IAB FEBRUARY 2019 - YOUNG DESIGNERS SPECIAL

TOTAL NUMBER OF PAGES INCLUDING COVER 100 MUMBAI ` 200 FEBRUARY 2019 VOL 32 (6)

19

ARCHITECTURE Tejorling Radiance, Karan Darda Architects Boys’ Hostel, Zero Energy Design Lab

19

INTERIORS House in a Grove, STOMP Lucid House, Attiks Architecture Aditya Builders’ Office, Space Studio Architects Aditi Organics Office, Made In EARTH Collective Luminocage, 10/10 High Note Performance, Headlight Design

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industry news

8

Viega Advantix Vario Wall Drain: Good Hygiene Properties And Modern Design

T

he Viega Advantix Vario Wall Drain impresses with its unbelievable flexibility and extremely narrow construction.

Without any major effort, the Viega Advantix Vario wall drains can be cut to length with millimetre precision and can even be extended if needed. This is especially valuable for renovations where precise integration with existing buildings can be crucial. This degree of flexibility not only gives bathroom designers maximum room for manoeuvre when planning showering areas, but also offers the specialist trade and installers optimal warehouse logistics. The successful symbiosis of minimalistic design and function, top performance and flexibility has impressed the jury of the “Design Plus powered by ISH”.

Contemporary slick design for modern bathrooms The first wall drain solution that can be shortened individually and can be used in virtually any situation with its 25 mm wall installation depth. It can be fitted in solid structures, light weight constructions and front wall structures. The plaster thickness or an XPS hard foam panel is often enough for its installation. The innovative technology also considers sound insulation guidelines which is in accordance with DIN 4109 and VDI 4100.

Simple and quick assembly The “Advantix Vario Wall Drain” has a length of 1200 mm as standard. Like the familiar “Advantix Vario” shower channel, it can be accurately shortened up to a length of 300 mm as needed. To do this, a saw support is included in the delivery along with a tiler’s set with all the necessary installation and sealing materials.

To prevent contamination during the installation phase, the flange surfaces are protected with adhesive strips and the drainage slot with a foam insert.

Many combinations options for renovation and new builds Depending on the installation circumstances, two drain designs are available. For bathroom renovations with a height of 70 mm and the standard 90 mm model for properties with a higher floor structure, which can be flexibly increased to 165 mm. The drainage capacities are between 0.6 and 0.75 litres per second, depending on variant. Water drains along the entire length of the wall drain. An inclination of one to two per cent is all that is needed. It is no longer necessary to laboriously cut to size the sloping tiles. The drainage capacity is between 0.6 and 0.75 litres per second in accordance with DIN EN 1253. The connectors can be rotated by 360 degrees in DN 40 or DN 50.

Easy cleaning The Viega Advantix Vario Wall Drain is designed for easy and hygienic cleaning, ensuring no dead space is created for dirt or hair. Using a cloth or cleaning brush, the drain age profile can be cleaned easily.

The multi-tool also acts as an application aid for a cleaning spiral.

Indian Architect & Builder - February 2019

About Viega: Viega was founded in Attendorn, Germany, in 1899.

Worldwide, more than 4,000 people are employed by the Viega Group, which is among the leading manufacturers of installation technology for sanitary and heating. The range consists of approximately 17,000 articles in the product categories of piping systems as well as pre-wall and drainage technology. They are used nearly everywhere: in building services installations, in utilities, in industrial plant construction and shipbuilding.

Since 2005 Viega has been successfully present in the Indian market.

After several years with independent Sales Representatives, in 2015 the legal entity Viega India Pvt. Ltd. was founded in Ahmedabad, Gujarat to foster the Indian local footprint. In 2018 the company opened a manufacturing facility in India at Sanand, Gujarat. Over a period of time more and more products Viega sells in India would be produced here.

For further media queries contact: Amar Kirale - 9892459300

8400+

201+

attendees till date

lectures till date

700+

11+

professionals in each edition

editions

India’s Biggest Architecture symposium ICON LECTURERS OVER THE YEARS Dr B V Doshi, Pritzker Laureates, 2018

India

Richard Meier, USA Pritzker 1984 Laureate

One of the oldest and most respected design forums in India, the 361° Conference is an initiative by Indian Architect & Builder, under the aegis of Jasubhai Media, to inspire a truly relevant discussion on architecture.

The Conference establishes a thought – exchange program with lectures and discussions chronicling a multitude of ideas and innovations that have had a significant impact on our habitats.

Through the years, the conference has connected various disciplines of design, by offering dialogue opportunities across essential themes like Architecture and the City, Architecture & Identity, Architecture of Purpose, New Spirit in Architecture, Design & Informal Cities, Earth Matters, Imagining Urban Futures, Material Innovations & Discourse, Intuition & Syntax in Architecture.

Fumihiko Maki, Japan Pritzker 1993 Laureate

Late Charles Correa, India Padma Vibhushan, Padmashri, RIBA Gold Medal

Massimiliano Fuksas, Italy Crystal Globe IAA Grand Prix 2015

Peter Rich, South Africa Building of the Year award at WAF

Toyoo Ito, Japan Pritzker 2013 Laureate

Sir Peter Cook, UK Royal Gold Medal of the RIBA

“India is diverse economically, socially, culturally and climatically. We need to stop talking about buildings and talk about a sense of community. That is what identity stems from.”

“I think, any work of architecture that has, with it, some discussion, and some polemic, is good. It shows that people are interested and people are involved.”

“Time was able to give us the ability to reflect on what we had done and became the mediator between the city and its architecture.”

“Place represents that part of truth that belongs to architecture.”

“Architecture is probably the easiest and simplest interpretation of art and culture.”

“You cannot reinvent the wheel with architecture; it has all been done before.”

“Asian Architecture and cities have inherited the culture of integrating with nature and are opened to nature.”

“History of architecture seems to be preoccupied by the form of the window, the decoration of the window, the acknowledgement of the window.”

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TOTAL NUMBER OF PAGES INCLUDING COVER 104 MUMBAI ` 200 DECEMBER 2017 VOL 31 (4)

MUMBAI NOVEMBER 2017 VOL 31 (3)

` 200

TOTAL NUMBER OF PAGES INCLUDING COVER 88

TOTAL NUMBER OF PAGES INCLUDING COVER 136 MUMBAI ` 200 OCTOBER 2017 VOL 31 (2)

IN CONVERSATION Patrik Schumacher, Zaha Hadid Architects

ARCHITECTURE Celebrating Mimar Sinan: An exhibition of selected works Mausam: The House of Seasons, Zero Studio Design Studio of Architect Dhananjay Shinde, Dhananjay Shinde Design Studio

ARCHITECTURE Salerno Maritime Terminal, Zaha Hadid Architects Retreat in the Sahyadris, Khosla Associates INTERIORS The Bengal Rowing Club, Ayan Sen Architects Urban Designers and planners The World Resources Institute, Biome Environmental Solutions The Matt House, Studio Course

INTERIORS Mobile Retail Space, I-Con Architects and Urban Planners Artist Zoë Le Ber’s Residence, Sophie Dries Architects

RESILIENCE Building resilience, essay, Architect Abin Chaudhuri

TOTAL NUMBER OF PAGES INCLUDING COVER 96

TOTAL NUMBER OF PAGES INCLUDING COVER 92 VOL 31 (6)

VOL 31 (7)

FEBRUARY 2018

MARCH 2018

` 200

` 200

MUMBAI

MUMBAI ARCHITECTURE Twin Houses, Spasm Design The Pool House, IORA Studio Haveli Dharampura, Spaces Architects@ka New headquarters for Société Privée de Gérance, Giovanni Vaccarini Architetti

INTERIORS Versatile Decadence, Hsc Designs White Edge Architects’ office, White Edge Architects Cream Affair, Architecture_Interspace Pitchers Cafe Bar, Architecture Basics

ARCHITECTURE 15°, .warp The Pavilion, ARUR Vikarna Basement, Studio 4000

INTERIORS Baradari at City Palace Jaipur, Studio Lotus Apple Kids Play School, NAAMS Architectural Workshope

INSTALLATION Time Machine, Studio acrossZero

ARCHITECTURE INTERIORS CASA LUX, Studio WhiteScape Phantom House, UDAI

PRODUCT DESIGN GoT Window, MyInnoSpace

TOTAL NUMBER OF PAGES INCLUDING COVER 90

SONAM WANGCHUK

MUMBAI

YAMA KARIM PREM CHANDAVARKAR SANJAY PRAKASH

MAY 2018

RAHUL SRIVASTAVA MATIAS ECHANOVE AMIT PROTHI

For the next 100, we need architects who believe in architecture

VOL 31 (8)

APRIL 2018

SHAUN KILLA

VOL 31 (8)

We have modernists, deconstructivists, situationists, new-media interpreters, post-modernists, neo-brutalists, rationalists, minimalists and revivalists… they have defined the past 100 years of architecture!

` 200

` 200

MUMBAI

TOTAL NUMBER OF PAGES INCLUDING COVER 90

18

RESILIENCE Building resilience within Indian craft clusters and communities: Kashmir

SUSHANT VERMA YASHWANT PITKAR G. V. SREEKUMAR ISHAAN DIXIT S. VISHWANATH GLENN BERRILL ASHOK B LALL AROMAR REVI

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TOTAL NUMBER OF PAGES INCLUDING COVER 104 MUMBAI ` 200 JANUARY 2018 VOL 31 (5)

POST EVENT Third Edition of Structure & Architecture Conference, New Delhi

RESILIENCE Imagining a Resilient City: Varanasi, essay, Architect Ritu Deshmukh

Presents

Resilient City Powered by

CAMPAIGN A perspective by Julian Treasure on acoustically designed spaces

SHUBHENDU SHARMA PRASOON KUMAR

ARCHITECTURE Muraba Residences, RCR Arquitectes Skewed House, Studio Lagom Artrovert: Conversations in Grey, Anagram Architects The SHACK, The Side Lane – Design Co.

SANJAY PATIL

INTERIORS Terracotta, tHE gRID Architects

Editorial Inquiries: iab_editorial@jasubhai.com Subscriptions: subscription_iab@jasubhai.com

EXPLORE

VOL 32 (6) | FBRUARY 2019 | ` 200 | MUMBAI RNI REGISTRATION NO. 46976/87, ISSN 0971-5509 INDIAN ARCHITECT AND BUILDER

Chairman & Editor: Maulik Jasubhai Shah Printer, Publisher & Chief Executive Officer: Hemant K Shetty Sub-Editor: Shriti Das Writers: Sharmila Chakravorty, Sukanya Bhattacharjee Design: Mansi Chikani Subscription: Dilip Parab Production Team: V Raj Misquitta (Head), Prakash Nerkar Email: iab_editorial@jasubhai.com Head Office: JMPL, Taj Building, 3rd Floor, 210, Dr D N Road, Fort, Mumbai - 400 001.

Tel: + 91-22-4037 3636, Fax: +91-22-4037 3635

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40

ARCHITECTURE Home away from home The Boys’ Hostel at St. Andrews in Khurrampur, Gurgaon by Zero Energy Design Lab responds to its climatic context, is environmentally sustainable, and provides ample spaces for interaction for its inhabitants.

Beyond worship Tejorling Radiance, a Shiva temple in Pune by Karan Darda Architects, imbibes the spiritual ethos of the traditional temple and the duality of Shiva within a minimal but sculptural piece of architecture.

46

INTERIORS Past Perfect The House in a Grove by STOMP is a modern home that draws inspiration from heritage of Chettinad; not from its past grandeur or riches but merging of global aesthetics and ideas.

54

How lucid is the Lucid House?

What transpired behind the scenes with the Lucid House by Attiks Architecture for ‘Lucid’ to emerge and prevail?

64

Infusing an architectural perspective into interior design A developers’ office in Jalgaon by Space Studio Architects refurbishes an existing space, tailoring it from an architectural perspective to suit the needs of a new and evolved program.

72

Reflecting an ethos The interior design for Aditi Organics Certification Pvt. Ltd. Office in Bangalore

by Made In EARTH Collective uses a naturalistic, simple material and colour palette to create a space that is modern, dynamic yet comforting, reflecting accurately what the organization represents.

80

Emplekosyrmaphobia 10/10 borrows the concept of ‘cable-mess’ and translated its imagery into a space for futuristic design experience for Schneider Electric.

86

In search of the engineered aesthetic High Note Performance, a motorcycle gears store in New Delhi, designed by Headlight Design draws inspiration from a variety of motorcycle-related sources to create a store design that is raw, edgy and industrial.

92

Beautifully ugly Archilogue by Palak Mehta

Cover Image: © Headlight Design

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industry news

16

Häfele Digital Door Security Systems - It’s time to ‘REinvent Access’…!

O

ver the years, evolution in living patterns has demanded more from the traditional key than mere home security. People move out of their homes much more – be it for short durations to work or longer durations for holidays; and the home is left to the limited realms of security provided by a simple lock and key. During this time, the home has to be accessible to few key people like the domestic help coming in for household chores or children returning from school or maybe even a guest wanting to use your house while you are away on vacation. At the same time the home has to be secured from break-ins or unwanted access. And so comes to mind some pertinent questions about the modest possibilities of security from a key: ↑

↑

Real

↑

Resize

Can a key…

…Allow remote access?

…Manage selective access?

…Smile its way to opening a lock?

…Tell who tried to break into your home?

…Raise alarms during break-ins?

…BE TRUSTED? Today, people want smarter and convenient options to manage the access to their homes - the question is no longer about who stays out of the house but who can be let in.

Häfele introduces a new perspective to home security with its integrated range of Digital Home Security Solutions. With this range we bring to you the most advanced technologies in digital access modes, safety features, convenient settings and much more; attempting to provoke a serious thought towards home security. These solutions from Häfele can allow you to control multi-dimensional aspects of home access through a single locking device, as per your specific lifestyle and at the leisure of your convenience. So it’s time to move to a smarter way of life - it’s time to “REinvent Access”!

Through this range, we would like to introduce you 5 home security wonders that will redefine the spectrum of security and access for your homes: REVEAL: Because you need the highest form of security…

• Häfele’s REVEAL Digital Lock carefully scrutinizes every individual need that you may have from your home security system and presents itself as the ideal answer for all those needs. This fullyloaded face-recognition lock comes with the highest standards of technology that reads over 170 points on the user’s face – this means that it is highly sensitive to even the flinch of a nerve on your face and will only allow access if you exactly emulate the Indian Architect & Builder - February 2019

↑

Replace

Reveal

↑

Rebell

expression that was pre-set as your access recognition.

REAL: Because you need a better security solution…

• Its time your digital door security system gets a promotion with Häfele’s REAL Digital Door Lock. True to its name, this lock addresses the ‘real’ needs of holistic home security through its feature-rich proposition. With 4 different access modes – Finger Print, Key Pad, RFID and Mechanical Key – Häfele’s REAL Digital Lock brings you optimum security and more choices.

RESIZE: Because your fashionable door needs its ‘right’ match…

• Häfele’s RESIZE Digital Lock uniquely combines incomparable technology with an aesthetic design, bringing the much desired ornamentation to your door while also securing your home with planned access. Owing to its singular design, RESIZE allows you to combine its existence with any preferred lever handle as per your choice. This brings in a whiff of customization to your approach while designing the security needs for your door- you may not otherwise find such flexibility in the market.

REPLACE: Because your mechanical lock needs an upgrade…

• Häfele’s REPLACE Digital Lock is designed to bring a seamless transition from traditional mechanical locks to sophisticated digital security systems. As the name suggests, this lock will replace the limitations of the traditional lock-and-key with the innumerous possibilities of a tech-savvy digital lock- and literally overnight. With 3 different access modes – Key Pad, RFID and Mechanical Key – Häfele’s REPLACE Digital Lock addresses your principal security needs; and the possibility of combining two access modes neutralizes any chances of a break-in.

REBELL: Because you need a 99.99 “100” percent…

• Häfele’s REBELL video doorbell completes our offering for holistic home security with an added touch of smartness. This Wi-Fi enabled solution can be integrated into your smartphone through a featurepacked App that allows you to remotely manage all functions at your fingertips. This means that you could be lazing in your bed or sitting at your office desk or shopping at your favourite mall and yet you can see or even talk to the person standing at your doorstep.

industry news

18

Hitachi grabs Smart Air Conditioners Company of the Year Award maximization, geographical coverage and penetration, customer value proposition, CSR activities etc. Frost & Sullivan’s industry experts track markets and companies by holding detailed interactions with industry experts, market participants and end users, along with an extensive research of proprietary data to compile the jury evaluation matrix.

Nominees are shortlisted based on a structured data and a research backed presentation by Frost & Sullivan’s senior industry experts.

Evaluation by an eminent jury panel finally leads to the winner.

A

dding another feather to its wing and cutting above the rest of the industry players, Johnson Controls-Hitachi Air Conditioning India Limited was awarded as ‘Indian Smart Air Conditioners Company of the Year Award 2018’ by Frost & Sullivan, a global research and consulting organization that recognizes and awards companies which show visionary growth, are inspired by innovation and demonstrate thought leadership abilities.

The award ceremony was held on 10th October 2018 in Hyatt Regency, Mumbai. More than 5 leading air conditioning companies were evaluated and nominated for this award. Hitachi rose above the rest and bagged this award. Winning this award has re-affirmed Hitachi’s ability to constantly innovate and cutting edge technology deployment to develop products that are synced with end consumer’s requirement.

Frost & Sullivan’s Best Practices Awards are presented every year to companies that have shown significant growth in their respective industries, have identified emerging trends before they become a marketplace standard, and have created advanced technologies that catalyzes and transforms industries. The award is crafted through a rigorous process based on several parameters like product portfolio for

Indian Architect & Builder - February 2019

Hitachi’s ability to deliver smart products comes from its thorough understanding of consumer’s requirement and insights gathered via various market researches. This helps the company in staying at the forefront to develop products and technologies that are innovative, energy efficient, eco-friendly and fulfill the needs of the customers. Our smart AC range is equipped with features such as iClean, iSee, iSense and WiFi technology that make the product stand out in the market. Hitachi’s smart, energy efficient and eco-friendly products and technologies are backed by decades of experience in Air-Conditioning in India. More than 18% products in the line-up are 5 star inverter ACs and green as well. Hitachi has witnessed 24% y-o-y in RAC segment. The Company which manufactures Room AC, VRF Systems, Ductable AC, Chillers and other commercial cooling solutions, has also bagged some prominent Government and B2B segment clients such as Bangladesh Bhavan, Lodha Developers, Oyo Rooms, HDFC bank, ICICI Bank, Kalpataru Group and Ajmera Group.

Thus, with such a strong foothold in the country and a strong portfolio, Hitachi has emerged to be a leader in the Indian Smart Air Conditioners Company of the Year Award category in India.

industry news

20

Soundproofing Membrane from Mapei

A

ny Design work is characterised by a precise professional commitment: finding the best way to combine aesthetics with functionality and elegance with practicality. Choosing just the right colours and materials is fundamental in defining the quality of the end result and its durability over the years. To truly enhance the personality of spaces and surroundings we must employ, first and foremost, installation products and systems that are in line with the overall objectives. This is why Mapei is the only company in the sector to have such a comprehensive and articulated range of solutions available, the result of their extensive experience which is constantly updated with the addition of new, innovative products. In the repertoire of opportunities targeted at the world of architecture and interior design you will find the perfect answer for every type of design requirement, even the most complex and original. And always including the reliability of the Mapei brand.

Let’s discuss about a product in this article, which is the need of today’s lifestyle and for reducing the noise pollution.

Sound is a sensation perceived by the human ear and is generated by vibrations from an oscillating body. These oscillations are the movement of the particles of a specific object that transmits movement to adjacent particles, which in turn transmit this energy to the nearest particles and generate a sound wave. A wave will only be generated and then propagate if there is a liquid, solid or gaseous body (such as air).

Mapesonic CR is a thin section soundproofing membrane to combat the noise of footsteps transmitted through floor slabs, applied before laying ceramic, stone, resilient and multi-layered parquet floors.

Mapesonic CR is manufacturing using recomposed cork and rubber bound together with high quality polyurethane composite. Mapesonic CR has been specifically developed for application is existing buildings to improve soundproofing without removing the floors and screeds. It

Indian Architect & Builder - February 2019

↑

Naked Slab.

↑

Slab soundproofed with Mapesilent Roll.

is particularly suitable, therefore, for all buildings such as residential units, hotels, offices, rest-homes, schools etc. under renovation.

ADVANTAGES • Efficient reduction of noise from footsteps. Mapesonic CR considerably reduces the transmission of impact noise to upgrade the acoustic performance of buildings in compliance with D.P.C.M. 5-12-97.

• May be overlaid on old flooring • Easy installation • Certified system • MAPESONIC CR is certified according to current international standards (EN 10140-3 and EN ISO 717-2:2007).

• Very low emission of volatile organic compounds - Classified EC1 Plus according to GEV-EMICODE. Mapei India is proud to be part of our prestigious project “Statue of Unity” where, Mapesonic CR was used in the walk area.

For more details on products and services, please write to us @ infoindia@mapei.co.in or visit us @ www.mapei.co.in

new kerapoxy design + granirapid bleed.pdf 1 24-08-2018 17:07:40

Two-component high performance fast-setting and hydrating cementitious adhesive for ceramic tiles and stone material.

• Particularly suitable for bonding stone material with fast drying times • Particularly suitable for rapid re-tiling jobs or flooring that has to be ready for use within very short times (supermarkets, hospital, swimming pools, etc.)

• Suitable for bonding floorings subject to heavy traffic.

Kerapoxy Design C

M

Y

CM

MY

CY

CMY

K

Granirapid

Kerapoxy Design is a highly decorative grout which enhances the most exquisite wood mosaics. With a brilliant, satin finish, it is durable and easy to apply.

It is available in 8 different colours which provide striking artistic potential with an infinite variety of coloured mosaics.

It can also be mixed with MapeGlitter, metalized coloured glitter, to create special aesthetic effects.

Kerapoxy Design: the name speaks for itself..

EN 12004

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BANGALORE FACTORY: 163/1, KIADB Industrial Area, Bommasandra – Jigani Link Road Anekal Taluk Bangalore 560 099 Ph.: 080 27839689 VADODARA FACTORY: Plot No.110 & 111, Alindra, Savli Industrial Estate, Vadodara - 391770 Ph.: 02667 267600

mapei.india

industry news

22

Shaw Contract’s New Bengaluru Experience Center Achieves the Leed Gold Standard

A

fully-owned brand of Shaw Industries, the world’s largest carpet manufacturer and leading floor covering provider, Shaw Contract has just received the LEED v4 Gold for Interior Design and construction certification for its newly opened 343 square metres experience center in Bengaluru, India, making it one of the first few projects in India to have achieved this international standard. With this certification, Shaw Contract hopes to lead the design and build community in creating spaces which are better for the planet and better for people.

Said Mr Rakesh Lakra, Regional Vice President, Shaw Floors India, “Our approach to creating a better future is thought through every step – from sourcing materials, our manufacturing process to our sales offices and recycling centres. LEED’s rigorous standards made this achievement obligatory for Shaw Contract who has always chosen the environmentally smart approach.” Earlier in 2015, Shaw Industries’ state-of-the-art manufacturing facility in Nantong, China, built to cater to customers in the Asia Pacific region, was awarded the LEED Silver status in the New Construction category. The new Bengaluru experience center met high standards in sustainability by integrating more natural light through the effective use of glass panelling, minimising energy consumption and selecting furnishings that is environmentally friendly. The use of Shaw Contract’s own carpet tiles, which are completely recyclable and Cradle to Cradle Certified™, further contributed to credits and prerequisites set by LEED v4.

Shaw Contract is among the few carpet manufacturers in the world that have products that can contribute to all the LEED v4 credits raising the bar in achieving environmental, economic and social impact. Consistent with their commitment to full life-cycle sustainability, the use of their own carpet tiles helped the showroom easily achieve the gold standard.

Designed as an open collaborative workspace with pockets of space conducive for people to connect with one another, the Bengaluru experience center was designed without walls. Different spaces were marked out by

Indian Architect & Builder - February 2019

mixing and combining colourful carpet tiles selected from Shaw Contract’s wide award-winning collections.

“Shaw Contract’s LEED certification for the Bengaluru experience center demonstrates tremendous green building leadership,” said P. Gopalakrishana, Managing Director, APAC & Middle East Market, Green Business Certification Inc. “LEED was created to make the world a better place and revolutionize the built environment by providing everyone with a healthy, green and high performing buildings. Shaw Contract Bengaluru experience center serves as a prime example of how the work of innovative building projects can use local solutions to make a global impact on the environment.”

With the final threads in place, Shaw Contract opened its latest experience center to welcome collaboration from designers, architects and industry partners to explore better solutions using sustainable and environmentally friendly products as demonstrated through its LEED certified showroom.

Shaw Contract: As a global floor covering brand, Shaw Contract believes in the impact of design and how to improve how people work, learn, heal and live. Driven by sustainability, our Cradle to Cradle Certified products perform in spaces across the world. The brand has received Best of NeoCon Awards 14 out of the past 15 years and is rated “best overall business experience” by facility managers and designers. The brand is also recognized among Contract magazine’s top ten “Brands that Inspire.” A brand of Shaw Industries, Shaw Contract combines the expertise of the world’s largest carpet manufacturer with the financial stability of a Berkshire Hathaway subsidiary.

For more details: visit www.shawcontract.com. shaw contract #19/3, Doddamane, 2nd Floor, Vittal Mallya RoadBangalore, Karnataka 560001 SHAW INDUSTRIES, INC. - A Berkshire Hathaway Company

industry news

24

Architectural Lighting

↑

Cylin Slimmy

↑

↑

Line N Dot

Trisha Led Down Lights

K

-LITE INDUSTRIES an ISO company, manufacturing indoor and outdoor luminaires have launched a new series of LED Architectural Lighting. Being the trend setters in outdoor lighting and inspired by the “Make in India” vision, K-LITE, through their innovative outlook, have showcased an all new product portfolio under Architectural Lighting. The application includes Facade Lighting, Pathway Lighting, In-ground Luminaire, Uplighter, Up-down Lighting, Billboard Lighting, Vertical Light Bars, Wall Washers, Area Lighting poles and above all popular sleek polar lighting solutions.

The solutions offered are backed by extensive understanding of illumination in urban spaces and the expertise gained over a period of three decades. The fixture are designed to provide value technology, ideally suited to Indian Conditions. The LEDs used comply to LM 80 testing requirements and from Internationally reputed makes such as Nichia / CREE. The luminaires are RoHS, LM 79 and CE certification compliant. The luminaire efficacy (lumens/ per watt) is much above 100 for all luminaires. Varied optical options for lighting distribution and correlated colour temperature (CCT) for cool white, neutral white or warm white are available to suit specific requirements.

The outstanding item of the series viz., the Sleek Polar Lighting Solutions is a contemporary design that is both timeless and unique in its impression. Compact without visible mounting equipment and optimised integration, Polar Lighting is in perfect continuity with the geometric lines of the square column.

These assemblies are ideal for surroundings of contemporary architectural constructions.

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Pendant

For more details: For more details visit our website: www.klite.in For all enquiries, Contact sales@klite.in Phone +91-9500079797 / 044 26257710

www.Lntecc.com

Touching people.

Transforming lives.

By building some of the most defining infrastructure of recent times, we, at L&T Construction, have been constantly transforming lives for over seven decades. Through our strategic business verticals, we use our excellence in construction to bring people closer, create wonderful spaces for recreation and rejuvenation and healing.

places to stay, pray or play - all our projects have one thing in common. They all carry the signature of excellence of L&T Construction.

As ‘builders of nations’, we take pride in making our stakeholders proud and bringing smiles on millions of faces every day!

Be it our end-to-end capabilities in turnkey construction of iconic airport infrastructure, high-rises, health centres or

A brand of Larsen & Toubro Limited Regd. Office: Larsen & Toubro Limited, L&T House, N. M. Marg, Ballard Estate, Mumbai - 400 001, INDIA. CIN: L99999MH1946PLCOO4768

EXPLORE

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One of the most Successful Fifth Edition of BIZNET initiated!

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Inauguration by Mr Nayan Shah – President, CREDAI – MCHI, Mr Ateeq KhotPresident, Navi Mumbai Unit, Rajesh Prajapati, INVITEE MEMBERS, CREDAI – MCHI, Mr. Rajeev Jain, Co-Convener, Biznet, Mr. Ravi Patil, President, KalyanDombivali Unit, CREDAI – MCHI Mukesh Jaitley- Advisory Board Member, Procurement Wing Mr. Nimish Ajmera- Convener, Procurement Wing.

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IZNET - ULTIMATE business & networking Platform by CREDAI – MCHI for Real Estate Industry held on 20th December 2018, at Hotel Sofitel, BKC, Mumbai met with incredible success amidst the presence of over 142 well-known owners followed with their teams and procurement directors in the second session, & 25 Allied industry players offering innovation, technology, affordable green products etc.

CREDAI – MCHI hosted an extremely successful and well attended fifth edition of BIZNET – the Business & Networking event in Mumbai, living up to its objective of creating a highly interactive interface between Mumbai’s well-known developers, Procurement heads and top Allied industry players. Hotel Sofitel was abuzz where the allied industry brands showcased their premium lifestyle products and services. Thus efficiently fulfilling the objective of bridging the demand and supply of building/construction material industry and be a catalyst to bulk buying in real estate.

BIZNET began with traditional lamp – lighting ceremony amidst the august presence of past presidents Mr Mofatraj Munot, Mr Rajni Ajmera, Mr Pravin Doshi, Mr Mayur Shah - immd. Past President, Mr Nayan Shah – President, Mr Bandish Ajmera- Secretary, Mr Pritam Chivukla, Shri Jayesh Shah, KDU members, New MumbaiCommittee Members.

More than 160+ Purchase Heads were part of the second session, with the panel representing groups like Wadhwa group, Kalpataru Builders, L&T, Lodha Group, K Raheja Corp, Runwal Group, ATS, Kolte Patil and Prestige Group. Moderators were L&T Realty and ANAROCK.Addressing the grand gathering Shri Nayan Shah, President CREDAI-MCHI said, “I’m very pleased and proud with the success of BIZNET 5.0. This is an excellent initiative by CREDAI – MCHI proposes to have a symbiotic relationship between the Suppliers of different products and the Developers.

We hope that this kind of interface will eventually result in quality Indian Architect & Builder - February 2019

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From Left to Right -Mr Vivek Talwar, MD-Nitco Ltd, Mr Nayan Shah- President, CREDAI – MCHI, Mr Mayur Shah Immd Past President, CREDAI – MCHI, Mr Pritam Chivukula, Co-Ordinators, CREDAI – MCHI, Mr Munish Doshi- Joint Treasurers, CREDAI – MCHI, Mr Domnic Romell- Vice President, CREDAI – MCHI, Mr Bandish Ajmera- Secretary, CREDAI – MCHI, Mr Jayesh Shah, Special Project, CREDAI – MCHI, Mr. Mofatraj Munot- Past President, CREDAI – MCHI, Mr Rajnikant Ajmera, Past President, CREDAI – MCHI, Mr Pravin doshi Founder & Chairman Emeritus - Acme Housing, Mr Mahesh Agarwal- MD Regency Group, Mr. Rajesh Gupta, Owner Mahaveer Infrastructure , Mr Ravi Patil, President, Kalyan-Dombivali Unit, CREDAI – MCHI, Mr Ateeq Khot- President, Navi Mumbai Unit, CREDAI – MCHI, Mr Johar Zojwala – MD Sab Developers, Mr Vikas Jain Owner Vastusankalp Builders & Developers One One 2nd line From Left to right – Mr Rajeev Jain Co-Convener, Biznet, Mr Akshay Agarwal, Co-Convener, Procurement Wing, Mr TD Joseph, Business HeadCREDAI MCHI, Mr Nimish Ajmera- Convener, Procurement Wing.

Participants during Biznet.

products at affordable prices for all the people of Mumbai-MMR. I wish BIZNET a grand success.”

Speaking on the occasion, Shri Rajeev Jain said, “Driven by the positive scenario, CREDAI-MCHI hosted a very successful fifth edition of BIZNET so that developers and ancillary unit manufacturers could successfully contribute to the growth story of the city. it is really praiseworthy on part of CREDAI – MCHI for appreciating the innovations we have brought in.’’

T.D. Joseph, Business Head – CREDAI – MCHI, BIZNET said,

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Power pack 1st panel discussion on ‘Real Estate Strategy on Procurement on Corporates, large Individual Developers, Mid Segment & Affordable Developer Moderated by - Hari Easwaran - L&T Realty. With industry experts like: Shabbir Kanchwala- K Raheja Corp, Prashant Mewada - Runwal Group, Manish Kankaria - Regency Group, Mukesh Jaitley - The Wadhwa Group, Vivek Anand Kundle - Kalpataru Builders

Power pack 2nd panel discussion Procurement and Strategies at various parts of India, Moderated by - Ashutosh Limaye - Anarock, Panelist – Tikam Jain Lodha Group, Geenu Pawa - ATS Infrastructure Ltd, Suresh KP- Prestige Group, Tirthankar Chatterjee - Kolte Patil Developers Ltd

Mr. Nayan Shah, President, CREDAI-MCHI addressing the gathering in Biznet.

“Mumbai developers and allied industry players came under one roof to discuss a wide range of products and services which are exclusive to our developer members. A very successful networking session followed by a cultivating panel discussion took place. It definitely created a win-win situation for both – Sellers & Buyers.

Our vision is to create a transparent way to work hand-in-hand consistently and collaborate the elite developers with excellent vendors to establish valued customer-vendor relationship.” The prominent brands which participated were, Aluplast, Anchor

by Panasonic, City Lift, Chowgule. Deceuninck, Built Supply, Eros Elevators, Fujitech, GreatWhite, Hafele, Hitachi, Huliot, Hybec, Jaquar, JSW Steel, Kerovit, Nitco, Dr Fix it, Qutone, RMC India, RR Kabel, Remson, Schindler and Sleek Kitchens.

BIZNET is poised to become a very meaningful & prominent relationship building platform between the buyers & sellers.

The Panel discussion in the evening covered: How industry will benefit going forward after RERA guidelines.

Managing cash flows, GST, New Procurement and use of technologies which enable the teams to transition from a focus on low cost to strategic entities that drive enterprise-wide value. Everyone is a partner and no more a vendor so that is a good synergy between developers and vendors a complete win-win for all.

CREDAI – MCHI and Messe Frankfurt-India are strategic partners specially for the elevator industry and we are working towards creating the biggest elevator and real estate industry show.

For further information, please contact: Charmi Parekh – 9920865868, Bhagyashree Khedkar - 9833189357

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Alhad Gore has over 25 years of experience in Interior fit out works of corporate offices, IT / ITES, BPO, call centers, Hospitality, pharma and retail. He has completed 170+ projects across the country totaling more than 4 million sqft. The firm has bagged 3 international design awards, 1 nomination and 7 National awards.

Set up Beyond design in late 2009 and is today at the forefront of creativity, innovation and technology. Prior to starting Beyond Design, worked with ANJ Turnkey Projects Pvt. Ltd. as CEO, Concept Architectural Services Pvt. Ltd as a Partner, Niteen Parulekar Architects Pvt. Ltd. (NPAPL) as a Director & Jayant Tipnis Architects as Design Manager . He has appointed as industry expert by Maharashtra State board of Technical Education on a panel, to revise Interior Design curriculum in the state in year 2017.

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FROM THE JUROR’S DESK “I found this entire concept of recognising ‘Young Designers’ practise to be very interesting and exciting. A design practise in its first 5 formative years is eligible for this award. The second criteria being that the project under purview shall be unpublished in print.

The first 5 years are the most crucial years for any organisation.

Many designers start their own firm immediately after graduating, some start it sooner than later. Some start it as late as in their 40’s. Whatever the case may be, it’s always a struggle to establish.

Every day is a challenge and every day is an opportunity too.

As a young practise, you are juggling with multiple things and challenges at a time. Setting up processes within the worganisation, taking care of your people, struggling to buy licensed software, struggling to get paid from clients, struggling to pay salaries on time, making sure that project on site is smooth, travelling across country for projects, travelling for business development, trying to give some time for family AND FINALLY trying to sit down and work out creative solutions for your projects.

It is therefore important to recognise these creative efforts and applaud them so that we not only support the creativity but the entrepreneurship as a whole. Kudos to the winners and a big appreciation towards all who participated!”

- Alhad Gore, Jury, Young Designers’ 2019 Indian Architect & Builder - February 2019

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Home away from home Boys’ Hostel, Gurgaon The Boys’ Hostel at St. Andrews in Khurrampur, Gurgaon

by Zero Energy Design Lab is a space that responds to its climatic context, is environmentally sustainable, and provides ample spaces for interaction for its inhabitants – all the while breaking stereotypes of what we have come to associate with conventional hostel designs.

Text: Sharmila Chakravorty | Images: Andre J. Fanthome | Drawings: Zero Energy Design Lab

ZED Lab design studio is determined to create exceptional, comfortable indoor and outdoor spaces with a positive environmental impact. It was founded

by Sachin Rastogi and Payal Seth Rastogi. The team’s diverse educational backgrounds, with ten years of combined international experience at U.K and New Zealand, helped in reinterpreting the Indian vernacular architecture and develop ideas which are more relevant to the present time & techniques. The firm believes in designing remarkable architecture that can simultaneously enhance human experience and minimize resource use. Sustainability is not separate from design, but an indispensable component that enhances the experience of the built environment. As vision facilitators, idea generators, and design integrators; the team’s expertise go beyond basic physical principles; their creativity enables the collaboration necessary to develop deeply integrated comfort and energy concepts. The vision is ever-growing with simulation models, custom software, tailored engineering analysis, and physical experiments used to develop and validate these ideas.

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Boys’ Hostel by Zero Energy Design Lab.

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ostel design can be quite a tricky task. They are essentially lowerpriced, sociable but temporary accommodation to be used for students for a very specific number of years, and then repeat. Also, keep in mind that the focus of their time in hostels is expected to be on education and learning, and so, in most cases, the quality of space or design of the hostel takes the backseat. More often than not, one ends up with hostels that are drab, ill-designed, use too much energy, and are generally dismal in look and feel. But the Boys’ Hostel at St. Andrews in Khurrampur, Gurgaon by Zero Energy Design Lab is refreshingly different, perhaps taking into account all sorts of hostel stereotypes and preconceived notions, and steering clear of them!

The hostel was to be an addition in the existing master plan of the campus, as a linear built mass that was not only socially active but also environmentally sustainable to accommodate 360 students, recreational courts, and mess facilities. Responding to their

requirements, the design ensures a space that is open, encourages interaction, and awash in natural light and ventilation. The brickfaçade building from a distance looks like two large volumes of space, yet one of them propped up on sticks, endowing a sense of lightness.

On approach this becomes a semi-enclosed walkway and interaction space for students. The shaded ramp coupled with the cafeteria and a stationery shop creates a comfortable space which is enough to sustain long conversations amongst the students. The dorm, unlike conventional dorms, has a triple-height terrace that further throws open the outdoors for the students to enjoy. Additionally, to create ample social spaces for pause and interaction, the design includes terraces and activity spaces at multiple levels of the building.

Evidently, the design centers on enhancing students’ interaction, but it goes further to ensure that the indoor spaces look outwards so as to enhance the interaction with the landscape outside too.

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Longitudnal Section.

Detailed Section.

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The design centers on enhancing students’ interaction, but it goes further to ensure that the indoor spaces look outwards.

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The design centers on enhancing students’ interaction, but it goes further to ensure that the indoor spaces look outwards.

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The Boys’ Hostel at St. Andrews responds to its climatic context, is environmentally sustainable, and provides ample spaces for interaction for its inhabitants.

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The hostel rooms.

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The radiation value of each grid cell on the primary façade then became the input for the rotation angles of the brick in front of it. By doing this, direct and diffused radiations were reduced by 70% on the principal façade.

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The design responds to the climatic requirements of its site, and takes its cues from analysis of solar radiation and air movement studies to develop a second skin on the façade to ensure thermal insulation and light permeability at all times. This brick jaali becomes a visual element as much as it is a functional element for the design. The balconies on the jaali act as buffer zones between indoor and outdoor spaces all year round. Explaining the making of the skin, the architects add, “A parametric script was written to analyse the level of direct and diffused radiation on the primary façade. The radiation value of each grid cell on the primary façade then became the input for the rotation angles of the brick in front of it. By doing this, direct and diffused radiations were reduced by 70% on the principal façade.

Hence, reducing heat gain on the principal habitable spaces behind the jaali wall. Day lighting levels in the living units were also constantly checked to ensure that the jali does not reduce it beyond 250 lux.” Keeping the Gurgaon climate in mind, the shaded entrance is envisioned as a summer court, while the south-facing open terrace becomes a winter court. Overlooking the playing field, the terrace establishes a visual dialogue with the overall context of the campus greens and other buildings.

Unlike hotels, which are in fact ultra-temporary spaces for their guests, hostels don’t score big on the ROI-rich monetary aspect and that has perhaps traditionally driven the design treatment. But that seems to be changing. Hostel and other such temporary accommodation spaces are finally getting the architectural attention they deserve.

They are increasingly being recognized as important spaces that have an impact on the quality of life of the students. After all, as ‘home’ for the students who inhabit these space for a fixed period of time, the space itself can be a support system ensuring emotional wellbeing, along with a sense of belonging. The Boys’ Hostel design, coming from a rather young firm, shows great maturity in understanding the requirement and translating it into something that reflects the firm’s thought-process and design flair, and focusing on giving the students a sociable space to call home during their stay at the hostel.

FACT FILE: Architects : Zero Energy Design Lab Location : Khurrampur, Farrukh Nagar, Haily Mandi Road,

Gurgaon, Haryana 122506 Lead Architects : Sachin Rastogi, Payal Seth Rastogi Design Team : Rohan Mishra, Naveen Pahal, Arya Kaushik, Tanya Makker Site Area : 17.2 Acre Built - Up Area : 60,000 sqft Project Initiation : December 2015 Project Completion : December 2017 Photographs : Andre J. Fanthome Contractor : LS Associates, New Delhi Structure : Design Solution, New Delhi Client : St. Andrews Group Budget : INR 1400/Sq. Ft.

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Beyond worship Tejorling Radiance, Pune, Maharashtra Devising a temple in today’s times is challenging as temples and religions are no longer limited to personal one-to-one association with God. Perhaps that was never the case even in time immemorial.

In the current politically-charged times and with the opportunity to create a dominant or impressive form in the formative years of its architectural practice, Karan Darda Architects steer clear of any political or personal influences while creating a Tejorling Radiance, a Shiva temple in Pune.

Text: Shriti Das | Images: KrDa | Drawings: Karan Darda Architects

Karan Darda Architects is an architecture and design practice based in Pune, India. Established in 2017 by Karan Darda, the practice aims to develop designs which are specific to culture and the contex t. They believe that the content is more important than the form. The studio doesn’t classify their design language as sustainable, ecological, vernacular, fascist etc. It’s either good design or bad design. Experienced in designing various project ranging from Housing, residential, retail; culture the studio often takes a dip into anything related to design.

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The entrance to the temple is shrouded in trees and marked with a simple brick wall. It does arouse curiosity but does not overwhelm

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ndian temples, especially the Hindu temple is ascribed many metaphors and functions beyond that of a worship place or a shrine.

It represented the cosmos or the universe; its infinity and its vastness time-cycles, life and destruction and so on. The temple was or is the sacred space that signified and contained humanity and its link with the universe. And to humanize the scale and bring it within the comprehension of the commoner; the temple form was adapted from the Golden Ratio; the universal ratio depicted in nature, the solar system, the human body; the entire cosmos. The form was personified to depict the human and make him one with the universe.

Beyond the intent, the temple form was also a library or a repository of ideas, principles and stories that were inscribed on the walls, the exteriors in the form of scriptures, sculptures, paintings and more. As the devotee or believer receded into the sanctum, the inscriptions and adornments diminish and the core or the inner sanctum encompasses the meditative quality with darkness and silence enveloping it. This experience of transiting through materiality to nothingness is one of the experiences or metaphors of the ‘higher state’ that the temple stands for. Or to simplify into the everyday parlance, it recreated the process and effect of meditation into a physical, transitory experience.

While the idea was lofty and all encompassing, it was also a personal Indian Architect & Builder - February 2019

engagement; one between the person and space; the person or god or the person and universe; depending upon the individual and their perception of the divine or the higher order.

The temple or most religious sanctums facilitate this chord or conversation. The functions attributed to the temple, while manifold, this oneness was perhaps at the core of all temple architecture; spiritually and physically. However Karan Darda of Karan Darda Architects who devised and executed the Tejorling Radiance Temple, a Shiva temple in Pune argues that temples over time were studied and scrutinized solely under the purview of form, aesthetics and techniques. Most new temples are a caricature of older forms with little attention to its spiritual implications. In fact, if one may say so, temples today have many connotations beyond the spiritual. A temple could be a political statement or an educational institute or a space for recreation even. With Tejorling, the architects sought to investigate the temple beyond the form. For them, the form was secondary but bringing about spiritual contemplation took center-stage. However, the starting point of design was the form. But it was also a criterion to not indulge in narcissistic representations but explore possibilities of creating a structure that was minimally obtrusive in the precinct but powerfully invocative when experienced from within.

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The triangular volume is composed of 5 planes and further capped with a ‘shikhara’. The approach does not lead to the entrance but a motionless sculptural form that indicative of the meditative state.

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The pyramid was explored in the form of models and suffixed with a cave-like shelter as Shiva temples are usually attached to caves.

The architects explored the pyramid, the commonest form or imagery of the temple where the pinnacle or the ‘Shikhara’ endeavors to reach skywards to unite with the universe; again a representation of the physical attainment of the higher order. The pyramid was explored in the form of models and suffixed with a cave-like shelter as Shiva temples are usually attached to caves. The Lord himself is characterized in polar dualities. The architects chose to represent his meditative state and that of the ‘Nataraja’ or the dancing Lord.

As a result, upon approach, the temple takes on a pyramidal form with a square base that rises in a cuboidal geometry and converges to a not a single point but a flat plane, as it rises towards the sky.

The triangular volume is composed of 5 planes and further capped with a ‘shikhara’. The approach does not lead to the entrance but a motionless sculptural form that indicative of the meditative state.

The temple appears as a sculpture as its form is extracted from traditional geometry but interpreted and represented in a lucid manner. The user turns towards the temple entrance, a small mass is protruded from the main structure. The outward appearance is devised Indian Architect & Builder - February 2019

to emulate the Nataraja manifestation of Shiva; of movement and rhythm. The intent here is to express the polar and dual characters of the Lord; to experience the meditation give way to movement and the cycle continues as the user circumambulate the temple. The protruded mass shapes a cave-like space within to facilitate meditation. A slit is provided to bring in breeze and light.

The structures geometry was derived from the Golden Ratio; a design principle that has dictated architecture as well as compositions in nature and the universe from time immemorial. Even within the premise of constructing an aesthetic form, the effect that the architecture imparts is not of loftiness or of representing power or of asserting a dogma or belief. The structure is cast in concrete, a material known for its lasting quality. The use of pigmented concrete does paint a striking imagery against the foliage of the chiku orchards, where the temple is located. But the entrance is shrouded in trees and marked with a simple brick wall. It does arouse curiosity but does not overwhelm.

The architect was clear from the advent that the temple is about

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A small mass is protruded from the main structure. The outward appearance is devised to emulate the Nataraja manifestation of Shiva; of movement and rhythm.

the deity, then the space around it and then perhaps, the outward shape. The simplicity imbibes an association; the higher connect of the devotee and deity, and not let architecture overpower the experience. Because then, the experience ceases at the imagery, the awe and power that the built-form radiates, but not the energy that it can dissipate within it. And for a project that could take a drastic narcissistic turn, the temple treads the path with sensitivity and a larger awareness.

FACT FILE: Project Architect Team Site Area Builtup area Category Initiation Completion

: : : : : : : :

Tejorling : Radiance temple Karan Darda Architects Karan Darda, Bhatewara Contractors 3000sqft 150 sqft Architecture January 2017 Februry 2018

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Past Perfect House in a Grove, Tiruppathur, Chettinad, Tamil Nadu A modern home draws inspiration from heritage of Chettinad.

Not from grandeur or riches but merging of global aesthetics and ideas. Siphoning the threads of a rather shaky past, the House in a Grove aspires to re-define heritage.

Text: Shriti Das | Images: Prithivi M Samy | Drawings: STOMP Architects (Studio for Modernism & Practical Aesthetics)

STOMP is an Architecture Practice set out by people who juxtaposition of form-based functionality integrated into conscience of the greater community. Largely influenced by Principles, the studio experiments the ideas of contextual alignment with practical aesthetics.

believe in the the collective the Modernist modernism in

The home office is currently situated in Tiruppathur, Chettinad, a town which reflects a fusion of indigenous and traditional cultures. The practice extends to Kuwait in collaboration with Design District, Kuwait Indian Architect & Builder - February 2019

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Ground Floor Plan.

First Floor Plan.

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Site plan.

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Section.

Parti Diagram.

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eritage is this gamut of inherited objects, ideas, culture and traditions. Not to be confused with preserving or restoring old things, values and ideas; heritage is often the collective of the tangible and intangible that has been passed on over time. Chettinad in Tamil Nadu has had a rather shaky relationship with its heritage.

The city known for its wealthy merchants was once host to wealth and fortunes from across the globe. The natives of the land, the Chettiars were entrepreneurs, traders, financiers who helped build cities, institutions and even banks. The prosperity was reflected in their way of life, their cities and the architecture that flourished with them. Their homes were palatial mansions with wares from all across the globe. Teak from Burma, European tiles, intricate woodcraft, Belgian glasswork, etc. adorned their homes.

But the Great Depression of 1920s’ till 1930s’ led to their gradual downfall. Merchants took to jobs. Eventually even the opulent homes crumbled as the inhabitants couldn’t afford its upkeep. They took to selling furniture, artefacts and objects from the mansions. The city today, perhaps, resembles a discoloured painting. But if one looks closer or scratches the surface, the glimpses of its colourful and affluent landscape that once lived. A rundown but beautiful mansion peeps through new constructions. A standalone palace haunts a desolate land with impressive volumes and exteriors but peeling and disintegrating within. The land has surely seen better days. In the case of Chettinad and alike, what does the current time inherit? Relics? A few edifices converted to tourist attractions? Or perhaps grants from some authorities to restore, conserve and uphold its upkeep?

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Materiality Diagram.

The answers are many and multi-layered. And amidst these questions, answers and subsequent challenges, stands a home in Chettinad that reflects a fusion of traditional cultures, some heritage and contemporary ideas that amalgamate the many values into a coherent whole. House in a Grove by Studio for Modernism & Practical Aesthetics (STOMP) is a home inspired from Chettinad architecture.

The clients wished for a modern home steeped in cultural ideologies and the glorious Chettinad past. Not the material grandeur or plentiful wares that the architecture embodied; but the wide mix of aesthetic influences and expansive scales are incorporated into the modern-day abode. The fundamental elements entailed massing, accommodating an open plan and hierarchy of spaces that connect through corridors and projected eaves to house indoor-outdoor spaces. But the home does breach the concept of sprawling backyards that the traditional homes hosted for a lush law overlooking the house entrance.

The structure is designed keeping in mind climatic conditions. To combat solar radiation, and facilitate air-movement, the architects Indian Architect & Builder - February 2019

developed a second skin on the façade in the form of a terracotta jaali. The terracotta jaali thermally insulates the structure and keeps the building ventilated with natural light. Two major lightwells, façade jaali and skylights above the staircase-block engage the interiors in a constant cavort of light and shadow. The sky-light above the staircase is a filler-slab with certain ‘fillers’ glazed instead of being cast with terracotta pots. However light and shadow are not only used as visual elements but also used to define spaces and functions. For example, the lounge on the first floor witnesses the play of light and shadows at sunrise. The patterns then travel to the living room and other spaces endowing a fleeting and shifting quality to the interiors. The shadow patterns are further influenced by the terracotta jaali on the façade.

The light and shadow configurations are further complemented by the rustic finishes used throughout the house. Exposed concrete is used on the ceilings, marble plaster is used on the walls and the floors are a mix of wood, Kota and Athangudi tiles. Athangudi tiles are manufactured at Athangudi, a village that has lent its name to the handmade cement tiles. The tiles have been a part of the Chettinad legacy for over 80 years, since the British era.

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House in a Grove by STOMP (Studio for Modernism & Practical Aesthetics)

House in a Grove by STOMP is a home inspired from Chettinad architecture.

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The sky-light above the staircase is a filler-slab with certain ‘fillers’ glazed instead of being cast with terracotta pots.

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The clients wished for a modern home steeped in cultural ideologies and the glorious Chettinad past. Not the material grandeur or plentiful wares that the architecture embodied; but the wide mix of aesthetic influences and expansive scales are incorporated into the modern-day abode.

While the decision to use incorporates Athangudi tiles may have been to incorporate a slice of the Chettinad heritage but it also stems from the intent to procure materials from within a 50 kilometer radius of the site. Even the terracotta pots that are used in the filler slabs were made with soil excavated from site. Similarly, deteriorated palm trees on site were cut and its wood was used for shuttering the fillerslabs. In retrospection, the house does not imbibe the architecture of Chettinad if one compares both entities side by side. Not in aesthetics or even the grandeur that the mansions encompassed. And the intent was perhaps never to mirror ‘heritage’ or revel in nostalgia of the past. But the Chettinad architecture laid the seed of an idea and the architects trailed their journey from the house from thereon.

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Project : STOMP Architects (Studio for Modernism &

Practical Aesthetics) Location : Tiruppathur, Chettinad Architect : Vignesh Sekar Design team : Sekar, Vignesh Sekar, Balaji, Shoba, Shamini Lakshmanan Client : Mr. Veerapan Site Area : 480 m2 Built Area : 365 m2 Structural Engineer : Er. Sekar Civil contractors : Er. Sekar Carpentry contractors : DD Groups, Chennai Electrical contractors : Unitec Engineering, Trichy Project Estimate : 12 million Initiation of Project : April 2017 Completion of project : November 2018 Photographer : Prithivi M Samy

Exposed concrete is used on the ceilings, marble plaster is used on the walls and the floors are a mix of wood, Kota and Athangudi tiles.

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How lucid is the Lucid House?

Lucid House, Edappal, Kerala Lucid translates into many idioms; simple, articulate, logical, coherent and clear. But when embodied into built-form does the syntax stay as lucid? Syntax in terms of aesthetics, use of building technology and material, visual connections, linking the built and un-built, landscape and nitty-gritties. What transpired behind the scenes with the Lucid House for ‘Lucid’ to emerge and prevail?

Text: Shriti Das | Images: Turtle Arts | Drawings: Attiks Architecture

Attiks Architecture was formed with a vision of spreading innovative and sustainable architecture among people. Led by four partners who are passionately committed to an integrated design process; Attiks Architecture continually strives to make its work highly responsive to the needs of clients and enriching the lives, of people and communities. With a deliberate focus through a variety of projects, the firm has obtained a unique insight in how buildings can realise their full potential in close relation with their surroundings. Just like humans, buildings are social beings; and architecture cannot live and prosper unless it relates to its environment.

The firm strives towards its ideal of creating architecture that adapts while maintaining personality and character; that blends in by standing out! By recognizing the most important factors of each site’s social implications and urban fabric, Attiks cultivated the art of conveying this abstract essence into a formal response, maintaining both the building itself and its relationship to its context- be it a small infill project in a crowded street or large buildings as part of an extensive transformation. Because no matter which size, scale or situation, the bottom line is always the same: A building’s main purpose is to be useful to humans and society; key to achieving this is being urban understanding.

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he Lucid House, located in Edappal Kerala is a residence overlooking paddy fields. The central idea entailed capturing the vistas of the paddy into the house alongside creating luxurious contemporary home.

Luxury, an idea that often conjures extravagance of high-end fixtures and finishes. But luxury is often also an indulgence that doesn’t come by easy. It could be the luxury of sleep during hectic schedules, of space in crammed metros, simple home-cooked meals for those who travel or stay away from home, and even a moment of meditation in urban lives. Perhaps, simple and luxury does overlap; depending upon the context and perspective. And the Lucid House, exemplifying its name, throws light on these perspectives with some lucid clarity.

Lucid House derives the idea of luxury from its precinct; a lush site with trees and paddy fields. And the intent was to merge the ‘built’ into the landscape while capturing the paddy fields and bringing the vista within the home. While incorporating vistas is a matter of organizing space and volumes, retaining the natural landscape is somewhat tricky. Because no intervention is holistic or non-intrusive

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when it involves manmade developments over nature. The idea was to minimize the intrusion and build the home in a manner that trees with shroud the structure with the passage of time.

The site being contoured allowed the architects to stagger levels. The ground floor is split into two levels. The lower level orients itself around the existing trees on site to ensure that no trees were cut to make way for the built-form. The upper level houses the public spaces; the living room, sit-outs, prayer room and passages. The main entrance to the residence is housed on the upper level flanked by a tree-court. The entrance captures an unobstructed line of vision abutted by the green pockets. The user is not greeted by a closed space but an airy passage that opens onto the dining area on the opposite side at a lower level. While the user cannot access the dining area it does create a frame, a vista that holds the attention. Perhaps it is intentional that the dining area is not accessed instantaneously as it lets the user steps back and comprehend the spatial qualities.

The split level also allows for cross ventilation and efficiently demarcates areas and facilitates better circulation.

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Ground floor plan.

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First floor plan.

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Coutyard Section.

Built Mass Evolution.

A series of flights parallel to the dining area take the user into the living room where one is faced with another green pocket. The living and dining again open onto the paddy fields, continuing the ‘outdoors’ experience for the user. The height between the upper and lower ground levels being 4 feet, no hand-rail is provided. Instead a flower-bed is provided on one end to restrict the user from getting too nether. The other end that demarcates the upper level passages at the entrance is cordoned off with a glass-railing. On the upper level of the ground floor, a bedroom is tucked away in the corners but its lobby opens onto the living and dining areas on the lower level.

This allows bedroom to have an impressive view of the vistas on the lower level yet retain privacy. There are three bedrooms on the lower level that are placed away from the public areas. The bedrooms have a seating area provided at their entrance. This seamlessly connects Indian Architect & Builder - February 2019

the bedrooms to the open and expansive living rooms. The first floor houses a ‘majlis’ and a gym along with bedrooms.

To maximize on natural light, skylights and slit on facades are -strategically devised.

This effectively aids aircirculation alongside keeping the interiors well-lit.

Furthering the energy-efficiency, the building is oriented in the northsouth direction with a window to wall ratio that optimizes heat gain. The dining area and the entrance being endowed with double height, enables stack effect that allows the house to stay comfortably cool and breezy. Hermetically sealed double-glazed, low-heat transmittance index glass windows yet again reduce the heat gain.

The roofs deploy high-strength, hard-wearing and high-reflectance terrace tiles that further enable a comfortable indoor environment.

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View towards dining.

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Front entrance.

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Sit-out area.

Front Elevation.

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View from entry court.

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Steps from the entrance leading to the dining and living areas.

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View from entry court.

A flower-bed is provided on one end to restrict the user from getting too nether. The other end that demarcates the upper level passages at the entrance is cordoned off with a glass-railing.

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The interior finishes are kept clean and minimal.

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The rear of the residence.

a stage, as required. More than 50% of the outdoors is landscaped with plantation. Most of the un-planted areas are soft-paved for ground-water recharge. For the hard-paved roads, there is a provision for surface run-off to connect to the rainwater pits. In totality, the house is environment-friendly, provides a healthy standard of living and has zero frills attached. As the architects put it, the house is an ‘illustrative’ where sun and breeze intermingle and pervade with soft light and breeze; occasionally laced with the smell of grass and earth as sky spans and envelopes the home within its infinite vastness.

Perhaps, luxury never had a more apt syntax!

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The verandah.

Even for its construction, the structure makes use of fly-ash blocks and plaster.

While the built-form manages to capture the best of the vista, the interior finishes are kept to a minimal, perhaps to not take away from the outdoor that it brings and builds within it. The flooring is a mix of wood and Travertine marble offset by white walls. The main idea here, was to let the outdoors take precedence and the interiors enable the concept to the fullest. The outdoor and open areas become a part of the interiors. For example, the parking at the rear is aligned with the line of vision of the entrance. This is done because the client desired an area that could be converted into a gathering space or

Project Name : Client Name : Location : Build Area : Site Area : Year of Completion : Architect : Design team :

Structural Consultant : Project Consultant : Landscape Consultant : Mechanical and Electrical Consultant : Plumbing consultant : Carpentry : Interior Sub Contractor : Landscape Sub Contractor : Photography : Project Estimate : Initiation of Project : Completion of Project :

Lucid House Mr. Sidheeq T.V Edappal, Kerala 10650 sqft 1.87 acre July 2017 Attiks Architecture, Calicut Ar. Aslam PK, Ar. Mahir Aalam, Ar. Nihad Ovungal, Ar. Naseem PK Streamline Consortium, Calicut Incolt Infra Engineering Pvt Ltd Thinking Hats, Calicut Finley & Farad Consulting LLP, Kondotty Elmek Solutions, Kondotty Mr. Jayan & brothers Stories, Calicut Mr. Suresh Achayan Turtle Arts, Calicut 8 Crore Febryary 2015 July 2017

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Infusing an architectural perspective in interior design Aditya Builders’ Office, Jalgaon, Maharashtra A corporate space for a developers’ office in Jalgaon by Space Studio Architects refurbishes an existing space, tailoring it from an architectural perspective to suit the needs of a new, evolved program. From an old, disconnected ceramic-ware showroom to an interactive urban space that celebrates materials in the purest forms, highlighting their textures; the project not only breathes a new life into the old space but also takes it beyond the ‘just another interior project’ realm.

Text: Sharmila Chakravorty | Images: Hemant Patil | Drawings: Space Studio Architects

Spacestudio believes that a rigorous urban architectural experience results only when the physical and experiential qualities of space are aligned along with a rhythm of dynamism, occasionally intervened by a controlled disorder that breaks monotony of repetition.

It crafts diverse environments while attempting to address modern day lifestyles characterized by flexibility and change. In doing so, we strive for user satisfaction by bringing out the multiplicity of space through our design, fulfilling their functional needs and aspirations, yet being aesthetically innovative.

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Space Studio Architects’ office for a developer in Jalgaon looks beyond re-hauling the interiors within the envelope, the inside flooring pattern and ceiling extended outside brilliantly merging indoor and outdoor.

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ransforming a pre-existing space is usually thought of as an exercise in renovation and re-hauling, without my architectural intent or intervention. It is also relatively limiting, given that the designers have to work within set parameters, within the boundaries of the existing space. But when the programmatic requirements from a space changes completely, the existing shell might need to be focussed-on in order to bring about a meaningful transformation. Space Studio Architects’ office for a developer in Jalgaon addresses this concern, and takes a radical approach that addresses the interior project from an architectural lens.

The project looks beyond simply re-hauling the interiors within the envelope and experiments from under an architectural lens; with the built mass and its response to its surroundings, climate control, volumetric play, elevational impact and street interface in the process of creating a brand image for an upcoming developer’s office in Jalgaon. As part of this, they transformed an existing ceramic-ware showroom that was essentially disconnected with its streetscape into a corporate office space which assert its presence in its milieu, interacting not only with its visitors but also casual spectators.

To deal with the complete shift of requirements, the architects have reimagined the available volume imaginatively. Reinterpreting the spatial requirements, the volume is spilt into parts and realigned to create a double-height welcome foyer and reception area, and maintain visual connect throughout the space. Not only does this stacking up of spaces create a vertical flow, but also opens up

avenues for creating an impressive elevation and façade. The public-orientated functions of the office such as sales, marketing and accounting are accommodated on the ground floor, while the more creative aspects and exclusive client meeting spaces are located on the upper floors. The orientation of the director’s and manager’s cabins affords views of the two-storey office space below, thus maintaining visual connect and control over office activities.

The director’s cabin on first floor is an elongated space that clearly defines work space, a lounge for exclusive visitors, and a personal pantry directly accessed from residence staircase mid-landing. The south wall is painted grey as a contrasting backdrop for the dark wood flooring and white furniture, keeping the entire colour scheme neutral. The sales cabin however is strikingly different in its expression. The outside area in exposed concrete faces a more polished and glossy orange envelope that is refreshing and energizes visitors. Orange is also used as the accent colour on the first floor, resonating with the ground floor colour scheme.

To relocate an existing double-height space to a central core area, a new slab had to be added above the existing and non-interactive sideways double height space, which was then transformed into the foyer and a reception area. This ensures that the two-storey tall exposed brick wall that forms the backdrop creates visual drama when visitors enter the reception area, creating a sense of intrigue.

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Reinterpreting the spatial requirements, the volume is spilt into parts and realigned to create a double-height welcome foyer and reception area and maintain visual connect throughout the space.

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A polished and glossy envelope that refreshes visitor’s mind-set in the sales cabin area at the rear is a striking contrast from the rustic and exposed sales area at front.

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Often, interiority is defined with what one does within the shell – the project attempts to stretch this definition by looking at the entire periphery of the building in a more holistic manner.

Existing tree on the pathway is given a striking backdrop with a colorfully blended compound wall composed in wood, brick and concrete.

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The director’s cabin.

Besides the brick wall, other materials used in their purest, exposed forms such as concrete and wood are also integrated seamlessly so as to add character to the space with their varying textures and treatments. Not just visitors, the textures and hues as seen from the streetscape outside through a partial-glass compound wall that offers glimpses inside intrigues casual onlookers, making the entire office space from inside out an interactive space.

Overall, the project is testament to the transformation of spaces that are designed from the perspective of programmatic requirements.

By going beyond a renovation projects, the architects choose to change the floor plan of the space, essentially creating an entirely new space that has the necessary character and personality to represent the developer’s business as its corporate office. Tier 2 cities such as Jalgaon have a lot of potential for architectural experiments, and this project certainly ranks as a prominent one. The use of materials in their raw, rough forms, juxtaposed brilliantly so as to create visual interest results in a space that is very modern in its treatment and yet very familiar thanks to its material scheme. Carefully chosen lighting fixtures, upholstery, artefacts and wall pieces complete the spatial experience created in this architectural interior project.

FACT FILE: Project : Location : Architect : Design Team :

Carpet Area : Photography : Initiation of the project : Completion of the project : ↑

Vertical green wall on the south reduces glare and heat, providing visual relief in the sales area.

Aditya Builders Office Jalgaon, Maharashtra, India.

Space Studio Architects Abhijit Kothari, Pranali Kothari, Varsha Tiwari , Matruka Telang, 2000 sq.ft Hemant Patil August 2016 March 2017

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Reflecting an ethos Aditi Organics Certification Pvt. Ltd. Office, Bangalore The interior design for Aditi Organics Certification Pvt. Ltd. Office in Bangalore by Made In EARTH Collective uses a naturalistic, simple material and colour palette to create a space that is modern, dynamic yet comforting, reflecting accurately what the organization stands for in the form of a spatial interpretation.

Text: Sharmila Chakravorty | Images: Sarah Klare | Drawings: Made In EARTH Collective

Made In EARTH is the collective practice of Shruthi Ramakrishna (Architect), Jeremie Gaudin (Urban Systems Engineer), Agnimitra Bachi (Architect), and Ajinkya Unhale (Architect). With a love for earth at the heart of it all, the studio is driven by their individual strengths in making building with natural materials desirable, durable and accessible. The firm perceives their design approach as a dialogue with natural materials like clay, lime, wood, straw and stone. They believe in an architecture that is simple; created with an understanding of the climate and the soil on which it exists; with an exploration of the materials from its place; and in collaboration with the skills and the imagination of its people.

With a taste for experimentation and innovation, the practice is focused on creating contemporary expressions that are both elemental and eco-friendly.

The studio began in 2015 in Bangalore. And ever since, much of their work and the way it has evolved has been shaped by this city and its people. The firm knew that they wanted their work to be rooted in an urban context, and enjoys the challenges of bringing natural materials closer to people; within homes, in schools, into restaurants & cafes, into offices and stores, galleries and fablabs; rendering traditional techniques to newer aspirations and lifestyles. What drives the firm is to make these techniques both desirable and competitive, culturally and economically for clients and contractors alike. Made in EARTH Collective hope to be a vector to drive and nurture the bold future of earth architecture.

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Aditi Organics Certification Pvt. Ltd. Office by Made In Earth COLLECTIVE.

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he design and treatment of office spaces is an opportunity to showcase what the brand stands for in a spatial way. Everything about the interiors, right from the way energy is consumed to what materials are used, has an impact on a visitor’s or employee’s perception of the organization, and how true the organization stays to its vision statement on paper. This, for a designer, is perhaps the primary challenge. How do you translate what the organization and its business is all about into something that resonates the same intent to everyone experiencing the space? Some interior designs are able to reflect this thought process better than other – case in point, interiors for Aditi Organics Certification Pvt. Ltd. Office in Bangalore by Made In EARTH Collective.

Aditi Organics in Bangalore provides certification services for organic products. The organic produce culture is massive at the moment. People are increasingly becoming aware of what they consume, and how it impacts the planet. As important contributors to this movement, certification bodies not only support and encourage the organic approach but also ensure credibility of the produce; essentially, the general public trusts their judgment on what can or cannot be certified as organic. So, the interior design for such an organization has to evoke trust and respect from its many stakeholders, visitors and contributors, by reflecting accurately what the organization represents.

Made In EARTH Collective started out with a 280 sq. mt. empty shell on the first floor of a concrete building in Bangalore as the site. Thanks

to the relatively better green cover in Bangalore, the site overlooked beautiful canopies of Gulmohar trees with a concrete flyover in the distance – providing a glimpse of the Bangalore’s lush green against concrete jungle juxtaposition. The space was walled on three sides with structural glazing to the west. While Aditi Organics wanted a bold and vibrant office, the materials used had to be natural so as to stay true to their ethos.

Made In EARTH Collective’s response to this requirement is simple yet poignant. The material palette is mainly wood, natural plaster panels that are pigmented in earthy hues, walls finished in with natural clay and lime plaster, and a seamless silver grey oxide floor.

Adding a splash of colour and vitality to the spaces are the various plants interspersed throughout the office space. Together, they are reminiscent and perhaps symbolic of Bangalore city – a bright green cover contrasting against the concrete infrastructure. The indoor greens also establish a visual link with the greenery outside, creating a feeling of openness in the enclosed office space.

The brilliant use of modular components is an efficient way to reduce project duration. 3x3 feet frames are used to create a rhythm with multiple functions. For instance, a partition wall doubles up as a cabinet for storage, whereas a shelf takes the secondary role of a bench, a window or a blackboard. These modules have then been filled with plastered panels, rendered in clay or lime bolted onto them. Pine wood boards, glass, and even exposed fired bricks have been used in some areas, adding to the chorus.

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Reception with sample display area.

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Samples display area.

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While Aditi Organics wanted a bold and vibrant office, Made In EARTH Collective used natural materials with pops of colour so as to stay true to their ethos.

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Office Entrance.

Conference room.

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Main corridor.

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Overall, the interiors showcase the brilliant use of ordinary materials in an extraordinary way to create a sense of dynamism and openness while invoking a sense of familiarity and closeness to nature that connects the visitors to the space emotionally. The interior design of the space itself becomes an experience of materiality and aesthetics that is modern and contemporary in treatment, yet comfortable and dependable in its feel.

FACT FILE: Project Name :

Location : Architect : Design Team :

Built Area : Project Category : Initiation of Project :

An Electropop Ballet – Interiors for Aditi Organics Certification Pvt. Ltd. Office Bangalore, Karnataka Made In EARTH Collective Shruthi Ramakrishna, Ajinkya Unhale, Jeremie Gaudin, Agnimitra Bachi 280 sq m Commercial Interior Design February 2017

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Emplekosyrmaphobia Luminocage, Bengaluru, Karnataka Given a choice between wires or wireless; popular opinions often lean towards wireless. In an age when wires are being either shown the door, hidden and camouflaged, 10/10 chose to borrow the concept of ‘cable-mess’ and translated its imagery into a space for futuristic design experience.

Text: Shriti Das | Images: Vonod Kumar | Drawings: 10/10

SMARTER COLLABORATIONS FOR A BETTER TOMORROW 10/10 loves smart. Smart is sexy. Smart is cool. Smart gets things done.

It permeates in everything - work, beliefs, hopes & dreams.

10/10 wishes to leave a better world than the one we inherit. The practice works with like-minded folks to make that happen. Through smarter collaborations.

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Schneider Electric being a technology giant called for an iconic space that the designers addressed with providing cutting-edge technology in the centre offset with a futuristic aesthetic. The core idea for the space is ‘Cable-mess’; Emplekosyrmaphobia for some and an aesthetic monstrosity for the rest.

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mplekosyrmaphobia is the fear of tangled wires. While not every individual may exhibit the phobia, it is no secret that wires are a source of discomfort and an eyesore. It could be the stray wire that is yet to be concealed in a panel; a bunch jumbled and strewn across; or even the innocuous charging cables. A single loose wire is enough to mar pristine decors and meticulously arranged rooms. And the mark of a truly good designer is their ability to mask these filaments to the point of no existence. Yet, it is these very strands that make life and living easier to the extent that a single minute sans electricity, internet, telephone connection, etc. seems unthinkable.

Amidst the new age phobias and fears; 10/10, the Bengalurubased design firm adapted the abhorred imagery and refined it

to devise an experience centre for Schneider Electric. The core idea for the space is ‘Cable-mess’; Emplekosyrmaphobia for some and an aesthetic monstrosity for the rest. The central function to the space was to create a display for DBs’ (Distribution Boxes), yet another unsightly element in most homes and offices. But the overall purpose however, was that to create an experience centre.

The experience centre is a space created for their clients, selected visitors; it converts to a workspace, a meeting area with provisions for projectors and so on.

The cable-mess idea was incorporated into a box form further represented through a play of lights. Again, playing with paradoxes and metaphors as with ‘Cable-mess’ the designers aspired to create an ‘out of the box’ experience ‘inside’ the box.

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The cable-mess idea was incorporated into a box form further represented through a play of lights.

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LED neon flexible lights were used against pure white vinyl flooring. The geometry that transpires with the light-lines running and overlapping like a cable-mess yet translated in a visually pleasing, uncomplicated and orderly composition.

The client, Schneider Electric being a technology giant called for an iconic space that the designers addressed with providing cuttingedge technology in the centre offset with a futuristic aesthetic.

Energy conservation and technology aided the experience. A fluid pathway was devised in a looping system; of an entrance, discussion area, interactive podium and the exit. The cable-mess is evident in the synchronisation of the lighting as it demarcates displays and pathways. The lighting directs users and the space in accordance with the ‘mode’ that transpires. There are four modes or experiences within the space; vacant mode, experience mode, occupied mode and lastly, the vacant mode is enabled after the experience ceases.

Each mode is controlled by ‘Alexa’; the virtual assistant developed

by Amazon. Parametric speakers enable directional sound. While the virtues of common speakers are embedded in their capacity to disperse sound as far as possible, a parametric speaker is built to contain sound within a small radius. As a result, the sound is audible only to the respective user. An interactive wall is a supersized touchscreen that works in accordance with hand gestures. The space stays unlit and inactive in the vacant mode. The experience mode is dynamic and the subsequent occupied transits to a calm and sober mode that facilitates discussions and work.

In terms of material, LED neon flexible lights were used against pure white vinyl flooring. The geometry that transpires with the light-lines running and overlapping like a cable-mess yet translated in a visually pleasing, uncomplicated and orderly composition. The

overlapping cable-inspired lines and geometry were complicated to design and draft and executing the same on site proved challenging as well. The other trial or test for the designer was to recreate the space precisely in line with the computer generated 3d views. While the computer generated imagery is often clean and flawless, the realisation is often not as uncanny. This is not just attributed to the skill of the designer but even human interaction with space that mars the aesthetics. While the designers have managed to achieve the imagery without a flaw; they also accomplished an ambience sans shadows.

Futuristic designs or manifestations often fall under the purview of aesthetics and are appreciated for the imagery that the user consumed. So much that, often, functional value is either overlooked or undermined, if one may say so. But Luminocage manages to find a sound balance between both and efficiently translates the cringe of wires to a seamless hi-tech experience.

FACT FILE: Conceptualizer Design Team Executed By Site Area Project Name Category Location Initiated Completion

: : : : : : : : :

Nebin Asharaf 10/10 Rubenius 1100Sft Luminocage Commercial Interiors Bangalore Nov - 2017 March - 2018

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In search of the engineered aesthetic High Note Performance, New Delhi High Note Performance, a motorcycle gears store in New Delhi, designed by Headlight Design takes its inspiration from a variety of motorcycle-related sources to create a store design that is raw, edgy, and industrial in its feel but sophisticatedly expressive at the same time – much like a motorcycle itself!

Text: Sharmila Chakravorty | Images: Shailesh Singh, Jeetin Sharma Drawings: Headlight Design

Headlight Design is a multi-disciplinary architecture and Interior & Furniture Design studio. It takes pride in being a com-pletely specialised architecture, interior and product design studio, with a wide spectrum of architectural and interior design projects. In a very short span of time, the studio has successfully completed some path-breaking architecture and interior design projects for prestigious brands across India.

HD does not start with a pre-defined style while approaching their projects. The studio very strongly feels, since no two projects have the same requirements and constraints, it doesn’t justify to have the same approach for each project.

The studio tries to come up with smart responses to every project brief, brand history and context of the site and then layer these responses with their vocabulary. Their aim in every project is to buy off the shelf products as little as possible and hence they often end up designing everything from lights all the way down to screw details including everything in between.

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The intent behind High Note Performance store was to establish the brand as India’s first exclusive riding gear store.

The architects emphasize that the store was imagined as an abstract race track with the spatial plan and movement of the curved wall.

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The selection of an urban industrial chic look is perhaps natural given that the store deals with motorcycle gears, but the execution and thought process are where the design shine.

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Treating the store as a bike and the fixtures its mechanisms, parts were made from and echoed the bike: the door handle is inspired from the motorbike’s fork, helmet pegs from parts of the chassis.

The space inspires instant trust in its customers simply owing to the sense of familiarity its ‘engi-neered grunge’ design provides.

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It is functional yet posh, unfinished-looking yet sophisticated, bold yet understated.

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f we were to believe stereotypes that surround motorcyclists, it is said that aesthetics are simultaneously important and inconsequential to them. In terms of what their bikes or their riding gears look like, aesthetics are supremely important; perhaps second only to performance. But in terms of their garages and other spaces from where they obtain their riding gears, aesthetics can be easily overlooked. But, as it goes for stereotypes, how much of this is true? Are today’s motorcyclists willing to overlook the look and feel of bike-related retail stores and focus only on the products they are selling? The High Note Performance Store in New Delhi indicates otherwise.

The intent behind High Note Performance store was to establish the brand as India’s first exclusive riding gear store. And clearly, to achieve this high claim, the design had to find resonance with its primary customers – motorbike enthusiasts. As expected, and perhaps very logical, Headlight Design turned to an industrial design for the store that is rugged, rustic and yet very sophisticated at the same time. The design draws inspiration from a number of motorcycle-related sources such as garages, race tracks, the design of the motorcycle itself, as well as its parts and machines.

The 2500 square feet store is designed as a monolithic space that curves at one end, done up in rugged-looking exposed concrete. The architects emphasize that the store was imagined as an abstract race track with the spatial plan and movement of the curved wall. Treating the store as a bike and the fixtures its mechanisms, parts were made from and echoed the bike: the door handle is inspired from the motorbike’s fork, helmet pegs from parts of the chassis. The overall material palette is simple yet striking. The monochrome walls and floor make the perfect subtle yet

expressive backdrop for bright, vivid motorcycle gears such as helmets, riding jackets and pants, boots, gloves, bike repair parts and a variety of other accessories. The selection of an urban industrial chic look is perhaps natural given that the store deals with motorcycle gears, but the execution and thought process are where the design shine. The exposed materials and minimalistic treatment are hallmarks of a deliberately restrained design that lets the products take centrestage, while silently making a profound impact on visitors and customers; or fellow riders, as the store likes to call its customers. The space inspires instant trust in its customers simply owing to the sense of familiarity its ‘engineered grunge’ design provides. It is functional yet posh, unfinished-looking yet sophisticated, bold yet understated. Perhaps the space and its design will remind motorcycle enthusiasts of the open road, the heat, the dust and other elements they brave while they ride, and everything that they have come to love and appreciate about their bikes and the act of riding, and it will do so very subtly. At the same time, it will dramatically command a rider’s respect as it asserts itself as one of the most premium, visibly passionate spaces for bike gears.

FACT FILE: Project name : Location : Architect : Design Team :

Site Area : Built-Up area : Project Category : Initiation of project : Completion of project :

High Note Performance (HNP), New Delhi.

100 feet road, Chhatarpur, New Delhi.

Headlight Design Rohit Sharma, Siddhartha Srivastava, Sohan Sharma, Sushil Gupta 2500 sq.ft.

2500 sq.ft.

Commercial Interior (Retail) May 2016 July 2016

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Beautifully Ugly Palak Mehta is a freelance photographer, currently pursuing her design studies at ISDI Parsons. She has worked as a lifestyle and product photographer for Koffee Table, an online portal selling home decor products for well known German & European brands. Her gallery of photographs are available for view at Your Shot, National Geographic’s photo community. Palak believes that every good shot captures a unique moment in time to tell a story in the future, sometimes you have to chase these moments.

Chasing moments is all about exploring and so she urges her viewers to take the road less travelled, the street not explored, the instinct you so often ignore, follow that light, follow that feeling, observe those lines, shapes, patterns, and textures; anticipate and chase every moment.

Authored and images: Palak Mehta Curator: Amrita Ravimohan

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hey say that “Beauty lies in the eye of the beholder”. Beauty and ugliness is a matter of perception. Let me explain this with the help of a short story.

Once upon a time a king was relaxing in his garden, peacefully watching his toddler son play. He then said to his vizier, “no toddler can be more beautiful than the prince”. When asked if the vizier seemed to agree with the king’s statement, he seemed to disagree. The vizier then told the king that what may appear ugly to one may appear beautiful to another, therefore the king’s statement of the prince being the “more beautiful than any other toddler” seems to be very biased. Hearing this, the king got furious and challenged the vizier to go looking for child more beautiful than the prince or else he would have him executed. The very next day the vizier invited the king to a small hut in an adjacent village, to show him the most “beautiful” child in the kingdom. The king, completely intrigued, disguised himself and reached the place he was invited to. There he found a child covered in mud, rolling in dust, visibly ugly and dirty. The king looked at the vizier with stern eyes but the vizier calmly told him to wait for a while. Just then, the toddler fell down, hurt

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Better left unread, than dead.

Indian Architect & Builder - February 2019

himself and started crying. Out came his mother exclaiming, “My poor child!” she cried. “How dare the earth hurt my jewel! We will kiss it all better, pretty one.” The King evidently confused questioned the vizier how someone can love such an ugly child, not realising he was not being discreet enough. The child’s mother heard him. Picking up the boy in her arms and cuddling him, she turned to face the men. “How dare you!” she cried, livid with anger. “Go and search the entire world and see if you can find a more beautiful and lovelier child than my son! Now go away, you blind fools, or I’ll give you a proper thrashing!”

As they made their way back to the palace, the King said thoughtfully: “I now understand what you mean, vizier. Every child is the most beautiful child in the eyes of their parents…”

As we can see with the help of this story, what was ugly for the king was the most beautiful and precious thing for the mother. Beauty and ugliness have always, are always and will always be open to interpretation. Keeping this in mind, we can conclude that everything in the world maybe beautiful and ugly at the same time. The real question is, who the viewer is.

archilogue

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93

People who take the sun-lit world of the senses to be good and real are living pitifully in a den of evil and ignorance.

It isn’t easy to end up alive.

Indian Architect & Builder - February 2019

94

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What if that change you are avoiding, is the one that gives you wings?

Sometimes there is beauty in simplicity.

Indian Architect & Builder - February 2019

95

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Death must be so beautiful. To lie in the soft brown earth, with the grasses waving above one’s head, and listen to silence. To have no yesterday, and no tomorrow. To forget time, to forgive life, to be at peace.

Better a cruel truth than a comfortable delusion. - Edward Abbey.

Indian Architect & Builder - February 2019

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Even Rudolf had to be useful, to be liked. OR “Sorry buddy, but your nose isn’t going to cut it this year” Yours Truly, Santa.

The soul that sees beauty may sometimes walk alone.

Indian Architect & Builder - February 2019

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When I let go of what I am, I become what I might be. - Lao Tzu.

Archilogue is the travelogue that documents places, cultures, geographies, ethos and more; curated by Amrita Ravimohan. Amrita is a Mumbai based design educator, architect and writer. Her passions include writing about design, travel and food, and she has published articles across various media. Last year, along with two other architects, she co-founded Three Flaneurs, a travel for design initiative (threeflaneurs.wordpress.com) and The India Architecture Open series (indiaarchopen.com) under the Peregrine Travels umbrella.

In the previous Archilogue, it was mistakenly mentioned that the Auditoria Parco Della Musica is designed by Rem Koolhaas. It is actually designed by Renzo Piano.

Indian Architect & Builder - February 2019

Presents

Martha Thorne, Spain Enrico Dini, Italy Michael Green, Canada Padma Shri Rajagopalan Vasudevan, India Gurjit Singh Matharoo, India Alireza Taghaboni, Iran Shubhra Raje, India & USA Dr. Reinhard Koenig, Germany Prashant Dhawan, India Olga Chepelianskaia, India Pinkish Shah, India Ayaz Basrai, India Aryanour Djalali, Spain Monish Kumar Siripurapu, India Alhad Gore (Jury Architect - YD), India For more details visit: Web: www.361degrees.net.in Email: enquiries361@jasubhai.com

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