on either side of their lower back to maximise the level of comfort. Zody is also available with 4-D arms that let the user adjust the armrest at four levels: in/out, forward/backward, up/down and left/right. The Zody headrest is an ergonomic option which can be added to provide optimum comfort. Home Review September 2015
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THE MARKETPLACE Zynna Introduces Its Range of Curtains and Cushions
Zynna has recently launched a brand new collection of curtains and cushions. The collection comprises floral-printed fabrics inspired by the countryside and English gardens. The fabric material is of a 100% cotton make and comes in a wide variety of soothing tones including pink, lavender, berry, beige, red and green.
As Mr. Retesh Sharma, MD, Zynna explains, “This new range of curtains and cushions with blossom prints and patterns promises a calm and soft interior inspired by nature and the English gardens, further giving an elegant look to one’s abode.” www.zynna.in
New Range Of Sinks By Nirali
One of the foremost companies in the kitchen sink segment, Nirali has recently launched its Radius and Exa ranges of sinks. These sinks are unique in their make. Whilst generally sinks come with their edges moulded at 90 degrees, Radius Sinks have a taper side wall. This does not let any food residue to get trapped or stuck, which makes it easy to maintain hygiene and cleanliness.
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Exa kitchen sinks, on the other hand, are built keeping in mind the time constraints of today’s age. The sinks come with detachable lids that can screen unwashed utensils and can also be used as an extension of a kitchen platform. These lids also disallow insects to pry around the vessels at night.The products by Nirali are based on thorough consumer research and seek to satisfy the consumer’s every need.
Both the Radius and Exa ranges of sinks are manufactured to AISI 304 quality. They have deep bowls, combine functionality with aesthetics, and come in a satin finish. www.niralisinks.com
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