IMDAD B.
( ISHA AMBANI’S WE SWADESH BAZAAR Architect & Interior Stylist For the pre-wedding festivities of Isha Ambani and Anand Piramal, a specially curated exhibit called the ‘Swadesh Bazaar’ was set up- that showcased 108 traditional Indian Crafts and art forms from all different regions of the country, creating an interesting and immersive experience into India’s cultural heritage.
EDDING, UDAIPUR )
2
(facing page) ENTRANCE: The designed arches create two parallely running archways with floral chandeliers that dance to the wind and create a dreamy, light-filtered ceiling. FOUNTAIN-CHOWK: The entrance leads to this Fountian roundabout area which was transformed into a semi-covered chowk with performers singing while craftsmen were displaying their own particular craft ( Lac bangle making, bell making, Chikankari embroidery, Sholapith flower making, etc ).
4
THE BAZAAR The Bazaar area was set up in the lawns by the lake, which comprises of 10 Pavilions, each with its own theme; Masters treasure(displayed one object from each craft-108 in total), Dining Room, Playroom, Gifting, Unstitched, Inner Sanctum, Wellness, Carried away, Krishna and Bejewelled. The structures had to provide simple spaces for display of the objects; be contemporary in style yet have Indian details- which has been achieved through the detailing on the latticed upper bands, skirting, column and railing details.
6
DINING PAVILION Interior Styling
Each Pavilion was assigned to a curator to curate and style, based on its theme. The Dining Pavilion was curated by Peter D’ascoli (Delhi based textile Designer). I was responsible for assisting him in styling the objects and artefacts in this pavilion.
The left side was Blue-White themed and had all the ceramics, glazed pottery & glass-ware while the right side of the pavilion was earthy and rustic. The dining table in Silver was placed in the centre to balance it all.
8
PRODUCT DESIGN at VIYA
I interned with Vikram Goyal, a luxury Product and Interior Design studio based in Delhi , for a period of 4 months. It included conceptualisation, research, designing and visiting the warehouse- where the designs are brought to life.
(facing page) RIPPLE SCREEN : Starting from the pattern of dry cracked mud, a more fluid and continuous
pattern was derived. It is then converted into a lace like surface in Brass, with curved vertical lines cutting through and segmenting the entire surafce.
(below) CELESTIAL TABLES : The celestial tables (as seen in the images below) are designs that were inspired by the cosmos. The outer profiles were derived from the simple shape of clouds while the inner inlay patterns and geometry were explorations of the juxtaposition of the fluid and the rigid. They have been manufactured-in Brass with white Mother of Pearl and Malachite inlay.
16
ARC CONSOLE
(above) The Arc Console embodies the spirit of an arc; as something that cuts through a volume, or a surface-defining not just the volumetric disposition but also creating drama due to the use of arcs of varying scales and proportions. ( facing page) BABYLON MIRROR : This product was a result of experimentation in welding techniques, the thunderbolt-motif was first designed and then various welding techniques were tried . The shape of the mirror itself is an extension of the shape of the motif, organic malachite accents are added to add color.
18
IN-CONVERSATION
The brief was to design a bench which has parts, that seem to be in conversation with each other; designed for a more public space, the basic idea was to inspire people to engage in casual interactions. The design that came about is a set of three benches that fit together and make an L shaped, bigger bench. The parts can be used separately or it can be used with the parts together; heavily influenced by Brutalist Architecture, the dynamic volume looks different from every angle.
The images below show the three parts separately.
14
(Thesis Project)
16
The built mass is placed along the lake , while leaving the immediate lake edge for the public promenade. The various spaces are designed keeping in mind the views of the lake, the fort and the Aravalli hills. Different experiences are provided to the people in the craft complex, by means of the differently designed open spaces. Each open space offers a completely unique experience. The open spaces are mostly passive settings for the shopping experience alongwith the contemplation of the lake. The shops have been arranged to act as the backdrop and generate open spaces, facing the lake. The hotel and all alied services like f&b and recreation are placed on the upper floors to provide privacy.
Key components:
•Craft Bazaar •Artisan Workshops •Hotel - Rooms, Spa,Outdoor pool. •Lakeside Promenade •Festival Ground •Gardens, Terraces and Pavilions •Performance areas
28
The resort is designed as a journey leading to a many revelations. Simpler building blocks with all-white exteriors create the perfect backdrop to showcase not just the colorful and vibrant arts and crafts of Rajasthan but also the colorfully dressed people- all culminating in a surreal visual treat.
The hotel interiors, in stark contrast, are decadent and opulent. Furnished in the most vibrant and luscious fabrics and drapes, myraid colors and tinted lights from stained-glass lend the space, an ambience of a pleasure palace.
30
34
(4th year)
24
Built on the model of paradise (Firdaus), the resort embodies the spirit of a garden and is dedicated to the gifts of pleasure. Pleasure manifests in various ways, but here, it is the indulgence of all the senses in the bounties of nature; an experience of harmony between man and nature.
26
The resort comprises four building blocks which grow outward around the central garden. Inspired by the basic principles of CharBagh, the inward looking design is a composition of walled enclosures, water features, lush gardens bearing fruits and flowers, canopies, pavilions, walkways and terraces. Each building block has its own private gardens in the form of indoor gardens, gardens looking outward from the site and a network of terrace gardens around the Hyacinth tower, which continually cascades water to the centre of the resort.
Key components:
•Banquet Hall •F&B- All Day Dining, Specialty Restaurant, Bar •Hotel - Rooms, , Spa, Indoor pool, Outdoor pool. •Retail •Central Garden
The Guest Room block, featuring a more complex expression of the physical form, stands out as an ornament in a landscape.
White decorative work (inspired by Yemen’s vernacular buildings) on plain Salmon pink walls echoes the legendary relationship between sandstone and marble. The countless niches on the walls with lights, inspired by earthen lamps, when lit up against the salmon pink surfaces create an ambience that inspires awe.
30
VISUAL NARRATIVES
32
Festival Of Architecture and Interior Design, 2015
Domes, Ribbed vaults, Shell structures, spiral staircases, etc were interpreted into garments. Unconventional materials and finishes like ethoflex, mirror sheets, transparent plastic, mirror pieces, etc were used instead of fabric.
Indian Institute of Interior Design,2015
The essence of interiors is interpreted as a succession of layers of surfaces and adornment, assimilated in a rhythm of balance. Pieces draw inspiration form the rich prints of carpets and upholstery to the elaborate and shimmering chandeliers, from the patterns and colors of glazed tiles and mosaic to the transience of Jaalis and sheer curtains.
Creative Direction & Photography
8
DINING PAVILION Interior Styling
38