IAB AUGUST ISSSUE

TOTAL NUMBER OF PAGES INCLUDING COVER 84 MUMBAI ` 200 AUGUST 2019 VOL 32 (12)

ARCHITECTURE Free Flow Junction Bar, Spacefiction Studio The Drift House on Little Much Farm, Language.Architecture.Body (LAB) Attic Lab Studio, Attic Lab Think of it, Studio Lagom INTERIORS Seams Pret and Couture, MuseLAB Memory Box, The Red Studio

750+ Delegates - Architects &

Students of Architecture Colleges

16+ Global Speakers

Presents

DESIGNING for the

FUTURE

2 days of Inspiration, Networking & Ideation Building and Construction Industry Knowledge Partner

Partnered by: Sustainable Partner

14 th -15 th FEBRUARY 2019 NEHRU CENTRE, MUMBAI

Lighting of the Lamp by Guest of Honour - Ar I M Kadri, Special Guest - Gyan Madhani, Martha Thorne, P V Somasundaram, YPS Suri, Maulik Jasubhai, Hemant Shetty

Welcome Address by Maulik Jasubhai, Chairman Jasubhai Group & ChemTech Foundation

Building and Construction Industry Knowledge Partner

Opening Address by P V Somasundaram, Executive Director, Armstrong World Industries Pvt Ltd

Associate Partner

Innovation Partner

Pinkish Shah, S+PS Architects, India

Support Partner

Organised by

Prashant Dhawan, Biomimicry, India

Thank so much for organizing the very interesting and insightful conference. I know that we will keep in touch in the future and it has created a network of professionals that is very relevant and necessary - Martha Thorne, Executive Director, Pritzker Prize

V Vishwanath, Vishwanath Associates, India Alireza Taghaboni, nextoffice, Iran Olga Chepelianskaia, UNICITI, France

Shubhra Raje, Built Environment, India

Rohan Shivkumar

Naresh Duble, Armstrong

Thank you for having us here. It has been a pleasure sharing our works and thoughts with the audience.

Peter Bradfield, Forestry Innovation Consulting India Pvt Ltd Inaugural Lecture by Martha Thorne, Executive Director, Pritzker Prize

- Enrico Dini, Dini Engineering, Italy

Dr Reinhard Koenig, Germany

I’m absolutely delighted with the way the 361 Degrees Design Conference was organised. It was a wonderful opportunity to interact with prominent professionals and have meaningful exchanges with them as well as with participants. Congratulations for carrying forward such a significant event!

- Olga Chepelianskaia, UNCITY, France & India

Thanks so much for wonderful two days. I do hope I could contribute to the overall discourse.

- Shubhra Raje, Built Environments, Ahmedabad

Devendra Pandey, UltraTech Cements

V Murali, Tata Structura

Panel Discussion- Designing for the Future Michael Green, Michael Green Architects, Canada

Paolo Carboni, Italy

Monish Siripurapu, Ant Studio, India

Gurjit Singh Matharoo, Matharoo Associates, India

Ayaz Basrai, The Busride Studio, India

Enrico DinI, Italy

Closing Axioms Closing Axioms

Thank you for your invitation to take part in the 361 Degree Conference. It was a great event and a huge success.

- Michael Green, Michael Green Architects, Canada

Closing Axioms

361 conference had a fairly good range of speakers engaged in some exemplary projects around the world.

Closing Axioms

- Percy Pithawala, Vadodara

industry news

6

Viega’s flushing throttle will prevent splashing over rimless WC ceramics

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iega India, one of the leading manufacturers of installation technology for sanitary and heating, has introduced concealed cisterns equipped with a flushing throttle.

Functionality: Modern WC Ceramics come in a plethora of aesthetically pleasing designs; however, technological aspects need to be borne in mind as water can splash over rimless toilet bowls.

To prevent this and the resulting aesthetic and hygienic problems from happening in the first place, Viega’s flushing throttles will be especially useful. Moreover, the flow rate can be reduced without the use of tools. There are five possible settings: With a simple rotary movement, the throttle cross-section is reduced until no water splashes over the edge during flushing. The amount of flushing water stays constant, so the flushing effect remains the same as well.

Design: The Viega concealed cisterns is of type 2H, 2C and 2S with 1130 mm construction height. The new flushing throttle is not only ideal for rimless WC ceramics, but also for special installations such as toddler and baby toilets in kindergartens. The throttle is also available as an individual article for retrofitting Viega concealed cisterns that have already been installed.

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 or 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. This includes investments in a production site in Sanand to better serve local market needs.

Sales and service teams are present in all the major cities in India.

Indian Architect & Builder - August 2019

Further information: Viega India Pvt. Ltd. 1005 DLH Park S. V. Road, Goregaon West, Mumbai, Maharashtra 400062 Contact: Amar Kirale - +91 9892459300 E-mail: amar.kirale@viega.in

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EXPLORE

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 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.

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Tel: + 91-22-4037 3636, Fax: +91-22-4037 3635, Mobile: +91 9833104834 Email: sudhanshu_nagar@jasubhai.com ARCHITECTURE 18 A canvas for recounting memories while making new ones

Hyderabad-based Free Flow Junction Bar by Spacefiction Studio draws upon the heartwarming nostalgia of Indian Railways to create a functional, relatable and fun space without falling into the traps of being overpoweringly kitschy.

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The architect’s personal playground The Drift House on Little Much Farm by Language.Architecture.Body (LAB) pushes the envelope of good design; from the customary prerequisites of site topography, climate, landscape and vistas; to furthering it with elements of play within the form.

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The beauty of unexpected forms Shinoop and Revathy Shinoop create an intriguing attic-based home office for themselves that incorporates multifunctional spaces dedicated to their practice, architecture and music.

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Making sense of sustainability Think of it by Studio Lagom devises a lush landscaped eatery that complements its built-form and simultaneously raises pertinent arguments over the use of materials and sustainability within the context of everyday commercial projects.

INTERIORS 64 A box of mystique

MuseLAB reinterprets the apparel retail store Seams Pret and Couture; the brand and its metaphors and translates it into a box of intrigue and nouveau.

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The house as museum of memories The Memory Box project by The Red Studio adapts to multiple spatial requirements, and positions the home as a space to showcase memories, artworks, and objects that hold deep, significant meanings.

Cover Image: © Language.Architecture.Body (LAB)

Delhi: Priyaranjan Singh 803, Chiranjeev Tower, No 43, Nehru Place, New Delhi – 110 019 Tel: +91 11 2623 5332, Fax: 011 2642 7404 Email: pr_singh@jasubhai.com Bengaluru / Hyderabad / Gujarat: Sudhanshu Nagar Mobile: +91 9833104834, Email: sudhanshu_nagar@jasubhai.com Kolkata: Sudhanshu Nagar Mobile: +91 9833104834, Email: sudhanshu_nagar@jasubhai.com Pune: Sudhanshu Nagar Mobile: +91 9769758712, Email: sudhanshu_nagar@jasubhai.com Chennai / Coimbatore: Princebel M Mobile: +91 9444728035, +91 9823410712, Email: princebel_m@jasubhai.com

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Editor: Maulik Jasubhai Shah, 26, Maker Chamber VI, Nariman Point, Mumbai 400 021.

industry news

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Shaw Contract strives for design excellence in everything they do.

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haw Contract, a design leader in commercial flooring solutions and surfaces for the hospitality industry, is pleased to introduce Forum, a collection designed for today’s rapidly evolving hospitality-centric environments. We no longer look at hotels just as places to sleep, but as places to gather, connect and rejuvenate. Forum embraces this shifting perception as a collection for seekers and explorers; a catalyst for new communities, for spontaneity, for comfort, for places that welcome and inspire.

A COLLECTION THAT BRINGS INSPIRATION AND COMFORT TO COMMERCIAL SPACES The collection features a subtle palette of light, neutral tones, interspersed with calligraphic lines in a rich black, to create an aesthetic range from artful notes of contrast to harmonious blends in a distinctive set of 17 broadloom patterns and 10 18” x 36” carpet tile patterns. Contemporary clean lines blend with patterns that have a soft painterly edge, in an inspired fusion of textures and large-scale geometry. The designs include lines that merge and overlap, bold curves and strong graphical elements that make it highly adaptable at all scales. Tactile comfort alludes to sisal, jute and natural handwoven references that add a crafted feel and a tangible sense of well-being.

In addition to the broadloom and tile patterns, the Forum collection explores shape and form through four distinctive rugs, designed to inspire and suggest custom opportunities. Rugs add a delicate balance to the functionality, aesthetics and emotional impact of a space.

Alyssa Gagnon, Designer for Shaw Hospitality, explains: “The designs are a fusion of cultural and craft influences, using pattern and

texture to evoke a sense of wellbeing, but also as a means of visual stimulation.”

Both the visual and tactile elements of Forum enhance the versatility of this collection, which is designed to complement a full range of modern hospitality settings – from large social spaces to intimate areas. As an artful responsse to the changing design industry, Forum creates impactful environments infused with a feeling of comfort and a sense of exploration that welcomes us to new territories.

About Shaw Contract: Shaw Contract is the global commercial division of the US-based Shaw Industries Group Inc., a wholly owned subsidiary of Berkshire Hathaway, Inc. Shaw Contract has been active in India for two decades and has built two state-of-the-art Experience Centres in Bengaluru and Mumbai, in addition to regional offices at Delhi, Hyderabad, Pune and Chennai.

Shaw Contract flooring has been installed throughout India in over 3,000 designed environments in a wide range of sectors including corporate, hospitality, retail, healthcare, and education. Shaw Contract believes that the ground beneath our feet should have a positive impact on how we live, learn, work, and play.

For more details please visit: www.shawcontract.com

Indian Architect & Builder - August 2019

industry news

12

LED BOLLARDS

These luminaires are available in Ø100 and Ø166 with three different heights to suit the installation site. Their sturdy construction makes them especially suitable for areas where a high level of robustness is required to ensure vandal proof service.

Application: For the illumination of footpaths, entrance areas, driveway, private & public areas, gardens and as well as landscape architecture.

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fficient and cost-effective LED bollards with rotationally symmetrical illumination on ground surfaces. The photometric design of these luminaires is based on LED integrated with K-Lite’s precision reflector module. Consistent implementation of a new technological developments combined with the highest technical and structural quality have resulted in these state of art luminaires.

These luminaires are characterised by their high luminous efficiency, extremely long service life and the uniform illuminance.

Further information: K-LITE INDUSTRIES India’s Lighting Company D-10, Ambattur Industrial Estate, Chennai – 600058 Tel: 044-26257710, 48581950, Fax: 044-26257866 Mobile: 95000 79797, 95000 85511 E-mail: info@klite.in Website: www.klite.in

Indian Architect & Builder - August 2019

K-Lite Advantages - Powerful Design Powerful light ● Extruded aluminium alloy housing through homogenization for durability and thermal management. ● Stainless Steel hardware used for long life and for easy maintenance. ● Silicon gasket used for IP ratings and conforming to the safety and reliability requirements of the products. ● UV stabilized, non yellowing polycarbonate diffusers for better light transmission, vandal resistant. ● Finished with 60 micron thick polyester based powder coating for uniform deposition and excellent finish. ● CREE / OSRAM / NICHIA make LEDs, which are internationally recognized brands with higher lumen output are used for better illumination and longevity.

industry news

14

Asian Granito India Ltd inaugurates its Largest - 25,000 sq feet tiles and Sanitaryware display showroom in Himmatnagar

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Mr Kamlesh Patel and Mr Mukesh Patel, Asian Granito India Ltd

The display centre to have an exclusive and elegant range of tiles, engineered marble, quartz and sanitaryware under one roof

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howcasing the company’s production and technological excellence at one place, Asian Granito India Ltd - one of India’s leading tiles companies has launched its largest display showroom unveiling the wide range of tiles and Sanitaryware at Himmatnagar, Gujarat.

The 25,000 square feet showroom will have the exclusive and elegant range of products including, ceramic floor, digital wall, vitrified, parking, porcelain, glazed vitrified, outdoor, natural marble, composite marble & Quartz, etc under one roof. The showroom will also house the newly launched Sanitaryware range.

Trusted for reliability, adaptability, innovation, quality consciousness, the company has created a strong brand identity for itself which is well recognised globally. A must visit for all, the showroom will catch the attention of dealers network and customers nationally with a wide range of 1400+ products in all sizes, designs, and finishes in sync with evolving customer preferences. Company also organised a dealer meet during June 16 - 22 and invited its business partners across India to have the look and feel of the exclusive collection.

Speaking on this occasion, Mr. Kamlesh Patel, Chairman and Managing Director and Mr. Mukesh Patel, Managing Director, Asian Granito India Ltd said, “This will be the largest display showroom of tiles and sanitaryware in North Gujarat and will showcase its entire product range offered by Asian Granito at one place. We had started our journey from a small unit in Himmatnagar in the year 2000 and today have become one of the leading tile brands in India with 10 manufacturing plants, employing over 6,000 people. All our manufacturing plants are located in the surrounding hence we decided to set up the display centre here so that one can have our entire range of products at one location.”

Indian Architect & Builder - August 2019

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Asian Granito - Tiles and Sanitaryware Showroom in Himmatnagar

The company looks to strengthen its identity as the leader in the Indian ceramic industry by consistently introducing innovative and valueadded products in the market to keep pace with its valued customers.

Asian Granito India Ltd today is ranked amongst top 3 listed ceramic tiles companies in India and will focus on high-end products such as premium GVT tiles, Nano Crystal, Quartz and Marble etc. In next 2-3 years, company has set a target of Rs. 2,000 crore revenue; Expand retail network to 500 exclusive showrooms and entry in sanitaryware and CP fittings to provide ‘Complete Bathroom Solutions’.

Company has over 6,500 touch points with dealer & sub-dealer network; 300+ exclusive AGL Tiles showrooms and 13 Company-owned Display Centres across India. Company exports its products to 60 countries and aiming to take the toll to 100 countries in coming time.

Asian Granito India Ltd. (AGIL) has emerged as one of the largest ceramic companies of India having around 1400 design across segments. The company offers wide rand of products including, ceramic floor, digital wall, vitrified, parking, porcelain, glazed vitrified, outdoor, natural marble, composite marble & Quartz, etc.

About Asian Granito India Limited: Established in the year 2000, the Asian Granito India Ltd. (AGIL) has emerged as India’s leading home decor brand. The company manufactures and markets a wide range of Tiles, Engineered Marble and Quartz. Trusted for reliability, adaptability, innovation, quality consciousness, the company has created a strong brand identity for itself which is well recognised globally.

Further information: Asian Granito India Ltd. Vinod Chandnani E-mail: vinod.chandnani@aglasiangranito.com

industry news

15

Jaquar Group launches the Arc collection by Frederico Meroni Inspired by the classic designs of Roman architecture

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oman architecture and engineering is among the most lauded architectural forms of the world. It has had a major impact on art, building practices and urban planning across the centuries and even today, top architects and designers take inspiration from it to create beautiful pieces of art and design. Jaquar Group, the ‘Complete Bathroom and Lighting Solutions’ brand drawing inspiration from similar arcs, has launched the Arc collection, which has been designed by the globally acclaimed architect and designer, Frederico Meroni. The collection follows precision of details and expresses an appreciation for form, functionality, subtlety of texture and quality of material.

The Arc collection by Frederico Meroni combines the simplicity of the arc with the complexity of a morphing section. Each of the products in the range plays with the reassurance of a familiar geometry and the surprise of the water spout which, very naturally, falls in the hands. The products ensure controlled fluidity, smooth architecture and measured proportions, while also adding timeless perfection to them in the wide range of colour finishes.

Below are some of the various features that the products in this collection provide: • Soft water flow: The products have aerators integrated with honeycomb structure that offer protection from lime build-up and provide soft flow of water.

• Higher Longevity: Each of the cartridges used in the products are tested 5 lakh times to ensure a longer and trouble free operating life.

• Higher Durability: The high plating thickness (nickel 10 micron & chrome 0.3 micron) provides tolerance to extreme climate and water conditions.

• Optimum flow and temperature: The faucets work smoothly at high temperature (up to 85 degree) and various pressure conditions (0.5 to 5 bar).

• Unmatched warranty: The products come with an assurance and warranty up to 10 years.

• Riveting shades: The collection comes in 9 shades, namely Antique Bronze, Antique Copper, Black Chrome, Black Matt Finish, Gold Dust, Full Gold, Graphite, Stainless Steel Finish and White Matt.

The Arc collection comprises of a complete range of faucets, sanitaryware and wellness products.

For more information - https://jaquar.com/products/ About Frederico Meroni: Frederico Meroni is one of the two design consultants and creative directors at the London-based DanelonMeroni Studios.

About Jaquar Group: Jaquar Group is a rapidly growing multidiversified ‘Complete Bathroom and Lighting Solutions’ brand with a turnover of INR 3588 Crores in 2018-19. The Group has been built on the platform of highest quality standards, aesthetics and with the intent of providing world class products. Conceived way back in 1960, Jaquar Group is an undisputed market leader in the organized bath fittings category and is one of the fastest growing bathroom and lighting brands in the world with presence in 40+ countries across Europe, Middle East, Asia- Pacific, Africa and the SAARC region. Today it caters to various socio-economic segments with brands such as Artize in the luxury category, Jaquar in the premium and Essco in the value segments. The Group is aiming to reach the turnover of $1 billion by 2022.

Further information: Prakriti Singh | Namrata Saha Prakriti.singh@pprww.com | Namrata.saha@pprww.com 9811317976|9718915803

Indian Architect & Builder - August 2019

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‘Meraki-2019’

Soul . Creativity . Passion

INTERLACING PERSPECTIVES A visionary Seminar series presented by Dr. Baliram Hiray College of Architectur

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eraki is the annual seminar series, organized by the students and faculty of Dr. Baliram Hiray College of Architecture. This grand seminar series, since its inception in 2014 has made a mark and grown to become an international seminar series, successfully completing five years. The year 2019 also marks the Silver Jubilee celebrations for Dr. Baliram Hiray College of Architecture (1994-2019).

Meraki has evolved around a variety of themes, questioning or probing the nuances of design styles or architectural practices, which in turn have helped students to understand the intricacies involved in the design process thus creating a platform of synergy between the professionals and students of architecture. Through the years Meraki has been well received with active participation of eminent architects, academicians, professionals and students from various architecture colleges all over Maharashtra.

To continue this dialogue, the sixth session of Meraki 2019, brings to you Interlacing Perspectives. That the human psyche is

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Ar. Lindi Atkin & Ar.Stephen Guthrie

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Ar. Gunay & Sunay Erdem

A flash back on Meraki 2018. The theme Futurewise analysed the past and questioned the context we are creating in order to predict the future of architecture. The participating speakers who graced the occasion were Ar. Anupama Kundoo from (Anupama Kundoo Architects, Spain), Ar. Shimul Zaveri (SJK Architects, Mumbai), Ar. Louis Schulz from (Assemble Studio, UK) and Ar. Swapnil Patil from (Swapnil Patil + Partners, Pune). More than 450 participants attended Indian Architect & Builder - August 2019

affected by its surroundings is an undeniable fact. Which brings us to the relationship between architecture and the human body, and the questions that arise when exploring it. A thorough understanding of this relationship reveals that it is more than simply about finding the proper dimensions and placements within a space to “accommodate” its users and their behaviours within it. The relationship between architecture and the human body delves deep into why those behaviours manifest in the first place, as it calls upon the experiential characteristics and qualities that spark when the two unite — impacting not only occupant behaviour through the body, but also impacting occupants intellectually, emotionally, physiologically and even spiritually.

Meraki 2019 has invited a distinguished panel of guest speakers; Ar. Lindy Atkin and Ar. Stephen Guthrie from (Bark Design Architects, Australia), Ar. Gunay Erdem and Ar. Sunay Erdem from (Erdem Architects, Turkey), Ar. Trupti Doshi, from (Auroma Group, Pondicherry, India) and Ar. Nandini Sampat from (Somaya and Kalappa Consultants, Mumbai, India).

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Ar. Trupti Doshi

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Ar. Nandini Sampat

the session which concluded with a panel discussion held with the guest speakers along with active participation by the audience. The positive feedback from professionals and students attending the seminar has been extremely encouraging for us.

We look forward to your active participation again this year!

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Dignitaries inaugurating the event

Ar. Louis Schulz

Ar. Shimul Zaveri

Dr. Anupama Kundoo

Ar. Swapnil Patil

Panel discussion with the guest speakers

Ar. Niroppama S Sawant Faculty – Professor Design Chair, Dr. Baliram Hiray COA

Date : Saturday, 14th September 2019 Registration fees : Students - Rs. 750 /Professionals - Rs.1000 /Time : 9:00 am-6:00 pm Venue: Swatantrya Veer Savarkar

Rashtriya Smarak Auditorium, Contact :

Dadar (west), Mumbai - 400028, Rahul Desai - + 91 99201 07198

Maharashtra Dhwani Jhaveri - + 91 98203 55625 teammeraki2014@gmail.com

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www.facebook.com/soulcreativitypassion

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instagram _meraki_2019_ Indian Architect & Builder - August 2019

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Free Flow Junction Bar by Spacefiction Studio.

A canvas for recounting memories while making new ones Free Flow Junction Bar, Hyderabad, Telangana A quirky restaurant in Hyderabad, the Free Flow Junction Bar, designed by Spacefiction Studio draws upon heartwarming nostalgia of the iconic Indian Railways to create a space that is functional, relatable and fun, without falling into the trap of being overpoweringly kitschy.

Text: Sharmila Chakravorty Images: LINK Studio Drawings: Spacefiction Studio

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ttract, but don’t distract Spaces that are public yet private at the same time – like a restaurant, for instance – are expected to be many things all at once.

They have to be quirky enough to attract the visitor’s attention, and stunning enough to give the visitor an initial jolt of delight. Thus, the design is what makes the first impression, even before the visitor has sampled what they actually came for – the food. And this is where the duality sets in, this is where the design has to step back so as to not be overpowering enough to steal the show away from the dining experience and the actual star of the show – the food. The design, just as much as the food, is expected to entice visitors enough to ensure that they keep coming back.

Indian Architect & Builder - August 2019

This, is especially difficult today, given the influx of restaurants and café and innovative formats of eateries mushrooming all over the country. Design, and innovation in food, thus assume a far greater importance, in establishing the persona of the restaurant that differentiates it from the countless other in its milieu. Design and décor are thus increasingly becoming a prominent distinguisher that holds the power to invoke interest, spark curiosity, as well as make or break the perception potential customers have of a restaurant.

The design of the Free Flow Junction Bar by Spacefiction Studio in Hyderabad perhaps illustrates this challenge and how to accurately respond to it with a bold solution.

architecture

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Elevation showing the entry through wagon.

Indian Architect & Builder - August 2019

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Ground floor plan

First floor plan

Indian Architect & Builder - August 2019

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Understanding the site to zero in on the theme The site is an odd pizza slice-shaped piece of land in the heart of Hi-Tech city in Hyderabad. Speaking of the site and the program, the architects mention, “Because of its odd shape and prime location, the site was only used for housing three large ad poles on the periphery instead of a building. The second branch of the franchise – a very successful, nightlife chain – was to be planned here.” The restaurant being the second unit of the chain was expected to directly or indirectly align with the first restaurant’s ethos and ambience in some way while going for a completely different theme; the first restaurant’s design invokes a very urban vibe, with the city as its main theme.

The answer lies within the problem The inspiration for the theme came from the site itself. The junction where the site is located houses the last leg of the recently finished metro rail of Hyderabad. Building on this, the architects decided to design the theme on similar lines, making a quick connection of the interior spaces with the outside world. The theme thus evolved on of lines of drawing customers into an extended urban rail atmosphere.

Adding a nostalgic twist While the theme revolves around urban rail in order to connect to the real world outside, the architects added a quirky twist that

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was guaranteed to strike a chord with most potential customers – nostalgia using a very specific element. That of the Indian railways. Given that the majority of the surrounding user groups are IT employees from all over the country, the idea is genius.

The underlying thought process of using nostalgia, relatability and joyful memories of experiences with the Indian railways as the theme is a surefire way to ensure an emotional connect with the restaurant, and other customers. The design of the restaurant works its way out from this theme, washing every aspect of the space with Indian Railways’ elements that are immediately recognizable and relatable.

Speaking of the design, the architects mention, “The place to be designed on this site had to be an introverted solution to counter the chaos outside. Two rectangular sections of seating, of two floors each, were planned carefully around the three existing advertising poles, creating a wedge-shaped double-height area in between. This space houses a large stage for all the performances to take place. Both the sections look down onto this area with ease. The farther end of these sections, where the viewing is difficult, was treated with bunk seats resembling the interiors of rail bogies or was left as planting spaces to buffer the western sun.”

Section Indian Architect & Builder - August 2019

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The exterior façade.

Indian Architect & Builder - August 2019

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Indian Architect & Builder - August 2019

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Outdoor platform seating.

Metal staircase leading to upper level.

Indian Architect & Builder - August 2019

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The ground floor seating.

Bar on the ground floor.

Indian Architect & Builder - August 2019

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Compartment seating.

Infusing the theme The Indian Railways theme starts right at the entry, which is through a fabricated goods bogie under a cantilevered balcony.

Upon entrance, one is led onto a linear platform, which is of one of the five sections that make up the entire interior space. The bars too are treated with railways nostalgia, with the one on the lower section paying homage to drinking water fountains commonly found at railway stations, retro fit with the vintage water dispensers. The two east and west walls are painted to resemble a typical train, complete with windows and name boards, similar to the ones on a typical Indian passenger train.

Outlining the highlights of the design, the architects mention, “Station name boards become the main brand signage here. A rail track runs the length of the central double-height area covered by toughened glass. This visually leads into a tunnel-like opening of brickwork at the farther end. A double-height glass opening at the narrow end of the double-height space is treated with stickered colored glass; to resemble the stained glass windows of older stations. This is the only window through which the outside is glimpsed through; offering views of the iconic cyber towers, around which the entire IT boom around the area pivoted on. Custom made, sound proof vintage painted, phone booths allow users to take a quick call in an ever noisy environment.”

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Bridge detail.

Indian Architect & Builder - August 2019

Playing the complementary role Essentially, though dining out is an overall experience, the highlight should always be the food, and then the ambience – usually in that order. Most of us will happily overlook an unaesthetic décor if the food is excellent; after all restaurants are transition spaces, where

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Bar on the first floor.

you spend a limited amount of time for a specific purpose – to eat, celebrate, connect with friends and family. And thus, logically, the star of the show should, for most of us, be the food. The taste, the quality, the variety, the service, the kind of crowd the restaurant draws etc. will always, for most of us, take precedence over the design and décor.

recounting pleasant experience from their past, the restaurant’s customers are unknowingly making newer memories that they will cherish in the future.

So, in a typology such as this, the food is the central character and the décor plays a supporting role. Be it grand like a palace or a castle, theme-based recreating the likes of jungles, village life, huts, cocoons, ice hotels and igloos, or futuristic visions that are reminiscent of airplanes and space shuttles, the design is always a complementary function, and is expected to spark the initial interest, and go back to being the background character that it should be. But here, the design makes its presence felt, in a good way. It manages to complement the program to create a rather unique experience for customers. It also perhaps plays the role of the ice-breaker that encourages sharing Indian railways-related stories, where while

FACT FILE: Project name Architecture Firm Completion Year Gross Built Area Project location Photo credits Lead Architects Design Team Fabrication Landscape Carpentry Art

: : : : : : : : : : : :

Free Flow Junction Bar Spacefiction Studio 2018 5400 sft Hyderabad LINK Studio Baba Sashank, Vindhya Guduru Santhosh Kandanala Concrete Conceptuals Vijaya Durga Devi Nursery TL Chary Mr. Prem Kumar Indian Architect & Builder - August 2019

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Drift House on Little Much Farm by Language.Architecture.Body (LAB). is reminiscent of a Transformer-like contraption that hovers or ‘drifts’ over its hilly and contoured site.

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The architect’s personal playground The Drift House on Little Much Farm, Maharashtra The Drift House on Little Much Farm, nestled in the Western Ghats of Maharashtra pushes the envelope of good design; from the customary prerequisites of site topography, climate, landscape and vistas; to furthering it with play within the form, function and features in the home created for the architect herself.

Text: Shriti Das Images: Sebastian Zacharia Drawings: Language.Architecture.Body (LAB)

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ew vocations allow room for play as architecture and design does.

At the risk of offending its auxiliaries and contemporaries or heroworshipping the architectural fraternity and practice; few occupations endow joys like scribbling and doodling on blank canvases, which then take form of buildings, products or objects. Or composing design models with a heady mix of play, strategy and manipulation. And the awareness that a single line can not only divide spaces but control human behaviour and patterns. While this realisation or declaration may deem architects puppeteers, masterminds of human psyche or probable conspirators, often, the architects’ work is reduced to, sadly, just work and little play akin to most vocations.

Long-drawn trysts with the drawing board and models are a luxury that few architects enjoy unless it is the case of a personal undertaking or perhaps a god-sent client who can afford time and pander to their architects’ utopian aspirations. But with the latter, there still exist limitations and challenges that do not translate to the aforementioned poetics of architecture. The former, however, can vary between two extremes; it can translate into a canvas of unending possibilities or indifference towards one’s own undertaking. Luckily, it is the former that transpires with most designers when they embark on projects that they build for themselves.

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Drift House on Little Much Farm is reminiscent of a Transformer-like contraption that hovers or ‘drifts’ over its hilly and contoured site.

‘Transformers’, based on a comic series followed by a movie series, are other-worldly humanoid robots that change into mechanical objects and bodies. And when machine and human qualities combine with the infinite possibilities of the supernatural; the prospects of incredulity intensify. While Drift House has zilch association with the other-world or the supernatural powers or prowess, it does fuse engineering and architecture to devise a holiday home on an all-encompassing site. Drift House is located on the edge of a hill overlooking the Sahyadris. The sloping plot is enclosed by stepped hills and enclosed by a meandering lake. The precinct endures harsh climatic conditions of heavy rains in the monsoons and harsh sunlight otherwise. Adding to the extremities is the prevalent wind current, which, if contained and controlled makes for amicable breeze but if unrestrained can wreak havoc.

The common approach to building any structure entails studying land and climate conditions to conceive a floor-plan and define spaces in accordance with site conditions. But to manoeuvre the wind currents and tackle the harsh sunrays, the architect devised the roof in the form of three triangular planes. The idea of the ‘drifting planes’ was also derived from the stepped hills that envelope the site endowing dramatic views to the plot. The drama is owing to an effect of appearing as though the wind pushed and pulled the site into its existing picturesque demeanour. To navigate the climate and to trace the drifting lands, the roofs were sloped at varying angles and 3 roofs were positioned to control the wind, rain and sun. The floor-plan was designed taking into consideration function that the spaces would accommodate and the transitions with time and seasons. The roof

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and floor, with different forms and orientations, being independent of one another, were connected by structural columns. While the process seems customary to connect the floor and roof with walls through orthographic projections, it must be noted that the sequence involves the plans, walls and roof to succeed one another in the mentioned order. Drift House disrupts this sequence and is faced with navigating the spatial quality that arises when the disparate floor planes meet the roof-system. The house adapted the diagonal grid beams in steel for its roof structures. The architect calculated the overhangs for climatic and spatial details and positioned the columns at nodes of the diagonal grid slabs.

As a result, the internal spaces within the house are not perpendicular or cuboid in volume but vary across angles and shapes. While such configurations are deemed as ‘negative’ spaces, the architect throws light on the injustice of labelling certain shapes as ‘negative’ because they pose a challenge to work with. It is the modular and factorymade furniture that mandate spaces with walls at right angles. But India still retains its traditional practice of handmade furniture that is built on-site and is easily customised. If one has their doubts over the spatial qualities that seemingly irregular nooks and corners; Drift House ensures that every alcove is attributed a function. For example, the staircase nests a slide under it that is used by adults and children alike. Underneath the staircase-slide system, the remnant pocket of space is used as a reading room. Acute-angled floor configurations, when projected onto volumes using curved profiles, endow better ergonomics than an upright wall would. Taking the above factors into consideration, the interiors work in tandem with the exterior’s Transformer-like outward form.

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To manoeuvre the wind currents and tackle the harsh sunrays, the architect devised the roof in the form of three triangular planes.

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The staircase nests a slide under it that is used by adults and children alike. Underneath the staircase-slide system, the remnant pocket of

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The roof and floor, with different forms and orientations, being independent of one another, were connected by structural columns. Drift House disrupts the sequence of devising plan, wall-systems and elevation treatments and designing the roof; and is faced with navigating the spatial quality that arises when the disparate floor planes meet the roof-system when the walls and columns are designed last.

The internal spaces within the house are not perpendicular or cuboid in volume but vary across angles and shapes. While such configurations are deemed as ‘negative’ spaces, the architect throws light on the injustice of labelling certain shapes as negative simply because they

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The solid walls are cladded with a collage of slate stone. The collage showcases various slate stone finishes; flame finished, polished,

The roof is fabricated by a team of ship fabricators.

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The idea of the ‘drifting planes’ was also derived from the stepped hills that envelope the site endowing dramatic views to the plot. The drama is owing to an effect of appearing as though the wind pushed and pulled the site into its existing picturesque demeanour.

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While one can appreciate the design ingenuity it is noteworthy that the project is not limited to the realms of experimentation or executing personal preferences. The underlying idea of ‘play’ is evident in the built-form; from playfully disrupting design processes to literally imbibing a slide in the interiors. Alongside, the same features were equally challenging. The roof was fabricated by a shipping team since monsoons were underway and construction had to cease before the rains foiled and delayed work. The western wall bears the brunt of torrential towers and is hence the walll is rendered solid, with few small openings and screened by trees and orchards. But even within the obvious, within the mechanical and monotonous undertakings; there exists the spirit of cheer and vivacity. Like the solid walls are cladded with a collage of slate stone. The collage showcases various slate stone finishes; flame finished, polished, cut into strips and reassembled, and so on. And finally, given all its complexities and

exuberance the home fulfils all its functions; of a holiday home, a canvas for the architect and a prodigy in its own right.

FACT FILE: Project Name : The Drift House on Little Much Farm Architect or Architecture Firm : Shonan Purie Trehan, Language.Architecture.

Body (LAB) Completion year : 2018 Built Area : 8,000 sq ft Project Location : Mulshi Lake, Maharashtra.

Photographer : Sebastian Zacharia Lead Architect : Shonan Purie Trehan Team : Lekha Gupta (project architect), Mounisha Katneni Consultants : Devang Sutaria (structure), Kapse Consultant (Plumbing), Cardoz Consulting (Electrical and Networking) Contractor : Impex

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The beauty of unexpected forms Attic Lab, Malappuram, Kerala Taking cues from traditional Kerala architecture, Shinoop and Revathy Shinoop create an intriguing attic-based home office for themselves that responds to their need for multifunctional spaces dedicated to the practice architecture and music, in a compact footprint that would be modern yet cost-effective.

Text: Sharmila Chakravorty Images: Prasanth Mohan (Running Studios) Kerala Drawings: Attic Lab

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ost successful architecture and design projects are generally those that carefully consider their site and other site-specific requirements in order to respond to them, and create something that is apt for the time and place, as well as the physical and metaphysical context. But do they always have to conform to traditionally prescribed and prevalent forms and typologies? How does one root a design in the context, while still innovating and breaking away from the norms?

The Attic Lab, a home studio for architect couple Shinoop and Revathy Shinoop, is perhaps an attempt by the architects to address these questions.

The project was born out the need to create a workspace for the couple, which would reflect their shared passion for architecture, music and painting. Speaking about this, the architects mention, “The site is within the premises of our ancestral home. It has an extent of 3 cents (1 acre = 100 cents) and has marshy soil condition. We envisioned that our ideal workspace would need to be flexible and accommodate multiple programs such as a workspace, a place to practice music, as well as a space for unwinding and discussions.�

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The architects’ studio: Attic Lab.

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Accordingly, several layouts were worked out, initially based on the notion of having separate blocks for music and architecture. However, the idea evolved into a single block where spaces would adapt to address multiple functions. Even though a tight budget and construction time were a concern, the couple envisioned the design to be compact and modern in its material and build. These limitations led the couple to take inspiration from the design of an attic, a space that doesn’t require walls thus reducing the need for a heavy foundation and thus cost. This gave the project its signature triangular profile – a prism shaped ribbed structure – wherein the space is divided into two levels – the ground level for work, and the upper attic level for leisure.

Taking cues from the traditional architecture of Kerala, the architects

used characteristic regional expressions in their design. Accordingly, the roof frame is structurally supported on the pillars on walls erected on a plinth raised from the ground for protection against dampness and insects in the tropical climate. Gable windows were evolved at the two ends to provide attic ventilation when ceiling was incorporated for the room spaces. The selection of materials and construction techniques was largely influenced by the structural load, cost, time of installation, and maintenance over time, and sustainability. The material palette consists of reused laterite, recycled steel, terracotta, cement board, MDF, plywood, glass and GI sheets. The architects ensure efficiency in the construction process by carefully planning dimensions beforehand to avoid wastage and make installation easier and faster.

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Attic Lab was born out the need to create a workspace for the architects, also a couple, which would reflect their shared passion for architecture, music and painting

Inspired from the traditional architecture of Kerala, the architects incorporated characteristic regional expressions. The roof frame is structurally supported on the pillars on walls erected on a plinth for protection against dampness and insects. Gable windows at the two ends provide attic ventilation.

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The distinction between the inside and outside is reduced by the use of natural materials inside – the wood inside is the visual and tactile connector of the trees outside, the green houseplants within the attic space link back to the greenery outside.

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Even though a tight budget and construction time were a concern, the couple envisioned the design to be compact and modern in its material and build.

The architects offer an innovative re-imagination of the attic space. It is a delightful take on the attic space, which is generally relegated to a figurative second-class status in the hierarchy of spaces, if there was ever such a thing.

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The material palette consists of reused laterite, recycled steel, terracotta, cement board, MDF, plywood, glass and GI sheets.

The project is pleasantly reminiscent of a giant tent in the middle of the jungle, an apt metaphor for its lush green milieu.

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“We envisioned that our ideal workspace would need to be flexible and accommodate multiple programs such as a workspace, a place to practice music, as well as a space for unwinding and discussions.” _ Revathy & Shinoop.

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The resulting structure is a cozy, unexpected space in the lap of nature.

The distinction between the inside and outside is reduced further by the use of natural materials inside – the wood inside is the visual and tactile connector of the trees outside, the green houseplants within the attic space link back to the greenery outside. In many ways, the attic lab seems to be a part of the rich natural setting it is sited in, instead of being a structure that demarcates the inside and outside.

The most interesting aspect of the design is definitely the shift in the way we perceive attics. Explaining the traditional perception of the space, the architects say, “The attic, the space directly below the pitched roof of a house, acts as an insulator, protecting the spaces below from the hot sun. As attics fill the space between the ceiling of the top floor of a building and the slanted roof, they are known for being awkwardly shaped spaces with exposed rafters and difficultto-reach corners. Also, the hot air rising from the lower floors of a building is often retained in attics.” No wonder the attic space is used to store rickety old furniture and assortments, and carries an unspoken tag of being a non-livable space. And this is what makes the project as exciting as it is innovative. The architects offer an innovative re-imagination of the attic space. It is a delightful take on

the attic space, which is generally relegated to a figurative secondclass status in the hierarchy of spaces, if there was ever such a thing.

The overall project is pleasantly reminiscent of a giant tent in the middle of the jungle, an apt metaphor for its lush green milieu. It would, without a doubt, inspire joyous wonder and amazement in not only the architect couple using the home-office, but also their guests and visitors. Be it their exploration and practice of music or architecture, the innovative, intriguing attic lab and its constant connection to nature will be an inspiring factor, stirring in creativity and satisfaction in every project the architects take on.

FACT FILE: Firm : Content Curator: Architect : Project Area : Carpentry contractors : Electrical contractors : Photo Documentation : Project Estimate : Initiation of Project : Completion of project :

Attic Lab Chinnu S Kumar Ar. Shinoop & Ar. Revathy Shinoop 46.40sqm Lalu Calicut Vinod & Vaajith Calicut Prasanth Mohan (Running Studios) Kerala 4.5 Lakhs 05 Dec 2016 24 Jun 2017

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The eatery achieves one of its most striking visual element through ferrocement.

Making sense of sustainability Think of it, Surat, Gujarat Think of it is an al-fresco eatery in Surat whose brief operates from the notion of creating a gardeninspired space for it’s diners. Landscaping, gardens and green spaces are commonly incorporated post conceptualizing the structure or considered secondary to the builtform. But Think of it devises a lush landscape with a structure that complements it and simultaneously raises pertinent arguments over the use of materials and sustainability within the context of everyday commercial projects.

Text: Shriti Das Images: Photographix | Sebastian + Ira Drawings: Studio Lagom

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einforced cement concrete (RCC) is perhaps the most controversial, argued and criticised material in construction industries. It bears the brunt of being the least viable, or sustainable for the environment. From the energy it consumes for the manufacturing of steel and cement to its carbon footprint; RCC is always in the line of fire. And for good measure; its emissions are accounted for a substantial percentage of the greenhouse effect, its embodied energy consumption and carbon footprint is colossal

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and their demolition is equally challenging. Such techniques can hardly sustain sound ecology. But it is also perhaps the most popular method of construction and has sustained through years of criticism.

It sustains on less money, less time and less manpower. RCC is an unavoidable and undeniable facet of modern construction. But the technique can be tempered and modified with craft, maybe use ecofriendly materials alongside, tweak the practice as seen with filler slabs and so on.

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Think of it by Studio Lagom is an al-fresco eatery in Surat.

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ELEVATION

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The winding spaces and elements pursue the vision to meander and the senses are occupied at all times.

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View from the street.

Ledges (cast in situ cement benches) adjunct these walls that serve as seating along the ferrocement walls.

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The strategic location of plants; in the courtyard, along the boundary wall and in certain offsets; ensure that every frame is dotted with lush greens.

The eatery’s focal element is perhaps the earthy red-painted ferrocement wall. It stands out amidst the greens and the ash-grey construction of the ledges and boundary walls.

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The interior hosts an organic and curvilinear composition. The ferrocement walls scoop the space and endow it a circular courtyard. This creates intimate seating nooks overlooking the open-to-sky coutyard.

RCC is also often perceived as a structural element to buildings wherein it has potential to render value beyond strength. Strength is an attribute and an advantage to the material but there is no reason why RCC or the technique cannot be adapted beyond construction.

Think of it, an al-fresco eatery in Surat achieves one of its most striking visual element through ferrocement, a variant of RCC construction, if one may say so. Ferrocement is a thin-shell concrete that involves a mesh; steel or metal fibres or thin steel rods or an equivalent, placed in shuttering, over which a mix of lime, sand and water is poured and allowed to solidify. Since the mesh is relatively thin to the extent of being malleable into curved and free-flowing profiles. The ferrocement, while the most obvious aspect of the project, the central idea involved devising a garden restaurant in the city. Since the restaurant is built on leased land, the architects focussed on creating a minimal built-form alongside using economic materials.

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The space uses waste to create design elements. The pergola-like treatment is devised from reinforcement bars and the flooring is waste Indian Natural stone.

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The foremost element adapted within the structure is its precinct.

The restaurant is located in a quiet by-lane that endows it a quiet environ. This impelled the architect to ‘respond’ to the street with a wide elevated set-back that accommodates some tables; ideal for a coffee or a quick bite. This landscaped stretch is set against a flyash brick masonry boundary-wall is also a transition space leading to the restaurant. The interior hosts an organic and curvilinear composition. The ferrocement walls scoop the space and endow it a circular courtyard. This creates intimate seating nooks that overlook the open-to-sky area in the centre. But it also generates negative space in the form of angular nooks at the corners which are offset by large rounded cut-outs in the ferrocement walls. Ledges (cast in situ cement benches) adjunct these walls that serve as seating along the ferrocement walls. The open-air seating in the centre follows

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Play of finishes and textures.

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Think Think of of it: it: an an overview. overview.

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the rounded profiles in the form of flooring patterns. The roof is a corrugated galvanised iron (GI) sheet that rests on the ferrocement walls. Its overhang on the courtyard trails the patterns on the floor.

Waste reinforcement steel bars are bent and used as pergolas on the roof that cast shadows in rippled patterns on the floor. Furthering the free-flowing aesthetic are the arches devised in the fly-ash walls.As a result, the winding spaces and elements pursue the vision to meander and the senses are occupied at all times.

The eatery’s focal element is perhaps the earthy red-painted ferrocement wall. It stands out amidst the greens and the ash-grey construction of the ledges and boundary walls. The furniture too, in metal and wood does not distract from the thriving landscape. The flooring is devised from waste Indian Natural Stone. The strategic location of plants; in the courtyard, along the boundary wall and in certain offsets; ensure that every frame is dotted with lush greens.

The plants include frangipani, heliconia, dracaena, bamboo, banana, bougainvillea, etc.The eatery is perhaps an ode to nature itself that configure themselves into unhindered formations. Given the seemingly unrestrained use of colour, shapes and lines the space could have easily overpowered the desired nuances of nature. And more so, since the functions are limited to dining only, the tendency of design to lean towards excessive ornamentation and detailing is inescapable. And the architect does have a flair for artistic statements given the red wall that cuts through the plantations and flowing spaces. And even if the architect had chosen to pursue elaborate expressions within the space, one can be assured that the same would have been executed in good taste.The project could have been far more illustrious for the architect’s portfolio but at the cost of the eatery’s authenticity to the brief; perhaps taking away the tranquillity for extravagance. While neither can be deemed wrong or inappropriate; avoiding excess is definitely imperative in the current world scenario. Maybe this attribute can be metaphoric to the use of ferrocement-RCC technology too. Certain entities are unavoidable and at times there’s the lure of excesses and working things the easy way out. But Think of it is proof that all seeming vices can easily be manoeuvred into integrity!

FACT FILE: Location Area of plot Built-up area Architecture & design firm Principal architect Design team Landscaping Artists Structure Metal Structure Contractor Plumbing Electrical Carpenter Branding and Signage Flooring Color Photographs Drone photographs

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Surat, Gujarat 5000 Sq.Ft. 3500 Sq.Ft. Studio Lagom Hardik Shah Krishna Kapadia, KrutiSheta-Patel Hasnain Sabuwala Kruti Sheta-Patel Hitesh Rathi (Rathi consortium) Sai Shyam Engineering Kalpesh Patel Burhanali Shaikh (Bhai Bhai Contractor) Sandeep Patel Magraj Suthar Satyadip Vadnere (Satyarth) and Hemant Saho Jyoti Marble Art Rajpat Prajapati Photographix | Sebastian + Ira Dr. Pradip Patel Indian Architect & Builder - August 2019

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The shops’ façade gives zilch inkling of the activities that transpire within. The screen is constructed with mild steel (MS) sections that clamp within it white-painted cement sheets.

A box of mystique Seams Pret and Couture, Mumbai, Maharashtra

Designed to accommodate an exclusive retail store for an invite-only clientele, MuseLAB reinterprets the apparel retail store; Seams Pret and Couture; the brand and its metaphors and translates it into a box of intrigue and nouveau.

Text: Shriti Das Images: Sameer Tawde Drawings: MuseLAB Indian Architect & Builder - August 2019

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etail experiences, especially luxury, often come under the purview of opulence. Budgets consenting, the sky is the limit. And at times, even the skies seem too limited an avenue or benchmark for the plethora of opportunities and ideas that are possible. And if the retail pertains to fashion, design suddenly takes upon added nuances and layers. The first layer is the understanding of the product and label; the brand and clientele followed by its aspirations, symbolisms, metaphors, and so on. And then there’s the product or the merchandise itself. In this case, a bespoke interior space for apparel. Seams Pret and Couture is an exclusive, invitation-only fashion gallery that designs and manufactures Indian, western and indo-western attire for women.

Given the aspect of exclusivity, it is imperative that the interiors induce an affable ambience for the idea of an invite-only retail space

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must ideally communicate individuality and not standoffish conceit.

While most retail outlets prefer being located on main roads and busy junctions owing to the visibility that the streets endow. But Seams is tucked away from public view in an industrial estate in Andheri in suburban Mumbai. The existing structure was not only derelict but also housed a washroom and a loft at the entrance. It made complete sense to demolish the block to its skeleton of walls and structural elements. The resultant space resembled a shoebox in volume with a double-heighted ceiling-space. The store necessitated a display area, a trial room, a design studio and a storeroom. The display would also host gatherings if the need be. Seams being adjacent to the owners’ existing furnishing studio, the neighbouring units were fused with a singular façade.

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Seams Pret and Couture is an exclusive, invitation-only fashion gallery that designs and manufactures Indian, western and indo-western attire for women.

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The arcade-vault shell forms the backdrop that wraps the space in a dusky pink envelope.

The shops’ façade does justify its nomenclature of being a veil or a mask that shrouds a secret. It gives away zilch inkling of the activities that transpire within. The screen is constructed with mild steel (MS) sections that clamp within it white-painted cement sheets.

The MS sections are deployed in a scalloped fashion, much like fish fins. Some pockets hold planters; adding life to what would have otherwise been a beautiful but sterile front. The scalloped imagery repeats in the interiors in the form of arches that divide the apparel display area. The arcade is unlike its traditional predecessor as the arches are perpendicular to the instead of being parallel to the wall alongside which it is constructed. As a result the nouveau arcade acts as a division, or a partition wherein garments are displayed in its niches. The arches are asymmetrical and continue onto form ribs of the ribbed-vault ceiling. The space within is appears as a series of intricately designed ornate objects suspended in time and space. The first is the arcade-vault shell that forms the backdrop that wraps the space in a dusky pink envelope. Interjecting the soft and warm pink is a stepped arrangement of a table that continues across the store across three levels and functions; the first being a bench at a lower level and rises to double as a discussion table in the display area and finally it continues onto the upper level where it cuts through a glass partition to culminate as the designer’s table.

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Interjecting the soft and warm pink is a stepped arrangement of a table that continues across the store across three levels and functions.

Brass fittings finished in dull gold further the jewel-like character of the store. Brass –finshed apparel-hangers are mounted akin to installations. They are rods that delicately bend and turn to accommodate their function of holding garments. Some are fixed onto the ceiling, some suspended from the ceiling and some are attached to the walls. While their profiles vary and they double as art, the uniform Indian Architect & Builder - August 2019

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The brass framework also holds together a rich emerald green velvet-finished trial room (seen at the nether end) creating an element of visual interest.

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Customised light fixtures, yet again in brass, illuminate the space with a warm and soft golden glow.

The space within is appears as a series of intricately designed ornate objects suspended in time and space.

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The arcade is unlike its traditional predecessor as the arches are perpendicular to the instead of being parallel to the wall alongside which it is constructed.

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Colours, textures and finishes

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bronze finish holds the aesthetic in space. The brass framework also holds together a rich emerald green velvet-finished trial room creating an element of visual interest. Customised light fixtures, yet again in brass, illuminate the space with a warm and soft golden glow.

While the vibe for any retail store is desired to be warm and inviting, Seams also had the added responsibility of creating a vibe of mystery to adhere to the invite-only quality that it caters to. To this, the architects added a layer or stitches together minimal but intriguing elements that are plush but do not distract or disturb.

Perhaps an ode to the garments it retails; or a design statement; or a subtle tease of textures; the premise of Seams stitches them together cohesively.

FACT FILE:

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Project Name : Location : Area : Completion Date : Design :

Photography : Client :

Back to the Arcade for Seams Pret and Couture Mumbai, India 900 sq ft / 90 sq m August 2018 MuseLAB (Huzefa Rangwala, Jasem Pirani and Namrata Tidke) Sameer Tawde Sarah Design Studio

Details.

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Sliding folding doors planned within the space facilitates multiple configurations and sub divisions of spaces.

The house as museum of memories The Memory Box, Baroda, Gujarat The Memory Box project by The Red Studio adapts to multiple spatial requirements, while also positioning the home as a space to showcase memories, artworks, and objects that hold deep, significant meaning. The architects have created an immersive environment for the client, where one is constantly surrounded by things that are beautiful, inspiring, loved, and evoke pleasant memories and positive emotions – all these aspects coming together seamlessly to make the space home.

Text: Sharmila Chakravorty Images: Harshil Gandhi, Krutarth Solanki Drawings: The Red Studio

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s clichéd as it sounds, home is where the heart is. Home is where you spend most of your time; if you don’t already for whatever reason, it is perhaps where you want to spend most of your time. In many ways, especially in our Indian context, a home is symbolic of stability, prosperity and the accomplishment of having carved a niche in the world that is completely, uniquely your own. With design becoming more and more accessible, homes are now transcending the ‘typical home unit’ format, and experimenting with expression and personalities so as to truly reflect the people who inhabit the spaces.

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And while this sounds as simple as connecting with an architect or interior designer, telling them what you envision your home to look like, and get what you want translated into a design that is you. And yet, this is an extremely complicated process. It begins with what exactly do you, as a client, want. What part of your personality should be reflected? What part of your life’s journey should your home highlight? Should the design reflect your memories, or your aspirations for the future? Should it be a container for your past, or an incubator of your future?

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Collection of Artworks displayed alongside the walls adjoining staircase leading to studio above.

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View of one of the micro-space scattered throughout the studio to serve as a pause, an outdoor niche with seating in one of the balconies.

There is also the question of what role should architecture and design play in the context of the home. Should it be the highlight, the point of focus around which everything, even the inhabitants’ predilections, should be positioned? Or should it subtly recede to the background, letting the inhabitants, their experiences and expressions take the spotlight? And how exactly does the design go about reflecting personalities, adding character, and the quintessential feeling of ‘home’?

In designing the Memory Box project, Prof Percy Pithawala’s The Red Studio perhaps deliberated over these questions and many more.

The project revolves around the transformation of two individual three-bedroom flats that shared a common wall. The two flats were combined to accommodate the required spatial programs such as a residential studio, an office, a display gallery along with a multiusage space.

Assemblage of vintage sewing table, chair from the owner’s childhood, and a painting by Egon Schiele.

Indian Architect & Builder - August 2019

The design takes a lot of its cues from the client, who is an avid collector of art and objets d’art. His vision for the design was to create a living space amidst the art, so as to constantly draw inspiration from these pieces. And this is perhaps where the idea of a memory box, or a space that allows the client to have the most immersive experience of living amongst his artistic objects curated over decades – as a museum for collected memories – resonates. In response, the house itself becomes an exhibition space, showcasing proudly the client’s collections, his treasured memories. Every object that finds space in this home brings with it meaning and memories, carefully selected and lovingly placed.

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View through services corridor connecting both apartments flanked with artworks and installations.

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Integration of flexible display surfaces for artworks with work spaces throughout The Red Studio.

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Assemblage of a vintage portable easel used to display artwork by the owner, paintings and museum posters, and a collection of vintage vases.

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View of a flexible work space that doubles as a gallery space as well as a discussion area.

Even the furniture pieces used in the home follow this. The architects mention, “Individual pieces of furniture have been carefully selected by the client from his ancestral family home. Each individual piece of furniture has a strong childhood memory associated with the client, and has its own story to tell. In that sense, overall space serves the function of a repository of sorts where collective memories become intertwined with present day living.”

The design is acutely aware of this museum-like vibe, and separates the overall home into private, semi-private and multi-purpose spaces. These spaces can adapt to the needs of the inhabitants, and seamlessly transform – going from private to semi-private, or vice versa. The design deliberately blurs the boundaries between spaces that are meant for living, working, or displaying art. To allow for this overlap of spatial function, the design employs sliding and folding partitions, thereby making efficient space divisions and a number of spatial configurations possible. Thus the partitions can, as per the requirement, open up spaces or confine them.

Akin to a museum, the interior space is largely kept free, by aligning cabinets and display cases along peripheral walls. The furniture too is aligned so as to help in subtly organizing and articulating the interior space. “Furniture elements can be classified into standalone objects, assemblage of objects and space defining objects. The overall ambience of the place can be selectively altered by reshuffling the order of these individual elements and their visual connections to

each other within the space,” explain the architects, speaking about the adaptability of the home.

Overall, the design shows The Red Studio’s prowess in taking a step back, being carefully restrained, and letting the client and his artistic personality be highlighted. In this home, it is not the architecture or the arrangement of spaces that will arrest a visitor’s attention; it is the importance the architects give to the client’s aspirations, and his idea of what his home should be that is most impressive. The countless objects of art are a reflection of the client and his memories, his journey in life so far, and the design is graceful enough to accept that without trying to assert its own dominance. And even though the home is a museum in its own right, the architects are very subtly infused it with a quintessential feeling of warmth that defines a home.

FACT FILE: Project Title : Typolog : Area : Year : Design Team : Principal Architect : Team : Diagrams and installations : Photo credits : Consultants : Furniture Consultant : Structure and Interior :

Memory Box Studio-cum-Residence-cum-Gallery 2600 sq. ft.

December 2018 Prof. Percy Adil Pithawala Amit Mistry, Aabir Singh Baoni Aditya Mukherjee Harshil Gandhi, Krutarth Solanki Mohan Tulsiram Mistry Dharam Patel

Indian Architect & Builder - August 2019

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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

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FEBRUARY 2018

MARCH 2018

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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

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SONAM WANGCHUK

MUMBAI

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MAY 2018

RAHUL SRIVASTAVA MATIAS ECHANOVE AMIT PROTHI

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

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APRIL 2018

SHAUN KILLA

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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!

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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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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.

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8400+

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

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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.”