Architect and Interiors India, September 2018 by Itp India

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Inspiration and insight for architects and interior designers

Carter Road Social Love on the rocks

Pot Pourri Designed by Minnie Bhatt

Total number of pages 84

Vol 10 | Issue 6 | September 2018 | `50

Bombay House

Tataâ&#x20AC;&#x2122;s legacy restored by SNK

Bath fixtures

Stylish yet sustainable

Kitchen design

Form meets function

SENSE AND

SENSIBILITY

The pioneering spirit of Brinda Somaya, founder of Somaya and Kalappa Consultants (SNK), is evident in the sensitive restoration of Bombay House as well as in her monograph â&#x20AC;&#x201C; the first one on an Indian woman architect Published by ITP Media (India)

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EDITOR’S LETTER

STYLE MEETS SUBSTANCE

WE TAKE OUR READERS ON A JOURNEY OF A LIFETIME, INTO THE FOURDECADE-LONG CAREER OF THIS PIONEER WHO COFOUNDED SNK

Our cover personality this month is the epitome of both substance and style. You can see it in the soft-spoken architect’s strong character as reflected in her warm facial expressions, her elegant attire, her genteel manner of speaking and her refined behaviour. Brinda Somaya has long been admired by her peers, her students, her clients, the media and other people who are aware of her staunch beliefs in the values of culture, tradition and sustainable development. So, our celebration of this conscience keeper of our built environment is long overdue. To make up for that, we take our readers on a journey of a lifetime, into the fourdecade-long career of this pioneer who co-founded Somaya and Kalappa Consultants with her sister Ranjini Kalappa in the 20th century and is taking it into the future with her daughter Nandini Sampat in the 21st century. Our interview with her is illuminating, as it recounts her story in her own words. But for a clear understanding of this architect’s design philosophy and oeuvre, you have to read her monograph – the first on an Indian woman architect. Our analysis of Brinda Somaya: Works and Continuities is based on the lucid narrative, colourful anecdotes and images that illustrate her portfolio of projects, among them Bombay House – which reopened to well-deserved social media hype. Our case study on this project throws more light on Somaya’s sense and sensibility. The rest of the issue is dedicated to products and technology that strive to combine style (as in form) with substance (as in function). Faucets and bath fixtures are constantly seeing innovation in terms of their inner working and outer shape that defines their aesthetics while ensuring their effectiveness. Our product spotlight takes stock of the latest products and trends in this category. For instance, the aesthetic ‘bling’ of contemporary streamlined shapes is now being combined with a wide range of finishes and interesting shades and colours. Kitchen design has also seen a sea change, thanks to technology and the consequent transformation in lifestyle. Like bathrooms, kitchens have been brought to the front of the house. With the growing interest in cooking shows, families and friends are beginning to gather around the kitchen table to cook and eat together – making it a social space that is fitted with the latest gadgets and appliances. Indeed, design and architecture need to be a confluence of style and substance. We are happy to point out that each of the restobars showcased in our New Design section display that desired combination. Check out Pot Pourri by Minnie Bhatt Design and Carter Road Social by Impresario Handmade Restaurants. And while you are there, raise a toast to Brinda Somaya and her four-decade-old SNK.

Maria Louis, Editor maria.louis@itp.com

ARCHITECT and INTERIORS INDIA | SEPTEMBER 2018 | www.architectandinteriorsindia.com

SEPTEMBER 2018 VOLUME 10 ISSUE 06

CONTENTS

24 24

PORTFOLIO

Tracing Brinda Somaya’s illustrious 40-yearlong journey by delving into some of her significant projects. 40

CASE STUDY

Bombay House, the iconic 94-year-old HQ of Tata Sons, sensitively restored by SNK.

PRODUCT SPOTLIGHT

Diverse in styles and materials, bath fixtures have a common denominator – eco-friendliness. 58

NEW DESIGN

Two newly-unveiled eateries make Mumbai’s restaurant scene more exciting. 64

FEATURE

Though technology-centric, modern kitchens also contextualise designs for user comfort.

EVENT

At Jaquar iGen Design Dialogue, young design turks rub shoulders with industry stalwarts.

PROFILE

Andrea Sensoli and Cecilia Morosi believe in meaningful – not faddish – interiors.

Cover: Brinda Somaya, founder, SNK (pg24); Photograph: courtesy SNK

ARCHITECT and INTERIORS INDIA | SEPTEMBER 2018 | www.architectandinteriorsindia.com

BIG PICTURE

Vignesh Premkumar’s beguiling planometric painting of CCBA’s India House in Pune.

60-SECOND INTERVIEW

PARUL KUMTHA, PRINCIPAL ARCHITECT, NATURE NURTURE ARCHITECT AND PLANNERS

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ADVERTISING

There is very little being said, let alone done, when it comes to accessiblefriendly spaces in the country. Practices like Nature Nurture Architect and Planners from Mumbai are the exceptions, and their latest handbook NASIK (Negotiating Accessible Spaces for Inclusion in a Keystone) Project will hope hopefully bring about a much-needed change. We speak to principal architect Parul Kumtha about the significance of this book and what the architecture and de design community can gain from it.

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STUDIO Head of design Milind Patil

What inspired you take up this publishing exercise? Parul Kumtha: Having been a part of a very small but thankfully growing number of designers that work on accessible and barrier-free design, I have had the opportunity to see the processes of inclusion, universal design and designing for disability, up close. In the process, I have met many persons with disability from whom I have learnt the true meaning of universal design and because of whom I have had insights that may not be available to most designers, architects and planners. It has been my privilege to have been able to do so. Since the advent of the Sugamya Bharat Abhiyan (Accessible India Campaign) of the Government of India, in which I found myself and my team empanelled as access auditors, my insights had an added dimension of the processes of government. It was with the aim of making these insights and processes available to any person who wishes to achieve inclusive spaces, that the publishing exercise was undertaken. How will the book help architects in designing inclusive spaces? Kumtha: Universal Design is not rocket science. What is required is a mindset and the determination to design inclusive spaces. The book hand-holds the reader to explore processes that explore the journeys towards inclusion, all the time underlining the simplicity with which these can be achieved – both in new designs as also as retrofitted interventions. You could say that the book is a handbook on the attitude and approach towards Universal Design in India. As architects committed to designing accessible spaces, what is your advice to fellow professionals? Kumtha: Here, I would like to quote from the book’s foreword: “Dignity is to Design, what Justice is to Law and Health is to Medicine.” Design should aim at making people valued, respected, honoured and seen, so that it enables them to lead their best lives. Note: You can buy your copy of NASIK Project from the office of NN Architects & Planners at E3, Saraswat CHSL, Laburnum Road, Gamdevi (Mumbai) from Monday to Friday, between 10am to 6pm. A tactile QR Code on the back cover allows access to an audio book, thereby making it available to larger audiences.

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NEWS BITES

INDUSTRY DATA GMW MIMARLIK, Istanbul-based architectural practice, won the bronze medal in the Arches, Bridges, Viaducts, Passages category for its project Philippines Clark International Airport Terminal at the 11th annual International Design Awards. For GMW, this win means being one step closer in ensuring that the upcoming international airport becomes a gateway to the Philippines in more ways than one. Functionally, it is expected to ease traffic congestion, and the modular design would allow a large proportion of the building to be prefabricated – resulting in a faster and more economical construction.

GREENLAM Industries’ Dual Tones and Blackalicious cater to two distinct interior design trends: nostalgia and uber modern (specifically, the black interior trend that’s taking the industry by storm). Sweet Almond, Woodgrain and Golden Antique combine light and dark shades to create patterns that resemble natural wood. In the second range, one can opt for Black X which is ideal for bathrooms, Black Marmor that mimics stone, and Black and Edgy Ash which has a matt, industrial finish. These high-pressure laminates have antifingerprint and easy-to-maintain properties. GETZNER, the Austrian vibration isolation expert, will showcase the importance of elastic shielding of buildings and building acoustics at CAPEX, to be held from September 19-21 in Mumbai. “The fast urbanisation in India makes it ever more important to protect buildings from vibrations. Residential houses or office buildings in the midst of rumbling traffic or along underground lines can be protected against disruptive shocks and vibrations,” explained Sanjay Risbood, CEO and resident director of Getzner India. At the exhibition (Hall 2, Booth J500), visitors can learn how elastic polyurethane materials Sylomer and Sylodyn can benefit urban buildings. THE KIRAN NADAR MUSEUM OF ART’s new exhibition, Half-Light (on till October 30), intends to address our collective drive towards mechanisation, technology and scientific knowledge through video, virtual reality and kinetic artworks. Roobina Karode has curated the key works, which include Nalini Malani’s experimental films produced in 1969-73, Amar Kanwar’s Such a Morning, and Naeem Mohaiemen’s Two Meetings and a Funeral. Among international artists, the show includes works by South African artist William Kentridge, London-based Shezad Dawood and Alia Syed, Los Angelesbased Neha Choksi and New York-based Mohaiemen. SYSKA LED is ensuring their product line stays relevant and, hence, has introduced a Wi-Fi enabled Smart table lamp that is compatible with Amazon Alexa. Executive director of Syska Group, Gurumukh Uttamchandani said, “As an endeavour towards providing the best customer experience through innovative product solutions, we have been introducing WiFi enabled products for our tech-savvy consumers... such products will definitely bring more value and comfort to millions of customers.” Not only is the lamp, with its three different colour temperatures, tech-smart, it is also eco-friendly, recyclable and does not contain toxins such as lead or mercury.

ARCHITECT and INTERIORS INDIA | SEPTEMBER 2018 | www.architectandinteriorsindia.com

ORANGE PLUS’ new generation of customisable Suspended Linear Lights are a confluence of luxury and functionality. Easy to install with excellent uniform lighting and high level of corrosion resistance, these lights are ideal for large-scale ceiling suspensions. With 36W to 72W energy consumption, the lights save electricity, while the 120 degree beam angle enables even distribution of light. Mahesh Bellad from Orange Plus expressed, “Our newest LED solutions break the monotony of the ceiling element, bringing the focal point to lights.” CENTUARY MATTRESSES appointed data analytics company Nielsen to study sleep patterns across 10 cities in the country, and found that 53% people are awake in the night due to gadgets, work or finance-related issues. Uttam Malani, executive director, Centuary Mattresses, said, “Through this survey we (want to bring to) everyone’s notice…how the new-age lifestyle is depriving us from a [good] quality sleep. Centuary intends to leverage this information by providing innovative and accessible sleep solutions.” Around 42%, 40% and 17% people said that they feel their quality of the sleep can be improved by regular sleeping hours, better quality mattress and avoiding gadgets before they sleep, respectively. KAJARIA CERAMICS’ new range of 60x120cm tiles under Grestough Series, launched by actress Neha Dhupia along with the company’s joint managing director Chetan Kajaria, is expected to be a significant step towards providing customers one of the most desired tile sizes in the market. The new size comes with impressive features: HD clarity, greater strength and Spanish designs. It also offers eight finishes, including high gloss, matt, carving and more. Not only does this range reflect the grandeur of marble, but it also boasts of great performance, strength and long-lasting durability.

NEWS & PEOPLE

Avid Learning explores Mumbai’s historic precincts

Architecture history buffs in Mumbai were in for a treat when Avid Learning (a public programming platform and cultural arm of the Essar Group) presented ‘Gargoyles to Gateway: The Architectural Legacy of the British Raj in Bombay’, a day-long workshop that decoded building styles in colonial Bombay with a specific focus on the design and elements of Victorian Gothic Revival and Indo-Saracenic architecture.

Organised in honour of the great city having recently received recognition from UNESCO for the precinct that houses the ‘Victorian Gothic and Art Deco Ensembles of Mumbai’, the workshop included a presentation by architect and urban conservationist Kamalika Bose on the intricate architectural design, flair and whimsy of Victorian Gothic structures and a talk by architect and professor from Sir JJ College of Architecture Mustansir Dalvi on the emergence of Indo-Saracenic design at the turn of the 20th century. Many city lovers, architecture students and enthusiasts joined the workshop to learn more about Bombay’s colonial architectural roots, and were given an introductory overview of the context that led to the birth of both these architectural styles after the Fort was dismantled in 1862, thus seeding a new architectural imagination and urban possibility.

‘Home’ decoded at London Design Biennale 2018 Get ready to be inspired by one-of-a-kind, researched design gems at the London Design Biennale 2018, open from September 4-23. Responding to this year’s theme ‘Emotional States’, the Istanbul-based practice, Tabanlıoğlu Architects will be representing Turkey with housEmotion, an installation that explores the ambiguous question of where we belong

PHOTOGRAPH: SAVERIO LOMBARDI VALLAURI

A better building (can) be made by simpler design, where the natural surroundings (is) integrated with the new indoor spaces.” TALLULAH D’SILVA, PRINCIPAL, ARCHITECTURE T

and the emotional meaning of the home. It is designed in a cubic form in a series of white rods, with gaps between the rods lending a semi-transparency texture to the structure. Tabanlıoğlu references psychoanalyst DW Winnicott and his ground-breaking work on childhood development, Home is Where We Start From, as an inspiration for housEmotion. “There is a variety of perceptions of what home really is today. The question ‘Where are you from?’ prompts myriad answers. The meaning of home for a person may simply be a smartphone with a full memory, or it may be something more fundamental to our sense of self,” explained the design team at Tabanlıoğlu Architects’.

Every line we draw, there is a resource consumed at site, mostly irreversible, so open (the design) for critics with all humility.”

VIVEK RATHORE, PRINCIPAL, SALIENT DESIGN STUDIO

ARCHITECT and INTERIORS INDIA | SEPTEMBER 2018 | www.architectandinteriorsindia.com

Colombo gets a taste of Häfele

At the Häfele Design Studio, Colombo, chocolatier Zeba Kohli embodied the brand’s new concept ‘#IndulgePerM²’ through installations in chocolate. Each piece was breathtakingly juxtaposed against Häfele fittings and settings, to present an amalgamation of innovation, design and functionality, with a wonderful hint of Sri Lankan spices and tea. “Häfele provides most space-optimising solutions with a continuing promise of ‘more life per metre square’. What better way to explain this whole concept than (with) Zeba’s chocolate installations,” shared Jürgen Wolf, MD, Häfele India.

Sideyard House wins Kerala’s notable award Designing a contextual house in Kerala has won Studio Acis the MRF Vapocure Paints Veedu Architecture Award 2018 in the residential interior (commendation) category. Sideyard House is a tropical solution for an urban generic site. “It is a response to the constraints set by the context – the locality, the linearity of the plot, its orientation and its relatively bland character. It is a manifestation of tropical design philosophies culminating in a refined space that has an identity of its own,” explains principal architect Rakesh Kakkoth. It was a worthy recognition for Studio Acis, since MRF Vapocure Paints Veedu architecture awards endeavours to bring forth the best architecture and design concepts and practices in Kerala.

Design does not need to be a spectacle and architectural space is meaningless without context and material form.”

VIJAY NARNAPATTI, PRINCIPAL, MAYAPRAXIS

NEWS & PEOPLE

Follow Raza’s footsteps at Piramal Museum

For fans of SH Raza, the ongoing exhibition titled SH Raza: Traversing Terrains at the Piramal Museum of Art, Mumbai (on view till December 16), will prove to be an engaging and immersive experience. The exhibition is accompanied by a diverse programme of events including talks, film screenings, workshops

and walkthroughs designed to increase the accessibility of Raza’s work for a wide range of audiences. It presents the story of Raza’s life from the early 1940s to the late 1990s through his paintings accompanied by rare archival photographs, diary extracts, and written correspondence between the artist and his contemporaries. The exhibition is curated by Vaishnavi Ramanathan, curator and art historian, Piramal Museum of Art, and Ashvin E Rajagopalan, director, Piramal Museum of Art, with exhibition design by Gallagher & Associates. In keeping with the Piramal Museum of Art’s mission to make the exhibition accessible and engaging, an extensive outreach programme has been put together that draws upon key themes in Raza’s work and the narrative focus of the exhibition.

Decowood’s Knowledge Tour in German forests It’s not often that designers can get to the roots of the materials they have been using extensively in projects. More than 200 noted interior designers from various parts of India, however, had the joy of walking through Spessart Forest, Germany to understand how Decowood, the flagship veneer brand from Greenlam Industries Ltd, produces its impressive range of veneers. As part of the Knowledge Trip Season 2, design practitioners visited the forest and the veneer manufacturing facility at Lohr, Germany, near Frankfurt, where they were shown oak, beech and Douglas fir, and briefed about how the wood is sourced ethically from responsibly managed forests. Besides being educated on wood grains, patterns and burls, the group also visited an associate factory to understand the various treatments and processing that wood undergoes. Shivaji Mohinta, country

Technology is only an add-on to enhance a good design and not the other way round.” TANMAY TATHAGHAT, DIRECTOR, EDS

Nolte steps in at Worli

With its 15th showroom in India, Nolte is eyeing the Indian market aggressively and plans to open seven more by the end of the year. The 4,000sq-ft showroom in Mumbai is situated in the upscale seaside promenade of the city and features the international kitchens that were part of the Salone del Mobile Milano 2018. “We have also tied up with brands such as Bosch, Häfele, Siemens and a few others, for appliances such as dishwasher, oven, and fridge to be part of the kitchen,” mentioned director Alok Duggal, who also introduced Nolte’s The Social Kitchen, an initiative created in association with chef Manu Chandra and architects from across the country.

That ’70s tile

head, Greenlam Industries Ltd, said, “Our philosophy in Decowood Knowledge Trips are about 3 Ws: Wood – where we talk about the sources of our veneers and the high standards of processes we follow; Work – where we collaborate intensely with the specifier community, so that we deliver not only the right products...but a complete package of products cum solutions; and Wellness – where we ensure that all the participants unwind to recharge themselves.”

The clarity of an idea is what holds a project together – not materials, money or twists and turns of form.”

ARCHITECT and INTERIORS INDIA | SEPTEMBER 2018 | www.architectandinteriorsindia.com

SHIMUL JAVERI KADRI, PRINCIPAL, SJK ARCHITECTS

Translating the charm of traditional decorated tiles into a contemporary language, London is a full-body porcelain stoneware collection like no other. A creation by Faetano-Del Conca, it is being exclusively offered to Indian buyers by C Tribhovandas & Co. London reveals a strong appeal to the past and the patterns of the ‘60s and ‘70s, and is perfect for both floor and walls. The patterns seamlessly combine floral and geometric themes in a colour palette that is simultaneously gentle and striking. Designs are crisp and clean, and softened only by subtle shading.

“We need to go beyond the obsession to view cities only through the lens of financial valuation and into an assessment of...environmental economy.”

PK DAS, PRINCIPAL, PK DAS ASSOCIATES

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INTERVIEW BRINDA SOMAYA

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INTERVIEW BRINDA SOMAYA

PRACTICE MAKES PERFECT

BRINDA SOMAYA, FOUNDER OF SOMAYA AND KALAPPA CONSULTANTS, HAS BEEN THE CONSCIENCE KEEPER OF OUR BUILT AND UNBUILT ENVIRONMENTS FOR FOUR DECADES NOW INTERVIEWED BY MARIA LOUIS

oft-spoken but with firm beliefs in the preservation of culture and tradition as well as strong opinions on sustainable design and construction, Brinda Somaya is a contemporary Indian architect who has built up a formidable reputation through her practice. Having watched her at the forefront of conservation and restoration of old structures and sparking change in urban planning, we are proud to present this exclusive tête-à-tête with the legendary woman architect of substance. How and when did you start your practice? What were your aspirations at the beginning? In many ways, working and living in India has been unique and truly a privilege because, when I look back on five decades of work and think of the experiences I have had, all the projects that I have been able to work with in different parts of this great country, the diverse and complex and contradictory country that is India, diverse in its geography, in its languages, in its people, in its food, it’s been like working in different countries. Often, when people ask me “have you worked abroad?”, I feel like saying, “you know, working in India is like working in a new country with every project.” After graduating from the Sir JJ College of Architecture, Mumbai, I completed my Master of Arts degree from Smith College, USA in 1973. Once back in India, I worked with a local architectural firm for a few months. It was in 1978 that my sister Ranjini Kalappa and I started our architectural firm Somaya and Kalappa (SNK). However, within two years, she moved out of India and I was on my own to run the studio. Maybe if I had followed the more conventional route, I would have convinced myself that it would be impossible for a sari-clad young woman working in the world of the ’70s to set up her own practice. The confidence to follow my own path came from my parents, who just assumed that gender discrimination did not exist or certainly was not an excuse; my school, who taught me that no dream was impossible; and finally, my husband and children, who valued me and my profession in their lives. We had set up a small studio, very close to the house where I lived in Cuffe Parade, in an old maali’s shed. We didn’t have enough work, but they were good times. It was the Chauhan family who own Parle Products who gave me my first project, which enabled me to set up my practice. I have built many factories for them over the years; in Bengaluru, Lonavala and Mumbai. The first project they gave me was a small-time office and extension to a wheat storage godown. It was followed by

other factories and their homes. They have been my clients for 40 years. Industrial work and patronage from an industrial family like theirs was only possible in a city like Mumbai. What kind of projects did you handle at the start? What were your key learnings from those projects? I got a small house to do in Pune, which had started actually when we were there. By the time I completed it, the studio also got the restoration of the West End Hotel in Bengaluru...and that’s how, I guess, one by one, the practice built up over the years. I didn’t begin my practice thinking about difficulties. I don’t think we should start worrying about the negativities in one’s life – but rather, focus on how to move ahead in a positive manner. That has been my attitude, and it still is. With projects like the Mumbai Esplanade Project and India and the World (an exhibition at CSMVS Mumbai), a collaborative practice is invaluable; and this model becomes more pertinent if the projects in question are in the public realm. We are a practice grounded in reality. Understanding the multiple facets, human connections and stakes in the project lie at the core of our endeavours. I do think that if, as architects, we are able to meaningfully contribute to society, the professional and personal fulfilment outweighs any award. Every project is different depending upon the location, the size and the complexity of the project. Of course, some are more challenging than others. For instance, when I built a hotel in Tashkent in Uzbekistan after winning a competition in the late ‘80s and early ‘90s, it was a very difficult project because it required a lot of physical effort. In those days, you could not go to Tashkent directly. I had to go to Moscow and then fly to Tashkent. The food was always in short supply. It was very strange. The language was Russian. We had to do all our drawing with the Cyrillic script not the Roman script. How did the practice evolve later in terms of types of projects, design philosophy, reach, etc? I think one of the most important things (which is not intentional, but which just happened over a period of time with my practice) is the diversity of projects, and that’s because no job or project was too small or too big for us to do. It didn’t matter if it was a paid project or a pro bono project. I always believed that one will balance the other. My philosophy: the architect’s role is that of guardian – he or she is the conscience of the built and unbuilt environment. Many public projects develop from our continuous interest

1. Brinda Somaya’s love for the country’s rich tradition and culture is not only evident in her work, but also in her personality.

www.architectandinteriorsindia.com | SEPTEMBER 2018 | ARCHITECT and INTERIORS INDIA

INTERVIEW BRINDA SOMAYA

academic blocks, and the wonderful spaces that have been created. The surprise elements that come out, the connectivity, the cohesiveness and the beauty and exhilaration is when one walks through the different areas of this complex. It truly makes one understand the importance and belief in architecture, that does stir the soul and raise the spirit.

2. Having spent time abroad, especially while completing her Master of Arts from Smith College in Northampton (MA, USA), the architect had the opportunity to experience diversity in thought as well as culture.

and research into issues that we think are central to the culture of India. This pragmatic research is an important part of our practice. This aspect of our work has grown considerably with Nandini’s enormous interest and abilities in systematic research and the analytical tools she had created in the studio that aid decision making in design. From affordable housing to global exhibitions that we design, everything begins with a thorough process of documentation, research and analysis. In all my greenfield projects, I have strived to design the essential so as to tread lightly on the ground and create an environment that is complete in itself. For example, the planning and design of the Zensar Technologies Campus in Pune differs from other campuses like Tata Consultancy Services in Indore that we designed. The Zensar Technologies campus is not an institute yet assumes an institutional scale, while Goa Institute of Management (GIM) is organic, incidental and less controlled. The Nalanda International Schools, on the other hand, are designed as enclosures that embrace the space in a protective way for the children. The human engagement with my work is very crucial to me and is one of the central purposes of my architecture. While houses give an architect freedom, they can also be very demanding design projects. Many clients for whom we have designed and built houses are also clients for many other projects. Thus, the dialogue extends beyond their personal preferences, which I think enriches the process of designing something unique and special. It ultimately evolves into one of the most collaborative of all typologies of our practice. One of the privileges of being an architect in India continues to be the opportunities to travel. My country is vast and beautiful with magnificent diversity in geography, culture and tradition. All these have been my source of inspiration for design and remain one of the most fulfilling aspects of the profession. Our hotel and resort projects are often spread across incredible locations in India and overseas, including a business hotel in Tashkent, Uzbekistan, designed and built back in the ‘90s. For Club Mahindra, we have built resorts in Theog in Himachal Pradesh and Binsar in Uttarakhand, both at the foothills of the mighty Himalayas and Kumbhalgarh in Rajasthan. We are currently restoring the wonderful and special buildings of the Indian Institute of Management (IIM), Ahmedabad, designed and built by Louis I. Kahn, the great American architect. While studying his buildings, we learnt about the rule of light and shadow and shade and the served spaces and the servers, the connection between the dormitories and the

ARCHITECT and INTERIORS INDIA | SEPTEMBER 2018 | www.architectandinteriorsindia.com

When it comes to your design philosophy, which aspects have remained constant and which have evolved? Our ancient scriptures have always told us to tread the land lightly, and I think that is a belief which I have had from the very first building I designed over 30 years ago. This was long before ‘green’ became such an important word in an architect’s practice. I believe there is a need for professional concern with the environment and an improved quality of human life for all Indians. We have to go beyond buildings and work with programmes that transform society. An architect’s responsibility and role go much beyond buildings. We have to think about many things when we design and build. We have to protect the built environment as well as the unbuilt environment, whether it is open spaces or the natural landscape. I also believe that India not being a rich country and having a huge number of existing buildings, that we have to recycle, we have to retrofit, we have to restore, we have to rebuild. We cannot always build everything anew because of the embodied energy that exists in existing buildings, even in ordinary ones. So, that’s why I say that we as architects are guardians for the built and the unbuilt environment. While a set of few fundamental ideas and elements form the foundation of our work at SNK, the design process enriches the architecture and ensures that no two responses are alike. For instance, the Nalanda School courtyards are very different in their scale, composition, proportion, materiality and surfaces articulation as compared to the courtyards at the Goa Institute of Management and at the Zensar Campus. In hindsight, I think these patterns are subtle, and readable in my work, but they are not obvious. I do really enjoy working with these elements, and I focus on them as they become a part of the design vocabulary that has evolved over the last few decades of my practice. While I don’t subscribe to ideas of style, this foundation has given my work a sense of identity and uniqueness. If one looks at our projects carefully, one can decipher a strong thread that exists and underlines my belief in these core elements and ideas. Which past project has significantly impacted your practice? Every project becomes a journey and a learning experience in itself. I believe that development and progress must proceed without straining the cultural and historic environment. While preserving the old brings great satisfaction, building the new brings its share of excitement. The relationship between architecture and the environment has historically been (and continues to be) a complex interaction of site, technology, climate and other natural forces, building materials and the human presence. One is the reverential conservation like the Rajabai Tower, which we have restored. Then there are types of progressive conservation or reuse or re-architecture or recycling or retrofitting where you are expanding existing buildings or changing the use of the building, like the TCS House in Fort, Mumbai. So, the challenges are also varied. To celebrate 70 years of Indian independence, Chhatrapati Shivaji Maharaj Vastu Sangrahalaya (CSMVS), Mumbai; The British Museum, London; and the National Museum, New Delhi collaborated for the exhibition India and the World: A History in Nine Stories. Somaya and Kalappa Consultants were the

INTERVIEW BRINDA SOMAYA

exhibition designers of this landmark show, which opened in November, 2017. With five galleries, nine sections and 196 objects, the process for SNK...began in January 2017. The design was based on metonymy museum design, which primarily focuses on the visitor’s experience of aesthetic enjoyment with a robust academic underpinning. Being a vast exhibition space, with teams based in several different countries and the site being in a heritage building, there were several challenges that arose. Once a final object list was determined, the layout of each object based on the narrative began. As designers, we had to come up with innovative ways to ensure the narrative was not lost while still ensuring all such conditions were adhered to. This project for the SNK team was a labour of love. It was a privilege to have the opportunity to work with some of the best minds in the museum world and to collaborate together to create {the exhibition}.

3. With daughter Nandini Sampat (director at SNK) by her side, Somaya is now responding to the complex requirements of a new-age India, with its changing demographics and unique aspirations.

How would you describe your own work so far? Architecture, for me, has always been about connecting and creating spaces between earth and man. Architecture is about places, it is a collective memory. India is a large and complex country with people of different cultural and economic backgrounds, and we must always remember that. I enjoy the challenges of greenfield projects as much as conserving old heritage buildings. Since we cannot build everything new, we must create a future for the buildings from the past. When I started my practice, it was the late ‘70s and modernity was becoming more apparent. But my childhood was very different. I was influenced by what India offered culturally and historically at that time. I was being taken by my parents to Nalanda; to the temples of Konark and Khajuraho, to the wonderful temples of the South, to the Taj and to Hampi. We were taken to different parts of our own country, and we didn’t separate architecture from art or music from history. I don’t think I can separate India and ‘Indianness’ from myself. My buildings speak for themselves about my beliefs and ideas of a sustainable practice. I am an Indian, and all that I am comes from my heritage. It is an intrinsic part of my being and will naturally reflect in my work in many ways. I have built from the Himalayas to the south of India, from Bengal to Kutch and through the central plains and heart of our country,

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from Jharkhand to Indore and from Uttaranchal to Kodagu. The building types have included reconstruction of villages to hi-tech campuses, from orphanages and animal hospitals to state-of-the-art corporate headquarters, from the village school to the most elite schools in Mumbai and from conserving iconic heritage buildings to turning garbage dumps into parks. How do you see your practice contributing to a better design environment in the country? I think the scale of projects in India is changing with more ambitious projects, bigger projects. Lifestyles are changing; people have higher and unique aspirations. Educational campuses are coming up, IT campuses, institutional buildings, recreational buildings, shopping malls, hospitals and a huge need of low-cost housing. Therefore, I see huge opportunity for young architects. Sensitivity to the environment, availability of materials, effective land use, urban issues and architectural vocabulary are all important determinants of architecture. I am an urban Indian architect serving less than 1% of our population. I am also aware that the future of our profession is inseparably bound with urban design and town planning. In the larger scheme of things, a single beautiful house or a single fine shopping mall accomplishes very little. I see myself and, hence, my work straddling the old and the new, the large and the small. While conservation work has its rich rewards, the joy of creating a new building cannot be underestimated and both have to have a sense of place. Where do you see yourself and your firm in the next decade? The need is for professional concern with the environment and an improved quality of life for all people. Hence, the need is to train a new kind of professional who can intervene and be effective both in our poorer villages and our wealthier urban areas. We need designers who can plan, design and implement new developments, working interactively with the community at large. If we follow the role of the traditional architects, we cannot meet this need. I believe this can be done without compromising on creativity, innovation or quality of design. While exciting architecture is being built all over the world and thus expanding the vocabulary of contemporary architecture, we architects in India have to find our balance in design – enabling us to be part of the new and creative experiments ahead as well as part of what has gone before. We work on computer aided design with its digital technology. We need to include all new creative ideas in our practice. ‘Creativity’ flourishes when new ways of looking at the same problem are brought together, when people with different backgrounds, training and experiences bring together their perspectives... Based on your experience, what kind of ‘mistakes’ would you urge fellow architects and designers to avoid? I have always been very optimistic. There are great young architects in our country today and I am sure they will take India on to the world map of architecture; I have no doubt about it. I just hope that everybody keeps their feet on the ground. We should also remember that the needs of half of our population are very severe and being an architect cannot be just for the rich and famous. Our responsibility should also be to build in the rural areas and smaller towns and for people who are less privileged. I believe that an inclusive practice that spans our diverse population, be it economic or cultural, provides us with great satisfaction. So, the motivation for inclusion and diversity should come not only from the desire to create a just society, but also because it leads to better and more powerful creative processes and solutions. A&I

PORTFOLIO BRINDA SOMAYA

BRIDGING THE GAP

A MONOGRAPH ON BRINDA SOMAYA AND HER OEUVRE BRIDGES THE WORK OF ARCHITECTS IN FREE INDIA AND THE POST-GLOBALISATION GENERATION BY CAROL FERRAO

hen she was just eight years old, Brinda Somaya and family moved from Calcutta to Mumbai, and started a new life in an apartment building designed by Claude Batley, an English architect who practised in India in the early 1900s. The four-storeyed building with individual apartments on each floor felt like an amalgamation of individual houses and residential buildings prevalent in the area at that time. Batley’s trademark sloped roofs, his composition of space and height, the marble mosaic flooring and dark stained wood...these were elements that intrigued a young Brinda, who could only decipher this fascination once she formally entered the profession. “I definitely feel that growing up in a house like that left on me an impact about space, light, woodwork, connections and angles,” she states. One can only imagine how thrilled Batley would be to witness the ripple effect of his work. Subconsciously, he passed on the baton to Somaya, who, like him, is known for providing the city of Mumbai with architectural gems – and preserving the ones that already exist. The life and work of this famed, and yet so humble, architect is now captured in her new monograph Brinda Somaya: Works and Continuities. Anecdotes about her childhood, her education, early days in the profession, and an extensive first-person account of her notable projects lets you delve deeper into her thought process and her creative oeuvre. The book – the first for an Indian woman architect – with its conversational tone, invites you to explore the world of architecture and design through the lens of an architect whose work has always looked beyond the design brief. Here is a sari-clad woman who has led conservation and restoration projects of historic edifices, designed (including master plans of) contemporary campuses, institutes, resorts, residences, museums and galleries, retail spaces and a host of other projects both in India as well as abroad. She belongs to a generation of women architects who broke down stereotypes by sheer passion and the drive to excel, using their feminine genius to be receptive, nurturing and sensitive towards the different parameters of design and the people involved. Who Somaya is as a person is largely because of her rock solid foundation growing up in a household that valued professional excellence as well exposure to culture and art. Her parents – electrical engineer and zoologist – made travel an intrinsic part of their lifestyle, visiting historic sites, different towns and villages. Besides this immersive upbringing, her formative years were spent excelling in sports and academics at the Cathedral & John Connon School (South Mumbai); decades later she would be responsible for its restoration. When she graduated from Sir JJ College of Architecture in 1971, the second wave of feminism was making its presence felt. Somaya witnessed this cultural shift first-hand while pursuing her Master’s at Smith College, Massachusetts, USA, from where she graduated in 1973 and returned to her homeland. Daughter Nandini Sampat, in her introduction note

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PORTFOLIO BRINDA SOMAYA

ABOUT SNK

1. In the last 40 years, Brinda Somaya has exemplified that a successful practice can also be a humane practice. 2. The recently refurbished 94-year-old Bombay House is an impressive study in the blend of heritage and the contemporary. It is also the first heritage building in India to get a gold rating by the Indian Green Building Council (IGBC). 3. While working on conservation projects like the Cathedral & John Connon School (Somaya’s alma mater), SNK not only restores the building to its original character but also ensures the building can adapt to new requirements.

For four decades, Somaya and Kalappa Consultants (SNK) has been on a relentless pursuit of excellence in design. The award-winning Mumbai-based practice is led by founder and principal architect Brinda Somaya and her lawyer-turnedarchitect daughter Nandini Sampat. It has a staff of 50 architects, designers, engineers and quantity estimators, with an additional 20 staff members to support the firm. Together, they follow a design process that values research, site and cultural context. As much as their work is innovative, it is also appreciative of vernacular principles, always striving to give indigenous local materials, arts and crafts its rightful place in any given project. Sustainability, thus, becomes an ingrained characteristic of their project. This design philosophy has given the country landmark public buildings, institutional campuses, hospitals, hotels, housing, retail, corporate offices, museums and galleries, resorts, information technology parks, as well as private homes. Over the years, SNK has also grown into a collaborative practice working with leading international practices – most notably, Jim Polshek, Tod Williams Billie Tsien Architects, Pei Cobb Freed & Partners, Kohn Pedersen Fox and OMA. Organisations, both Indian and international, have regularly identified their work as among the best. SNK has been nominated twice for The Aga Khan award, and won the ABB LEAF award, Vassilis Sgoutes Prize for poverty alleviation and Best Practice award by the Commonwealth Association of Architects. Nationally, there have been adulations and recognitions such as multiple urban heritage awards, Women Achievers Award by Women Graduates Union, Wienerberger Golden Architect Award for lifetime achievement, Grohe NDTV Design and Architecture award for outstanding industry contribution, the Indian Institute of Architects (IIA)’ Baburao Mhatre Gold Medal for lifetime achievement, felicitation for being an icon among women by the Institute of Indian Interior Designers (IIID), among many others. in the monograph, gives us a rare glimpse into Somaya’s life as a student, young professional, wife and mother. Practising in the mid-70s as a young architect, Somaya found herself at an interesting juncture of architecture practice in the country. She considers herself part of the “bridge generation” – essentially a generation of architects that bridged the architectural space between the master

ARCHITECT and INTERIORS INDIA | SEPTEMBER 2018 | www.architectandinteriorsindia.com

architects who were known for envisioning a new and free India through their work post independence and the current generation that is dealing with globalisation at an intense scale. For Somaya, it meant identifying the relevance of history and contextual architecture while also responding positively to the impact of technology and globalisation with a new architectural language. It has been almost 40 years since Somaya and Kalappa Consultants was established (along with her sister Ranjini Kalappa, who later moved to the USA) in a tiny garden shed behind the architect’s house. She accepted every project that came her way, which enabled her to build a clientele that have repeatedly sought her assistance. One of her first projects was for the family-owned business, Parle Products – for whom she designed factories, godown, offices and even homes. They are still her clients. It is her strong work ethic and exceptional work that has resulted in a clientele like Tata, Godrej, Club Mahindra, Zensar, CSVMS, Goa Institute of Management, IIM and Nalanda International School, among others. Patronage from such well-known industrialists, organisations and individuals has taken her across the length and breadth of the country to lead a diverse typology of projects. With more than 200 successful projects till date, it has been a rewarding exercise – with a good share of struggle and inevitable professional highs and lows – that has transformed her once small practice into a multidisciplinary design house located in Mumbai’s prime commercial address, Ballard Estate (quite an upgrade from the shed office!). What’s even more impressive about the growth of her practice is that, along the way, her work has been a catalyst for change. Somaya shows us that you don’t have to be an “activist” architect to positively impact the profession and how it is practised. It’s one thing to have an aspirational outlook towards your profession – but what makes it remarkable is the ability to communicate it, encourage others to explore it and commit to its realisation. We can all learn from Somaya how to get that job done. Whether it is convincing a client to employ local skilled persons in a project or encouraging contractors to provide crèches and mobile schools for labourers’ kids, these are aspects of her work that broaden our understanding of the profession.

PORTFOLIO BRINDA SOMAYA

BEYOND PRACTICE

4. Nalanda primary school in Gujarat has been designed with classrooms opening up to the internal courtyard, so that students can partake of activities like growing vegetables, etc. 5. For ‘House in the trees’, Somaya’s Alibaug home, the architecture becomes one with the surrounding greenery and opens to the sky at many places. 6. An interesting publicprivate partnership project with long-standing clients Tata Group, Colaba Woods has become an open-air ‘museum’ where both nature and art are accessible to the average Mumbaikar. 7. In the monograph, apart from projects, you will find essays and conversations - such as one with Arun Shourie (friend as well as a client of Somaya’s.)

To be honest, her work may not always have that instant wow factor that we are accustomed to in this day and age – which should be seen as a compliment. To appreciate her work is to understand the very essence of architecture. Creativity for creativity’s sake has never been the benchmark of her work. Innovation in design responds to a larger context, one that is social, relevant, contextual, sustainable and, yes, even contemporary. Within this context emerges an aesthetic that is local and new at the same time, which, most importantly, the users of the space are fond of and cherish. “This monograph was perhaps a means to evaluate their

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In the midst of her thriving practice, Somaya makes time for causes she is passionate about. She is the founder trustee of The Hecar Foundation – acronym for Heritage Education Conservation Architecture Restoration – which reaches out to the public about the importance of architecture (including heritage and urban issues) through talks, publications, exhibitions, scholarships and seminars. As the chairperson and curator of Women in Architecture 2000 plus, a conference and exhibition held by Hecar, she, along with the other four founder trustees, has worked to give South Asian women architects a well-deserved platform to showcase and discuss their work. As member of the Council of Architecture (COA) committee, she is part of the team that reviews the profession and architecture education in India. In the international scene, she recently joined the board of Lafargeholcim Foundation for Sustainable Construction, Zurich, Switzerland, and is also the AD White professor-at-large for Cornell University, New York. contribution within a larger framework of culture and society, a reflective document that can critically discuss the impact of Brinda Somaya’s work and the validity of the intentions of Somaya and Kalappa,” writes Ruturaj Parikh, curator of the book. As you flip through the pages, reading essays from friends and colleagues, immersing yourself in the story behind her most notable projects, you gain a new appreciation for the profession and begin to understand its wider impact on society. Perhaps it could be just the book that could encourage the uninitiated to enter into the world of design, either as a professional or an enthusiast. Unlike other architecture books, this monograph documents the projects in their current state. Somaya herself walks us through the projects, which is a refreshing way to understand the design process. “Working in India often makes each project feel like a completely new universe… Every project has a distinctive client, parcel of land, climate, geography and social context, but when you put all these pieces together they form a seamless whole, much like India and its many ethnicities, languages and societies. We need to build appropriately,” says the architect who picturesquely describes her monograph as “a quilt of many colours.” Take a glimpse into this rich tapestry with our brief snapshot of five of Somaya’s significant projects...

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PORTFOLIO BRINDA SOMAYA

REBUILDING LIVES

For a practice that recognises the importance of social architecture, it is fitting that the first project covered in the book is the rehabilitation of a little village called Bhadli after the 2001 Gujarat earthquake. Reading about this entire process of rebuilding a village – not just structurally, but restoring the community as well – is enlightening. When approached by Sunil Dalal, one of her long-time clients, with this project, the architect signed up for it immediately. “We were committed to finding a village that had not been identified for assistance, and it was at this juncture that Chandaben Shroff of the Shrujan Trust helped us identify Bhadli village for the intervention,” Somaya shares. Located 40km northwest of Bhuj, it was a village comprising 325 households, with about 1,500 people from both Hindu and Muslim communities. Besides the loss of personal property, the destruction of the only village school also upset the villagers. Design, in this situation, had to be in service of a bigger cause. “We had to push beyond the idea of simply providing them with shelter. We needed to assist them in reconstructing their lives...it was imperative to preserve their neighbourhood and its footprint.” An excessive mapping process was undertaken, where prevailing social and religious patterns were studied. The architect and her team wanted to ensure that the new village also provided equal opportunity in housing, education and other facilities. A people-centric design approach was maintained, wherein inputs were sought from the locals. As architects, their significant contribution was ensuring the rebuilt houses could better withstand future seismic activities. Debris were used to create the plinths, which were then lined up with RCC plinth beam. Three tie beams were placed, one each at the sill, the lintel and the roof base. The RCC members were braced with vertical steel bars in concrete at L and T junctions. All fenestrations were lined with RCC on top and bottom to avoid cracks in case of movement at the base. Sheer keys at critical junctions prevent displacement. Houses were designed with a courtyard that filtered daylight in, and jalis on the external walls that allowed air to circulate but kept the dust and intense heat of the desert

I AGREED TO REBUILD THE SCHOOL ON THE CONDITION THAT THE NEW FACILITY WOULD HAVE A CRÈCHE...

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PROJECT DETAILS The project: Rehabilitation of Bhadli Village Client: Shrujan and Pentagon Trust Location: Kutch, Gujarat Completion: 2003 Area: 131sq-ft each unit Services: Design consultant and architect at bay. Old doors, jalis and windows were extensively recycled. Locals were encouraged to use lime, clay and mirrors to adorn their houses. SNK also upgraded sanitation by improving on the existing neem-lined lavatories – a successful endeavour that was appreciated by the government. The destruction of the village school was another pressing issue, because the villagers were afraid of losing the kids to agricultural work. “I agreed to rebuild the school on the condition that the new facility would have a crèche and a women’s centre to enable the mothers in the village to work and support one another,” says the architect. Built as a ground floor with accommodations for future expansion, Vasant Vidyalaya was designed with straightforward planning with a courtyard acting as a secure enclosure that also creates a microclimate for the building. A series of intermediate and hierarchical open and semi-open spaces contribute to the architecture: the corridors, the pergolas, the otlas and the staircases that connect the rooms with the open-to-sky spaces. Being an arid desert region, the lack of expansive greenery is compensated with bright artworks on the school buildings painted by the children themselves. Villagers painted doors and windows, as well as helped design the kitchen and community spaces. Unlike the homes that were built by villagers themselves, the school was built by a small contractor on a limited budget. Today, it also functions as a vital community space for the village. The monograph revisits and captures this project years later, and we see how a thoughtful design intervention could effectively revitalise a community that had once lost all hope. “In my work, I don’t think images of inspirational views of the finished buildings appear in my mind...I work within the story that unfolds,” points out the architect, who is now raising funds for the expansion of the school.

PORTFOLIO BRINDA SOMAYA

PROJECT DETAILS The project: Rajabai Clock Tower and Mumbai University Library Building Client: University of Mumbai Location: Mumbai, Maharashtra Completion: 2015 Area: 25,800sq-ft Services: Preservation, restoration, retrofitting and upgradation

NOSTALGIA MEETS PRAGMATISM

Growing up, Somaya remembers travelling to school regularly in double decker buses and observing the many historical buildings she passed by. Decades later, she would be part of the urban heritage conservation committee in Mumbai, documenting a number of historic buildings in the city and even developing guidelines for future developments in the areas, precincts and individual structures. Her tryst with these buildings of the past has been a “labour of love”, and the restoration of Rajabai Clock Tower and University Library stands out. The tower was once the tallest structure in Mumbai, designed in neo-gothic style by Sir George Gilbert Scott and funded by Premchand Roychand who donated Rs.4 lakh for the tower in 1869. Named after Roychand’s mother, the tower was built for the tropical climate keeping in mind the surrounding coastal view. An interesting fact we learn from the monograph, is that students from Sir JJ College of Architecture, under the guidance of Sir Lockwood Kipling, were responsible for the stone carvings in the building. The restoration was a public-private partnership between the University of Mumbai and Tata Consultancy Services (SNK’s other longtime client) with The Indian Heritage Institute as facilitators. This was the first extensive restoration of the build-

I FIRMLY DISCARD ANY NOTION OF A SUPERFICIAL RESTORATION PROCESS THAT DEALS ONLY WITH THE VISUAL ATTRIBUTES... IT IS MY STRONG CONVICTION THAT ANY BUILDING – IRRESPECTIVE OF ITS AGE...AND SIGNIFICANCE – CAN BE SAVED ARCHITECT and INTERIORS INDIA | SEPTEMBER 2018 | www.architectandinteriorsindia.com

ing and the architects, unfortunately, couldn’t obtain any initial drawings and documentation of the building. Understanding and respecting the tower’s historic context was crucial; however, upgrading it was the need of the hour. Besides upgrading plumbing and electrical services, data network, Wi-Fi and CCTV systems were added during this process. The edifice was composed of four different kinds of stones – Malad stone, Grey Basalt, Porbandar and the Red Dhrangadhra Trivandrum Stone – which were extensively cleaned and restored. The team also had to work with rare Minton tile flooring, Burma teak wood ceilings, and carved balconies. The restoration and repair of the timber vault was the most fascinating, according to the architect. Restoring the building also demanded a fair share of innovation. “I firmly discard any notion of a superficial restoration process that deals only with the visual attributes of a building. It is my strong conviction that any building – irrespective of its age, visual attributes, value and significance – can be saved.” Electricity was introduced in the building in the 20th century, albeit haphazardly with exposed wires jarring the beauty of the stone walls. Initially, the building was lit by concealed gas lines. SNK’s search for a non-invasive solution led them back to this original design. New electrical conduits were routed along the existing gas lines “while carefully chasing through the line plaster of the walls.” Given the university’s concern that the clock mechanism might be difficult to restart later, SNK collaborated with ‘clockwork enthusiast’ Venkatesh Rao to ensure that the timekeeper was alive and running through the restoration process. During the work, Somaya shares, everyone would brace themselves when the clock struck at its regular intervals. “It was a soul-stirring sound to hear, one that I will never forget. The clock chimed through our entire restoration process, and continues to chime for the city of Mumbai long after.”

PORTFOLIO BRINDA SOMAYA

FERTILE ARCHITECTURE

Architecture is often accused of destroying local ecology, but that’s not the case at Zensar Technologies. When Somaya visited the barren piece of land in Kharadi (Pune) destined to be an IT campus, with no scenic views to frame or existing trees to save, she knew the design had to give this parcel of land a new lease of life. The name Zensar, from the Japanese Zen meaning harmony and peace, became her metaphoric reference point. “A vocabulary began to develop in my mind for the campus that had to accommodate 3,500 engineers… unlike an ‘IT park’ designed to be mechanically efficient, I wanted a campus that would not only lend itself to state-ofthe-art-technology operations, but also focus on place-making for the human resource that is at the core of IT campuses.” Built in three phases, the campus consists of six buildings, mainly the four development centres, cafeteria building and the corporate head office, each named after mountains or mountain ranges. The master plan is a harmony of built forms, open spaces and landscaped areas designed to protect inhabitants from the harsh Pune sun while also harnessing the breeze. Given the rather sedentary work environment of IT professionals, the addition of the open-to-sky spaces, amphitheatre, outdoor relaxation areas with varying layers of protection and the overall landscape was a conscious design attempt. Even though the buildings maintain a straightforward rectangular form, the ingenuity of design can be seen in the way the volumes are broken down by punctures, overhangs

CAMPUSES OF TODAY ARE SECOND HOMES…IT CANNOT BE APPROACHED AS SCULPTURAL DESIGN OBJECTS. THEY MUST BE LIVING, COHESIVE AND ENRICHING ENVIRONMENTS

PROJECT DETAILS The project: Zensar Technologies Limited Client: Zensar Technologies Limited Location: Pune, Maharashtra Completion: 2010 Area: 4,74,260sq-ft Services: Master planning, architecture and interior design

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and recesses, cantilevers, steps, lines and planes. This play of volumes unite the six buildings, even though they were built at different stages. Sustainable architecture dictated the design scheme, and reduced reliance on mechanical cooling in most places. Rainwater is harvested on site by creating sumps with zero discharge. Water bodies and greenery help to create an effective microclimate between voids. An interesting feature in the campus are the many freestanding stone walls made from the local Nevasa stone. They run along the entire campus serving various purposes: uniting and dividing spaces, providing shade, creating areas of seclusion and congregation. They intersperse sunken courtyards, amphitheatres, water bodies, trees, steps, sit-outs, creating a multitude of spaces for interaction and relaxation. Infusing soul into a tech space is no small feat, and Zensar is a study in harmonious, tech-friendly and green design. “When I went back to the campus, many people expressed how much they enjoy...the deep connection of the landscape with the buildings,” shares Somaya. “Campuses of today are second homes…and [they] have a role that goes much beyond the production cubicles. It cannot be approached as sculptural design objects. They must be living, cohesive and enriching environments.”

PORTFOLIO BRINDA SOMAYA

HUMANE DESIGN

Reading about SNK’s many projects in the monograph not only enriches your understanding of good design, but it also opens your mind to the human dimension of architecture that we are unfortunately losing sight of lately. Club Mahindra Kumbhalgarh has a sustainable, contextual and humane architecture; it goes above and beyond the prescribed design brief of creating a world-class holiday and resort venue. “The landscape, the rural setting and the vegetation (of the state) exuded a certain romanticism...I was convinced that the landscape of the hotel could not be delicate flowers and manicured lawns; it had to respond to this wildness that is characteristic of arid Rajasthan,” shares Somaya about her first impression of the place. There were three existing buildings on the contoured site that, despite not having any architectural significance, were retained – it was a sustainable call. Similarly, old culverts (nullahs) were discovered on site, and the decision was made to maintain their course. Around this topography, “the new buildings were designed…ensuring the development of a contemporary design that was nonetheless representative of a sense of place and time.” A landscaped open court, derivative of local traditional chowks, greets you as you enter the campus. From here, one can access the many public spaces such as restaurants, coffee shops, gym, and the bridges built over the nullahs; whereas on one section of the land, cottages are placed around a central court as well. The contoured site led to a sunken multipurpose hall with a green terrace that effectively cools the hall. Somaya calls this a “commonsense approach to sustainable design,” one that is more effective than an audit-based approach. Balconies and open terraces are liberally included in the design to frame the views of the Aravallis and its surrounding landscape More than the design elements – while impressive – what stands out in the project is its strong, holistic human element.

WE HAVE ALWAYS INSISTED THAT A RURAL PROJECT MUST INVOLVE THE SKILLS, CRAFTS AND HUMAN RESOURCES AVAILABLE IN THE IMMEDIATE SURROUNDINGS ARCHITECT and INTERIORS INDIA | SEPTEMBER 2018 | www.architectandinteriorsindia.com

PROJECT DETAILS The project: Club Mahindra Fort Resort Client: Mahindra Holidays and Resorts Limited Location: Kumbhalgarh, Rajasthan Completion: 2007 Area: 2,61,360sq-ft Services: Architecture and interior design “We have always insisted that a rural project must involve the skills, crafts and human resources available in the immediate surroundings.” The villagers were employed in embellishing the structures with impressive local art and craft, and were also involved in the core activities of building and managing the hotel. Local dry masonry was used to create textured stone walls. Like the homes in the region, the ceilings in the suites and cottages have decorative motifs painted over them. Murals created using broken glass adorn the interiors of the hotel; whereas local carpentry traditions inform the furniture design. Within the contemporary narrative, the architect ensured that the building was a “canvas for the arts.” Somaya also brings to her projects her innate concern for humanity and her nuanced feminism. In this project, she made attempts to understand the local women labourers – who were hired for menial work as opposed to skilled. “It was at Kumbhalgarh that I realised the importance of imparting skills to women beyond carrying concrete. They need to learn to be masons, painters and welders.” The goal was to offer more opportunities for dignified work and better earnings for women labourers. SNK has used these opportunities to upgrade skills of local women labourers, and also encourage crèches and schools on site with the help of supporting organisations. Somaya’s openness toward the immediate context and the people, allowed the clients to win the goodwill of the locals. The resort in this sense becomes a genuine experience of the place, weaving an intriguing story in every brick, every design feature and its subsequent experience. Success, in this project, is then measured by its impact on the people involved, as Somaya suggests, “It is very crucial that, in addition to the architects, their clients and the users, the people in the context too have a stake in the success and the outcome of the project.”

PORTFOLIO BRINDA SOMAYA

ECHOES OF THE LAND

Architecture is often considered as poetry in stone, and architects do approach their projects as poets, perpetually unearthing deeper meanings and layers of intrigue. In that sense, The Goa Institute of Management was Somaya’s poetic response to the land. “There was the beautiful red laterite that one could almost feel through the transparent earth. You could sense it was there. The view was mesmerizing: a 360 degree panorama with the enclosure of the hills. Standing on the plateau, amidst the beauty of surroundings and the land, was where it all began.” The topography of the 50-acre site in Sanquelim, in the foothills of the Western ghats, guided the masterplan and how the buildings correlated with each other. It was through an invited architecture competition that SNK bagged this project. The brief was to design a 25-acre campus, with scope for future development. “I have always been aware of the land in my design,” declares Somaya. “I insist on walking the sites to understand the patterns of the terrain and vegetation that the design must respond to… by understanding these on the 50-acre site, we designed the buildings to take advantage of vantage points and the designed landscape juxtaposed to interact in a way that made the experience of traversing the land pleasurable.”

THE CAMPUS IS IMAGINED AS A LANDSCAPE WITH ARCHITECTURAL ELEMENTS AS GESTURES

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PROJECT DETAILS The project: Goa Institute of Management Client: Goa Institute of Management Location: Sanquelim, Goa Completion: 2009 (Phase 1&2); Ongoing (Phase 3) Area: 2,47,200sq-ft Services: Master planning, architecture and interior design The cluster of buildings, mainly the administrative and academic block, cafeteria and library, students hostels, services, faculty housing and multipurpose hall, were spread out on a perpendicular axis that eventually got softened by the emerging landscape. “The campus is imagined as a landscape with architectural elements as gestures,” highlights Somaya. Each unit – with varied intersections of spaces, volumes, surfaces and colours – responds to the lay of the land. For instance, the cafeteria and library buildings sit on the highest point of the site, framing the views around, whereas the recreation facilities reside on the lowest point of the site. The combination of laterite walls and painted surfaces give the impression that buildings have emerged organically from the land. Like most of her other work, the simplicity in form is matched with complex and refreshing intersections of spaces. The fenestration on the buildings vary depending on its immediate context, taking advantage of the plazas or the distant scenic views. The design’s thoughtful responsiveness to the land has resulted in an emotional connection with the architecture. The central plaza in the main administrative and academic block has becomes an iconic spot for GIM graduates. Somaya expounds, “It works as a collection space for the graduation procession as the young students work their way down towards the hall and the mountains on the east.” As an end note, we have to admit our pages will not be able to contain the many fascinating tidbits of information about Somaya’s extensive work. There’s so much you can explore, from anecdotes to inspiring ideas about master planning and architecture, directly from the monograph itself. Curator of the monograph, Parikh describes it best. “While this book may not follow the convention of publishing monographs, it is published with a hope that it may contribute to the discussion on architecture, landscape, urban design and conservation…by attempting to reach beyond its purpose, true to the oeuvre of Brinda Somaya.” It has definitely got us thinking about spaces with a brand new perspective, and we hope it inspires the larger design community as well. A&I

CASE STUDY BOMBAY HOUSE

READY FOR TOMORROW SENSITIVELY RESTORED BY SNK, THE 94-YEAR-OLD BUILDING HOUSING THE HQ OF TATA SONS IS SET FOR A GLORIOUS FUTURE

BY MARIA LOUIS

1. The lounge on the ground floor of Bombay House.

o sooner did Tata Sons reopen the doors of its global headquarters in Mumbai to mark 150 years of the group and the 114th birth anniversary of JRD Tata on July 29, 2018, than there was a flood of photographs on Whatsapp and Facebook illustrating the extensive renovation done by Somaya and Kalappa Consultants (SNK). The new avatar of Bombay House – the 94-year-old heritage building designed by George Wittet, who was also architect of the Gateway of India, the Prince of Wales Museum (now called Chhatrapati Shivaji Maharaj Vastu Sangrahalaya) and other iconic buildings of Mumbai – is modern with collaborative spaces designed for tomorrow’s work requirements, but the façade of the British-era edifice retains its Edwardian neo-classical look. What captured the imagination of social media buffs, however, was the kennel for stray dogs that are made to feel as welcome as business visitors. SNK was appointed on July 19, 2017, and the date given to inaugurate the restored and refurbished building was barely a year later. This time constraint made the task almost impossible, but the design firm embraced it as it was an

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opportunity for them to be part of a legacy project. “We were entrusted by N Chandrasekaran, chairman of Tata Sons, with the opportunity to work on the restoration and refurbishment of Bombay House,” recalls Nandini Sampat, director and project architect of SNK. “Architecturally, the building is exceptional; but the legacy that is connected with the structure and the Tata Group is also extraordinary. This gave us an opportunity to work beyond the architecture, into the research, history and journey of the Tata Group.” With the contractor’s mobilisation beginning on site on December 15, 2017, SNK had just seven months to complete the project. But with a team of dozens of consultants and a combined labour force of over 800 people, they did it in record time. “The chairman was incredibly generous with his time and remained closely involved with the process. His vision of ‘One Tata’ had to be encapsulated in the planning and functioning of the building by encouraging interaction and ideation with common facilities and lounges, open plan design and visual connectivity of spaces,” explains Sampat. “It was vital to ensure integration of agile working spaces and dynamic cutting-edge technology. Within all this, the

CASE STUDY BOMBAY HOUSE 2

RESTORATION WORK • Most external service lines relocated internally. Broken and chipped stone cornices/wall faces repaired either with Dutchman Repair or Plastic Repair. Stone surface cleaned with water jet and copper slag (limited area). Some deep cornices cleaned using ammonia poulticing. External lighting introduced to highlight key elements of the façade. Security camera wiring and external lighting wiring routes worked out so as to ensure minimum cables are visible by running all cables along edges of windows, on top of cornices and along a pre-defined route. • Sleek external grade LED fittings used for external lighting to ensure minimum visibility of fitting during daytime. Doublyglazed windows introduced to ensure drastic curtailing of external noise (reduction of up to 40 db). This also helps reduce the air conditioning load somewhat. • Three entrance canopies redone with internal soffits of barrel vaults clad with wood, and end faces with wood and glass, replicating the existing design. External basement grills that were cut earlier to accommodate services and allow for emergency exit were re-detailed using the existing design so that the openable portion is now accessible without disturbing the design visually. These windows are locked electronically with a push button to unlock them in an emergency. • Roof tiles totally re-laid with the introduction of aluminium sheet to act as a waterproofing layer should the clay tiles break.

story of the Tata Group had to be subtly intertwined through art walls, archival photography and interior detailing.” The design was conceptualised floor-wise to depict the chronological narrative of the Tata Group – its Evolution, Reflection and Metamorphosis. The basement and ground floors depicted the evolution and inception of the Group, giving the visitor a sense of introduction to the history, philosophy and company’s contribution to nation building. The ground floor has been converted into a shared space housing an in-house coffee lounge, informal breakout places, and the Tata Experience Centre (TXC). TXC is a digital museum aimed at giving visitors an immersive experience into the world of Tata using digital technologies for storytelling. The first, second and third floors hold the offices of leading Tata companies, who reflect the leadership, integrity and ethics of Tata Sons – thus the concept of Reflection. The fourth floor is conceptually developed to reflect Metamorphosis, as this is where the future of the company is built as it transforms into a greater entity in the future. The historic boardroom on the fourth floor has been restored to its original beauty with only technology being a new addition. The new technology set-up in the building is designed to create digital workplaces with seamless integration. Each floor has digital meeting rooms with immersive

2. Dogs were an integral part of the building, hence the incorporation of the kennel. 3. A grand welcome: entrance to the main lobby.

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CASE STUDY BOMBAY HOUSE

PROJECT DETAILS 4. Offices of leading Tata companies are housed on the first, second and third floors of the building. 5. Story of the Tata Group: narrated through art walls, archival photography and interior detailing. 6. Effervescent breakout spaces pepper the interiors. 7. The lift lobby pays homage to JRD Tata.

The project: Bombay House Carpet area: 1,10,000sq-ft Location: Fort, Mumbai Client: Tata Sons Ltd Design Firm: Somaya and Kalappa Consultants Principal architect: Brinda Somaya Director and project architect: Nandini Sampat Design Team: Brinda Somaya, Nandini Sampat, Homeyar Goiporia, Ritika Jharia, Nidhi Ravindran, Prashant Phatak, Ishita Parikh, Sunisha Tarkar, Bhumika Redkar, Ashna Mepani, Saiprasad Mestri, Madhukar Warang, Sayed Mohiuddin, Swati Ray, Mushtaqim Kirkire, Pavaman Jainapur, Anthea Fernandes, Rajkiran Naik, Ashish Puradkar, Rahul Nair and Sagar Shinde Photographs: Noshir Gobhai & SNK

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technology to enable seamless collaboration. Apart from widening the main entrance on the ground floor, creating a relatively grand sense of entry which did not exist earlier, the design team were able to create on the west side the idea of a cafe and lounges, while on the eastern side is the Tata Experience Centre. The dogs were an integral part of the building, so they had to ensure that they were given a dedicated space – hence the incorporation of the kennel room. The scope of restoration wasn’t strictly limited to Bombay House. To create a setting that was more sympathetic to the stone façade, concrete pavers were introduced in the pavements around the building as well as its immediate neighbours – which also allowed for rainwater lines to run below. Extensive project research through archives and other sources was first carried out. This content was carefully curated to ensure that individual narratives are created sharing unique and inspiring stories that emerged on the journey of building the Tata Group. These visual narratives have been displayed in the corridors, lounges and common spaces. The design of the art walls involved specific techniques of abstraction, application and use of local arts and crafts to create a singular dynamic piece. The concept design was an outcome of the discussion held and collaboration with individual companies. Satisfied with the results of SNK’s efforts, Sampat observes, “It was perhaps the first and only building named after the city, where the organisation had been born and grew. Today, even though the city is called Mumbai, Bombay House is still Bombay House – a landmark building rejuvenated to proudly continue as the headquarters of the Tata Group.” A&I

PRODUCT SPOTLIGHT BATH FIXTURES

1. Seerose suite by Sternhagen embodies the softness and elegance of flower petals.

CREATING THE ULTIMATE SANCTUARY

LUXURIOUS MATERIALS, METALLIC FINISHES AND UPDATED TRADITIONAL DESIGNS CHARACTERISE CURRENT TRENDS IN FAUCETS AND OTHER BATH FIXTURES BY ARUNA RATHOD

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PRODUCT SPOTLIGHT BATH FIXTURES

he discerning consumer with specific demands is driving new trends in bath faucets and fixtures, and market leaders are combining the aesthetic ‘bling’ of contemporary, streamlined shapes with a wide range of finishes and colours to give them the best. Great design is form and function which is in perfect harmony with the environment; and technology is the big driver of change, facilitating eco-friendly designs. “As a brand, we recognise that luxury is communicated through details – attention to quality and design. It is our endeavour to bring the best to our consumers, and we constantly design and manufacture our products to the same high standards you’ve come to expect from Kohler,” says Salil Sadanandan, president Kohler K&B, South Asia, Middle East

and Sub Saharan Africa, adding that ‘believing in better’ is the cornerstone of Kohler’s commitment to innovation, stewardship and the environment. Beneath the modern visual attractors are a wide range of technologies focused on bringing time savings and convenience to the home owner. “With technologies aimed at saving water and energy, our shower systems complete every luxury wellness experience with an innovative and sensual bouquet of chromo and aroma therapy – making every shower a luxurious spa experience,” says Chirag Parekh, chairman & managing director, Sternhagen, adding that the other key category is the temperature-sensitive faucets that are made in Italy and designed to bring the art of light into our Indian bathrooms. “Our faucet collection being water

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PRODUCT SPOTLIGHT BATH FIXTURES

4 2

efficient, automatically manages the precious natural resource of water responsibly,” points out Parekh.

ECO-FRIENDLY AT THE CORE

2. Sternhagen’s Pent collection derives its inspiration from geometric shapes found all throughout the natural world. 3. Sternhagen’s Kristall basin is made with the company’s patented Sani-Q material, made from German Quartz. 4. The Naia faucet collection by Roca, which has cylindrical and square geometric shapes, offers a seamless blend of character and sophistication. 5. Roca’s Gap collection boasts varied WCs: single piece, closed coupled, wall-hung and Hi-Jet.

From water-efficient bathroom fixtures to water-conserving dual-flush toilets, bathrooms are increasingly being designed keeping eco-friendly features in mind. Going green in the bathroom not only helps the environment, but it also helps to save money. The bath space consumes the largest amount of water in every household. Kohler products enable exceptional performance with significant reduction in water usage. The company’s range of specially designed water-saving wall-hung toilets can save users up to 83,760 litres of water per fixture per year. The range of low-flow faucets, showerheads and hand showers by Kohler deliver an impressive 30% saving in water compared to traditional products, without any compromise on the experience of showering itself. The Kohler Detent Technology (available in the Aleo, Aleo+, Kumin, etc, range of faucets) has an intermediate stop built into the faucet levers for a significant 50% saving on water consumption. The eco-friendly technology offers consumers the option to utilise the faucet in intermediate mode and full-flow modes. GRAFF provides all its washbasin faucets with watersaving aerators. “The Solar collection aerator, for example, can reduce the water flow from 11 to 7 litres per minute, with a considerable energy and water saving,” says Emanuela Tavolini, director of Sales Europe, GRAFF, adding that the company is also compliant with the LEED (Leadership in Environmental and Energy Design) green building rating system and this third-party certification program is a benchmark for

ARCHITECT and INTERIORS INDIA | SEPTEMBER 2018 | www.architectandinteriorsindia.com

the construction of energy-saving buildings. Jaquar, with its reputation for superlative products, has long recognised the need for responsible luxury. Its products are equipped with flow restrictors, which allow taps and showers to save up to 80% of water without compromising on the flow. Additionally, the faucets have inbuilt technology that shuts off water flow as soon as you move your hands away from them, resulting in zero wastage of water. Their air showers have a built-in air mixer that mixes air and water in a manner that makes shower drops lighter but voluminous. This revolutionary technology helps Jaquar air showers save up to 30% of water without compromising on the showering experience. “To add to this, Jaquar’s eco-friendly, zero-wastage and pollution-free manufacturing plants promote a conscious and responsible usage of water,” says Sandeep Shukla, head of Marketing & Communications, Jaquar Group. Today’s eco-conscious manufacturers are creating products that are high on sustainability and environment-friendly. “KEUCO’s entire product line, which is the best-in-class in terms of using lead-free brass in faucets and using watersaving aerators and chrome-plating, takes very less maintenance,” says Rahul Kher, founder & director, Zalur, adding that all LED light mirrors and mirror cabinets carry an energy saving rating of A++, which delivers significant saving on power consumption over the lifespan of the product. “With head showers and hand showers backed with ECOAIR, BOOSTER technology, the water consumption is far less without compromising on the water experience,” he adds. One certain way to have a sustainable, efficient bath space is to have a holistic approach to designing the bath space – so that there is clear saving per bathroom, that can be measured and quantified. “Innovation drives us at Roca Bathroom Products and with sustainable technology, we make optimum use of resources for better solutions without compromising on the design aspect,” says KE Ranganathan, managing director, Roca Bathroom Products. Roca has been working on effectively conserving water usage, energy and simultaneously enriching the well-being of an individual through various products and technologies such as smart toilets, Hall flush-

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PRODUCT SPOTLIGHT BATH FIXTURES

6. GRAFF’s Harley collection was derived from the of classic motorcycles, fusing an industrial aesthetic with nostalgic details. 7. Aquasense dual function showerhead from GRAFF. 8. GRAFF’s ceiling-mounted showerhead with LED.

free urinals, W+W, cold start faucets and electronic faucets. The rimless toilets and faucets with aerators, amp and flow limiters come in numerous designs, shapes and sizes to fit all kinds of bathroom spaces.

MASTERING MASTER BATHROOMS Today, consumers are increasingly focusing on bathrooms as a wellness space. Amongst other international trends, multi-spa bathtubs, electronic faucets and smart toilets are among the first ones to be adopted in India. Roca’s Ranganathan advises,

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“While designing or remodelling the master bathroom, one should keep certain tips in mind. First, the layout plays a vital role in designing a master bathroom. The master bath itself has undergone some changes in recent years. Giant tubs, once hugely popular, have fallen out of favour. Instead, people are choosing custom-showers – including overhead showerheads, wall-mounted showerheads, hand-held showerheads, shower tiles, rain bars, body sprays and steam showers. “Then comes personalisation, as this is a key factor for individuals and they are looking for that unique style that accentuates their personality...and the same goes for their bathroom spaces. Statement mirrors, vanity lights, candles, decorative planters, furniture, etc, provide that unique personalised touch that resonate with luxury and opulence. Even art has found its way into the bathroom.” Another trend shaping the modern master bathrooms is the use of universal design. It accommodates people of all ages and abilities, includes wider doorways, showers with no raised lip around the bottom, larger shower doors and more room around fixtures. Colours are becoming an integral part of bathrooms spaces with designer tiles, coloured sanitary

PRODUCT SPOTLIGHT BATH FIXTURES

ware, showers and faucets. Bold accent walls and flooring are a popular choice for contemporary bathrooms, transforming the look and feel of the space. Moving forward, shapes would try to break boundaries in the bathroom segment with new compact and defined shapes of bathroom-ware making a foray into the market. Modern

shapes with distinctive characters are top of the list where master bathrooms are concerned. “People are now focusing on a lot of designs and options to have a complete bath suite experience,” says Sternhagen’s Parekh, adding that today bathing goes beyond cleansing the body and extends to relaxing the spirit, rejuvenating from an increasingly hectic lifestyle to emerge feeling refreshed. Master bathrooms of today have amenities that rival spas and hotels, with ‘emotional’ showers that change colours and aromas, copper tubs, and his-and-her water closets. “The bathroom is becoming the most renovated room within the house. Customers have a very clear idea of what they would like their bathroom to look like: minimal, contemporary but comfortable, traditional looking, timeless with a modern twist,” says Tavolini, adding that every design inspiration needs to be satisfied – from the small detail to the large scale project – which is why GRAFF offers furniture, faucets and matching bathtubs and washbasins for all tastes and needs: from futuristic, cutting-edge designs to modern and timeless looking collections. “From complex shower systems that re-create a ‘spa-like’

NEW ON THE BLOCK: WASHROOM TECHNOLOGY Hafele: Aquasys Light Mirror: The versatile mirror comes fully assembled and unites the functions of make-up lighting, room lighting, mood lighting, demister and sound system in an elegant design. The front light, in natural and warm white, equipped with a memory function, offers excellent colour trueness which is perfect for make-up light. All functions are controlled via touch keys that are integrated into the mirror. Kohler: Veil: With its flowing and immaculately balanced curves, the Veil one-piece toilet with integrated cleansing functionality epitomises minimalist and ergonomic design. Its sculpted core provides a suite of precision features finely tuned to offer optimum hygiene and ultimate individual comfort - from personal cleansing to an LED nightlight to hands-free opening and closing. All of the features are easy to control on a touchscreen LCD remote control. Numi: The Numi toilet combines unmatched design and technology to offer the finest in personal comfort and cleansing. Kohler’s most advanced toilet offers personalised settings that allow fine-tuning of every option to exact preferences, from ambient coloured lighting and wireless Bluetooth music sync capability, to the heated seat and foot warmer.Other upgrades include power-save mode for energy efficiency, emergency flush for power outages and an intuitive touchscreen remote. Verdera: The Verdera lighted wall mirrors deliver optimally bright, even and shadow-less bathroom lighting that is exceptionally close to natural light. Pivoting side panels let you direct light exactly where you need it. The 80 colour rendering index lets you see yourself in the truest light for make-up application, grooming and skin care. The Verdera is compatible with wall-mount LED dimmers, which allows one to control lighting from multiple locations in the room. 9. Kohler’s colourful Marrakesh basins. The basin top draws inspiration from mosaics found in a quaint Moroccan courtyard, while the intricate and abstract floral pattern that embellishes the basin bowl was inspired by artwork found in mosques.

past, Vintage is a collection with a very distinctive design and significant dimensions. Available in 14 different finishes, and with a full range of deck-mounted, floor-mounted and ceilingmounted elements, the series can be personalised with both the round and the lever handles. Harley Collection: Created by GRAFF’s G+ Design Studio, the concept for the Harley contemporary collection was derived from the styling of classic motorcycles, fusing an industrial aesthetic with nostalgic details of the all-American icons. The faucet’s noteworthy handle, recalling a car steering wheel, offers a unique eclecticism and adaptability to contemporary and technical environments. Jaquar: Whirlpools: The Jaquar whirlpools bring wellness into one’s home with great style and panache. Their jets project water in a flowing, circular motion, offering a wide array of health benefits, including relaxation, improved blood circulation and sore muscle and joint relief. Be it hot or cold-water massages, long relaxing soaks or even chromo therapy, the Jaquar whirlpool gives it all. Gemini Spa: The compact luxury spa comprises stainless steel jets, water features and a smart lighting package. It uses a 2-speed pump and Gecko control system. The spa consists of target jets, giving a precise massage that stimulates specific muscles. Featuring a fibreglass base, the Gemini spa has an underwater LED light feature along with backlit drink holders and chromo cascade grab bar. Jaquar Steam Cabin: For those seeking wellness within the comfort of their own homes, a Jaquar Steam Cabin offers a wonderful way to enjoy the benefits of humidifying water vapour from a high-quality steam generator.

KEUCO: The latest offerings in Edition 400, Plan S, IXMO are an organic design language which delivers a unique sensory Sternhagen: Shower suites: The showers with four awardexperience in the bathroom. Lumos is redefining the way one winning suites have been inspired by elements of nature, re-invented experiences light on the face at the washbasin area. With through technology and engineering - the urbane Pent Suite, the KEUCO further offering finishes like bronze, champagne nickel, arrestingly textured Düne Suite, the Kristall Suite that replicates black chrome - both polished and brushed - across fittings the uniqueness of nature, and the Seerose Suite that embodies the and accessories, the options are limitless to create a highly softness and elegance of flower petals. individualised bath space. KEUCO’s rimless WCs with bidet option are gaining traction with high-end consumers looking at high levels GRAFF: Vintage Collection: With a strong reference to the of hygiene and cleanliness around their WC experience.

ARCHITECT and INTERIORS INDIA | SEPTEMBER 2018 | www.architectandinteriorsindia.com

PRODUCT SPOTLIGHT BATH FIXTURES

10. The holistic architectural approach of KEUCO’s bathroom series X-LINE is recognisable in every detail. The bathroom furniture, vanities and light mirror are unobtrusive and straight lined. 11. An outstanding and recognisable faucet model, Jaquar’s Artize Tailwater looks like an abstract image of a bird sitting at the edge of a pool. 12. KEUCO’s Edition Lignatur emphasises the coloured sheen and individual traces found in the wood.

environment to full lines of washbasins, bathtubs and accessories, we are able to offer everything that is necessary to renovate, decorate or plan a bathroom from the very beginning,” says Tavolini. Jaquar Group’s Shukla highlights the indulgent aspect of a modern bathroom. “With bathrooms becoming extensions of people’s living spaces, shower enclosures, whirlpools and premium interiors are now garnering greater acceptance,” he says, adding that consumers are going beyond spas and gyms to indulge and rejuvenate, and are turning their bathrooms into experiential wellness zones. The concept of luxury, too, has shifted towards creating wholesome experiences for oneself, spending time preciously, making life easier and enhancing the quality of everyday life. Master bathrooms define and demonstrate how much the user and the interior designer are serious about the details of the space and on the quality of the entire project. “Today, the bathroom says more about an individual’s views on design and his/her approach to planning than any other room in the house,” says Kher. Within the bathroom, details are not just details, they make the bath space and they make the products. “We at Zalur invest a lot of time in under-

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standing the psychographics of the user, his/her aspirations and motivations – so that we can design and curate the space accordingly. One needs to have a narrative, a story within the master bath space,” reveals Kher. When it comes to designing the master bathroom, Kher outlines three key specifics to consider. Firstly, designing the space keeping an individual’s entire psychographics in mind; and also designing so that a bathroom can last for 10-15 years. Secondly, defining experience or sensory goals per zone of the master bathroom, by breaking it into a washbasin zone, a shower/bathtub zone and a WC zone, so that one can really craft an experience per zone. Thirdly, taking into account aspects such functionality, design, ergonomics, furniture/storage, light, beauty/personal grooming, safety, care, comfort, accessories, water experience, and warmth for cold areas (like towel warmers and seating with shower area). Once one has considered all these aspects of design, one can start visualising the kind of experience the space should deliver, with water experience being as per the user’s choice, be it the faucet or shower experience; and a light experience which is not just functional but conceptual... creating a feel that is highly personalised and focused on well-being. A&I

PRODUCT SPOTLIGHT BATH FIXTURES

INDUSTRY SPEAK

1. Chirag Parekh. 2. Emanuela Tavolini. 3. KEUCO’s Royal L1 series of mirror cabinets combines storage, reflective surfaces and illumination in one sleek solution.

EXPERTS IN THE REALM OF BATH FITTINGS SHARE THEIR VIEWS What are the latest bath fixtures for 2018, in terms of faucets, lights, showers, WCs? Chirag Parekh: Our product offerings complete the luxury experience of a home with tasteful, sophisticated designs which include tiles, basins, basin mixers, sanitaryware, bathtubs and showers with four award-winning suites that have been inspired by elements of nature...namely, the urbane Pent Suite, arrestingly textured Düne Suite, virtually mimicking the uniqueness of Nature is the Kristall Suite, and an embodiment of softness and elegance of flower petals is the Seerose Suite. Emanuela Tavolini: The latest trends in tapware have seen an increasing demand for faucet collections with an industrial look. GRAFF has recently presented two new collections that meet this design request: Harley and Vintage. With a strong reference to the past, Vintage is a collection with a very distinctive design and significant dimensions. Created by GRAFF’s G+Design Studio, the concept for the Harley contemporary collection was derived from the styling of classic motorcycles, fusing an industrial aesthetic with nostalgic details of the all-American icons. Sandeep Shukla: Jaquar Group has recently launched its designer faucet range with Tiaara and Tailwater under the brand Artize. Designed by Michael Foley, Artize Tiaara faucet brings a sense of mystique in bath fittings. The concentric rings originate from the play of echoing ripples of water, and the inner ring swings to give access to running water that seamlessly stops without spilling a drop when swung back. Designed by Claudia Danelon, Artize Tailwater is a striking and iconic piece of bathroom fitting which is inspired by nature and the elegant, fluid lines of contemporary architecture. If we talk about showers, the brand has come up with Artize Rainjoy+, Artize TumbleRain and Artize Showertronic iV2 to enhance the bathing experience. It is a green product that is in line with Jaquar’s commitment towards building a sustainable and better tomorrow. Jaquar whirlpools bring wellness into your home with great style and panache. Likewise, Jaquar’s Gemini Spa is a compact luxury spa that comprises stainless steel jets, water features, and a fantastic lighting package.

ARCHITECT and INTERIORS INDIA | SEPTEMBER 2018 | www.architectandinteriorsindia.com

PANEL OF EXPERTS Chirag Parekh, chairman & managing director, Sternhagen Emanuela Tavolini, director of sales-Europe, GRAFF Sandeep Shukla, head of marketing and communications, Jaquar Group Rahul Kher, founder & director, Zalur KE Ranganathan, managing director, Roca Bathroom Products Rahul Kher: There has been a growing shift in the way we view luxury. Instead of the statement items, we now covet “less but better” and, instead of status, we covet space to express clear individualism and space which can create calm and serenity. Which also means more focus on quality than before. With our latest offering in Edition 400, Plan S, IXMO we are offering an organic design language which delivers a unique sensory experience in the bathroom. Lumos is redefining the way one would look and experience light on the face at the washbasin area. With KEUCO offering finishes like bronze, champagne nickle, black chrome (both polished and brushed) across fittings and accessories, the options are limitless now to have a highly individualised bath space. WCs that are rimless with bidet option are gaining prominence, as high-end consumers are looking at high levels of hygiene and cleanliness around their WC experience. LED light mirrors and mirror cabinets promise to be game changers. KE Ranganathan: With great exposure to international standards of quality, innovation and technology, the market is increasing for electronic faucets, automated sensor-enabled fittings and smart toilets. These technology-based options are chosen over their traditional counterparts – not only for the ease and for convenience of use, but also for their energy and water-saving properties. With better informed consumers and increased purchase parity, especially the lifestyle domain in India is inspired by international standards of luxury. The new range of bathroom solutions by Roca have elevated the technology standards of bathroom products. What are the new materials being used to manufacture bath fixtures, and do they add to the efficiency of the fixtures? Parekh: Thin-walled ceramics is one of the new material trends of 2018, and it exudes a sense of lightness and geometric perfection. High-strength alumina materials allow for basins to have extremely thin walls. The thin-rimmed lavatories by Kohler are designed to reflect the contemporary and technologically-advanced lifestyle, complementing the minimalist sophisticated modern bathroom environment. Sternhagen is a brand that offers a new product experience. Focusing on new and innovative materials influences the product design and inspires us to test new possibilities that each material brings with it. Sternhagen’s unique and patented SaniQ material, made from German Quartz, has the advantage of exceptional design accuracy that allows our designers to create new products, shapes and functionalities.

What would you recommend as modern bath furniture? Parekh: Sternhagen’s bathroom suites elegantly combine beauty, functionality and sophisticated design so as to reinvent bathroom rituals. The collection incorporates cutting-edge technology, minimal styling, unique details, visually exciting tiles, artistic sanitaryware, sensorial showers and matching accessories to create a timelessly modern environment. Tavolini: Modern bathroom furniture has to be functional while offering an appealing design. GRAFF’s Dressage collection has free-standing elements and plenty of room to store beauty products. Each object is autonomous and

PRODUCT SPOTLIGHT BATH FIXTURES

Tavolini: New materials are definitely an addition that make the bathroom a more luxurious and efficient environment. In 2018, GRAFF introduced a full programme of new bathtubs and washbasins in Sleek-Stone, a composite material that combines dolomitic stone with a unique resin. GRAFF’s Sleek-Stone features a warm-to-touch feel paired with a unique and luxurious smoothness...and is available in a gloss or matte white finish. Showcased in a range of silhouettes and installations – round, oval, rectangular and square, free-standing or drop in, floor-mounted or deck-mounted – the Sleek-Stone basins exhibit a luxurious aesthetic and a source of relaxation for users. This new material definitely adds efficiency to all the bathroom fixtures: Sleek-Stone’s durable properties make its surfaces easy to clean while requiring minimal maintenance. Shukla: In the past few years, the sanitaryware industry has witnessed major changes in terms of design, concept and adaptation by manufacturers. Bath spaces have become modern and consist of contemporary designed bath fittings replacing traditional materials. Innovative materials that are preferred by manufacturers are wood, stone, ceramic... Nowadays, traditional materials combined with organic finishes make for a contemporary piece evoking clean and stylish sensibilities. Brands are also experimenting and playing with different textures, such as combining stone with wood in order to create an eye-catching design. Kher: With fittings, it’s still brass and chrome...but we also see different finishes and materials for fittings now, like carbon – which is light and durable, making its way on to fittings. With LED technology offering different temperatures, coupled with flexi-glass it is going to make our light mirrors and mirror cabinets more experiential and enjoyable within the bathrooms. With bathroom furniture made of waterproof patent material and having different surface options in glass, original wood veneers and special lacquering technology on glass planes and furniture is going to be more popular and unmatched in the industry. Further, Zalur Lifestyle with its multi-brand portfolio of KEUCO, Alke, Nikles, Ramon Soler, Turkuaz Seramik and others, works with a wide range of materials like ceramic, mineral cast, brass, chrome, aluminium, tempered glass, looking glass, flexi-glass, LED, ABS, wood veneers, high quality HDF, chip boards, hardwood, porcelain, etc. Ranganathan: The latest combinations used in the materials are Fine Ceramic – a new, superior quality material used exclusively by Roca in Inspira basins that makes the products 40% lighter and 30% harder as well as scratch-free, compared to the conventional products; and Supralit – an exclusive resin manufactured by Roca. The fine quality material makes the entire range of seat and covers 12% more resistant to chemical agents and yellowing, making it durable and easier to clean.

versatile, but can be part of an overall picture that can be arranged gradually in time, including the principal ambience of the house. Dressage is harmony, geometry, versatility. The furniture is developed in Canaletto Walnut wood, warm and precious. All elements of the water supply and water discharge are located inside, hidden from the eye. It can be combined with a washbasin in Corian DuPont coupled with Canaletto Walnut solid wood and accompanied by a shelf, a towel hook, a chest-of-drawers and a revolving mirror. The handcrafted style of this collection can be observed also from the presence of two precious accessories: the stool and clothes hanger. The bathtub is composed of a thermoformed panel of Corian DuPont and combined with wood. Kher: Edition Lignatur from KEUCO is a great option for authentic hardwood furniture range. Edition 11 still remains the undisputed bathroom furnishing/furniture concept with awards such as Red Dot, iF Design and Design Plus. Edition 400 is also recipient of iF design and German design award. KEUCO offers around 3,000 options in bathroom furniture across sizes from 435mm to 2800mm, furnishing concepts, arrangements that offer glass fronts, original wood veneers, lacquered surfaces, and one can even customise it to specific sizes. On the other hand, we have Alke – a European leader with standard sizes and also offering high level of customisation. With its HILOW and Monochrome range, Alke has redefined the way one looks at bathroom furniture. Ranganathan: In most Indian homes, especially urban apartments, bathrooms are small and designing them becomes as a challenge – especially in big cities like Mumbai or Delhi, where the size of a bathroom is typically around 6’x3’. Within that space, we need to use our faucets, basins, vanities, shower, WC, basins and furniture to not only makes it functional but also add elegance to its look and feel. Roca offers a wide product portfolio that matches all kinds of bathroom spaces and needs. With the technological advancement in bathroom spaces, Roca’s Inspira collection is a sleek and modern range of bathroom products suitable for small bathrooms. It offers products in three most relevant shapes in bathroom design: round, soft and square, with an ability to appeal to all styles and types. Additionally, a never-before product in terms of design and solutions, the Washbasin + Water closet is a perfect example that reflects ‘water-reuse technology’. It reuses waste water from the washbasin to fill the toilet cistern. An integration of the expression of innovation and design, perfect for saving water and space. A&I

4. Artize Tiaara by Jaquar Group, designed by Michael Foley of Foley Designs. 5. Sandeep Shukla. 6. Rahul Kher. 7. KE Ranganathan.

www.architectandinteriorsindia.com | SEPTEMBER 2018 | ARCHITECT and INTERIORS INDIA

CONSUMER CONNECT

Materials Science

Sarat Chandak, CEO, RAK Ceramics, on how the company has grown steadily with a new range of products and emerging novel materials and designs.

1. Blu Del Belgio Blue. 2. Sarat Chandak, CEO, RAK Ceramics.

BY JAYASHREE MENDES You have a vast footprint around the world. Could you tell us about that? We have two kinds of operations: manufacturing and commercial. With nearly 33 offices across the world, we have a presence in Europe, Middle East, Saudi Arabia, and other GCC countries as well as, India, Australia and New Zealand, Singapore, among others. Most of the commercial operations are regional offices. When it comes to manufacturing we have manufacturing set-ups in Ras-al-Khaimah, (UAE) which is our group headquarters, India (Samalkot), Bangladesh and Iran. As a strategy, we have acquired capacity in India and commissioned a plant last year for ceramics. Weâ&#x20AC;&#x2122;ve invested in greenfield joint venture in Morbi and that is expected to be

ARCHITECT and INTERIORS INDIA | SEPTEMBER 2018 | www.architectandinteriorsindia.com

commissioned by the year-end. In India, we manufacture in Morbi as well as Kakinada (Samalkot). How has RAK Ceramics grown in the last year or so? The Indian operation has seen a top line growth of 17% in 2017. We did see a slight setback in 2015 and 2016, due to management changes, but all that is behind us now. Together, both the plants will help us double capacity from 8 million m2 to 16 million m2 by end of 2018. How do you look at designs in this competitive market? Be it across tiles or floors or bathware, we draw inspirations from customers based out of 166 countries. We have a

CONSUMER CONNECT 3

Recently we launched a waterless urinal with “Diaphragm Technology” that does not require any liquid or gel and instead notifies the attendant when to change the diaphragm.

diverse offering that helps us move in the right direction while meeting demand in India, which is even more diverse. For a city like Mumbai, we draw inspiration from Italian or European culture. We have invested largely in a design lab and have an R&D facility in our headquarters and all manufacturing units avail benefits from that. In the last 27 years, RAK Ceramics has consistently delivered unique designs and it’s not hard for us to handle them. We have a global presence and that enables us to serve a diverse pool of customers and geographies, such as India.

How important is retail to you? We shifted our focus to Tier II and Tier III markets after building 14 Company Display Centres in India. When you have a large population, one cannot stay exclusive. So we are moving to newer cities. There are three store formats we work with our Channel Partners (RAK Select, RAK Privilege, and RAK Exclusive) and would like to see them in most geographies We have close to 200-odd outlets across formats made in the last eighteen months. The middle and lower middle-class products’ segment has grown close to 100% over one-and-a-half years and that has given us an impetus to invest in capacity.

Besides low replacement cycles, what are some of the challenges you face in India and what are the measures taken by you to reach your target audiences? India has a low replacement cycle, but as an economy we are still emerging. With a customer pool of 1.3 billion, there are plenty of opportunities in the Indian market. The large government expenditure on “Infrastructure and Mission of In terms of materials, are you experimenting with new kinds Housing for All” will overall drive the economy and businesses. across segments? The fact that we have three display centres in Mumbai alone, We do use some of our in-house patented formulas to control should spell how serious we are about gaining ground. cost, but at the same time build what customers want. So We work closely with the real estate sector, infrastructure there is an ongoing process of R&D besides involvement and Government. of our raw material vendors to partner in our efforts in our In another move, we want to be closer to the customer and centralised laboratory at the HQ jointly. We make use of our that is one of the reasons for setting up the plant at Morbi. mother facilities located in Ras-al-Khaimah, and draw benefits The Kakinada (Samalkot) plant compels us to spend on from there. We do fulfil local requirements through sourcing logistics and it is not easy to be closer to all customers across alternative materials, engaging institutions, etc. all states. The new plant is highly advanced and is a modern For instance, we have initiated a project for energy efficient plant. We also export our products to other markets and the (Green Building) Surfaces with CEPT Ahmedabad recently. added capacity will offer us an advantage.

3. Cabinate Cistern & DAZZLE WB. 4. UNI 3.

www.architectandinteriorsindia.com | SEPTEMBER 2018 | ARCHITECT and INTERIORS INDIA

NEW DESIGN CARTER ROAD SOCIAL

BAYWATCH

WITH THE SEA VIEW AS ITS HERO, CARTER ROAD SOCIAL IS ANOTHER BLOCKBUSTER FROM IMPRESARIO

1. Clear-glass windows welcome the sea view, which is the star attraction of Carter Road Social.

BY MARIA LOUIS

itting by the rocks with friends, talking about love, life and the mysteries of the universe while the careless whispers of the wind are punctuated by the crashing of the waves. “Carter Road means so much to so many people, and it’s one of the best public spaces we have!” Riyaaz Amlani, CEO and MD of Impresario Handmade Restaurants (parent company of Social) couldn’t have said it better. Most of Mumbai’s bar flies would have strolled down this promenade in Bandra, shooting the breeze or jogging along its pavement. So, when Impresario took over the iconic location from Masala Bar for Social #20 (#10 in Mumbai), it was only fitting that they decided to celebrate all that is wonderful about Carter Road. “The first impression we got of this place was a total contrast to what you see now. It was covered and dimly lit,” recalls Swapna Nair, chief project manager, Impresario Handmade Restaurants. “The hero of this place is the view, so we worked around the concept of making the whole place one with its natural surroundings and embodying it. This is one of the few places in the city that can boast about its view. I designed this outlet with the intention of breathing sun, sand and sea into every nook and cranny of its space.” Complemented by summery pastel shades of baby pink and variants of refreshing green, and flanked by embroidered cane-like chairs alongside comfortable lounge seating, it’s the perfect representation of summer (without the heat!), all within strolling distance from the Arabian Sea. The walls, pat-

ARCHITECT and INTERIORS INDIA | SEPTEMBER 2018 | www.architectandinteriorsindia.com

MATERIALS & SUPPLIERS Flooring: IPS Laminates: Greenlam Stone: Marble Ceiling: POP Lighting/light fixtures, chairs/furniture: Chor Bazaar Paint: Asian Paints Tables: MS, painted Sofas/soft seating: Leather from Hidetalia, and upcycled Sanitary fittings: Jaquar Air-conditioning/HVAC system: Hitachi & Daikin terned with tropical motifs, also sport some great artwork by Manipuri artist Sony Thokchom complementing the theme. With plants dotting the floor (and ceiling!) and palm trees just a breath away, this floral masterpiece is like a summer escape. “The undeniable pièce de résistance here is the breathtaking view of the setting sun from the sweeping glass windows, accompanied by majestic views of the entire promenade, laid out against the crashing waves and the hustle and bustle of life on Carter Road. So, the idea was to keep it minimal and design a seamless space which does not differentiate the outside from the inside,” explains Nair. As the space is not too large and Impresario wanted to

NEW DESIGN CARTER ROAD SOCIAL 3

PROJECT DETAILS The project: Carter Road Social The client: Impresario Entertainment and Hospitality Pvt Ltd The designers: Swapna Nair, chief project manager, Impresario Handmade Restaurants Location: Carter Road, Bandra, Mumbai Area: 2340sq-ft Duration of project: 65 days Date of completion: May 18, 2018

2. Greenery forms an inextricable part of this spatial experience, both inside and outside.

retain most of the original structure (in keeping with their sustainable design ethos), they didn’t play around with the existing layout – but kept the basic plan intact. Divided into three sections, the place is planned in a way that you can see the sea from wherever you are. An ‘outdoor’ area has been added, where the windows can be opened when the weather permits. Sticking to Social’s brand ideology of Minimum Intervention and Maximum Upcycle, they retained most of the material (including the bar) and modified it to suit their requirements and design aesthetic. The colour palette, predominantly green and pink, is meant to lift up the spirits of the guests. Art is an integral part of the design, included in the form of paintings, neon lights, handpainted walls and even plants used as art (framed succulents).

The windows have clear glass for maximum light and a clear view. “Riyaaz was sure about what he wanted from the place, so it wasn’t difficult to get it right,” states Nair, who, when asked about the challenges of designing, replies that projects are always full of challenges. “It’s a part and parcel of the game. The final outcome was exactly what we wanted, and we had great fun putting it together. But there is always room for improvement, and we will keep modifying it.” The energy at Carter Road Social is palpable, and that has a lot to do with the brand and its creator, who are known for challenging norms. With this new outlet, they have renewed their commitment to “developing a hotbed of creativity and creating a space that thrives on synergy for young entrepreneurs and inspired minds.” Cheers to that social spirit! A&I

3. The bar of the outlet that occupied this location earlier, has been retained, in keeping with Social’s philosophy of minimum intervention. 4. The colour palette is predominantly pink and green - as exemplied by this painting by Manipuri artist Sony Thokchom. 5. Neon art and swing seats captivate the young at heart.

www.architectandinteriorsindia.com | SEPTEMBER 2018 | ARCHITECT and INTERIORS INDIA

NEW DESIGN POT POURRI PHOTOGRAPHS: PRASHANT BHAT

SIMPLY STUNNING

THE DESIGN OF POT POURRI BY MINNIE BHATT DESIGN IS MODEST AND UNASSUMING YET QUITE INGENIOUS BY MARIA LOUIS

1.The spatial programme sees a clear segregation between the bar and restaurant areas.

omfortable and easy-going are words that immediately pop into your mind when you encounter the fluid spaces that demarcate the bar and dining areas of the new restaurant at Cubic mall in Chembur. When brand owner Pradeep Nair approached Minnie Bhatt to design the new Pot Pourri in the eastern suburbs of Mumbai, he had conveyed his desire for just such an unpretentious space. The clients wanted fluid sections that focused on the bar and dining areas. “It had to have an energetic all-day

ARCHITECT and INTERIORS INDIA | SEPTEMBER 2018 | www.architectandinteriorsindia.com

ambience that converted into a vibrant one in the evening,” recounts Bhatt, whose first impression of the site was that it was a huge area (the guest area alone amounted to nearly 2,500sq-ft) with great ceiling height and perfect for taking the unpretentious brand to a new level. The client brief was in tune with the designer’s thoughts for the space. “It’s a large space and could be visually segregated as desired,” explains Bhatt. “One side of the site has a lot of natural light coming in, and that really helps the space.” Having frequented the first outlet in Bandra while their office was

NEW DESIGN POT POURRI 2

located close by, Pot Pourri was a familiar brand to Minnie Bhatt Design – and the design team enthusiastically came up with a number of layouts to zone the space into food-focused and bar-focused areas. They planned a live kitchen area which is visible to the entire restaurant, and dining seating that would appeal to families and young diners. The restaurant is divided into a dining area, a bar section, the live kitchen and the smoking zone – fulfilling all the requirements of the clients. “As the space is naturally divided into two sides from the entrance, this layout worked best to create a dining area to the left and bar zone to the right,” insists Bhatt. “We did many iterations of the layout, placing the kitchen and bar in various corners of the premises – and finally arrived at the current one. There were pros and cons to all the layout options…but this worked the best, as the kitchen is spacious with a live kitchen section and a permanent buffet arrangement. The bar, too, is positioned effectively to visually engage the guests. The vibe had to be easy and unpretentious, so we only created one artsy installation with bicycles and kept the rest of the aesthetic subtle and discerning.” In keeping with the easygoing vibe, the colour palette is of natural tones of pure materials like the grey of cement

MATERIALS & SUPPLIERS Flooring: Bharat Tiles Stone: Flamed granite for the bar top Tiles: Handmade tiles for the live kitchen backdrop Ceiling: Exposed Lighting/light fixtures: Custom created by Viral Sadanah Wall textures: Granular cement plaster, raw red bricks Paint: Asian Paints Tables, chairs, sofas: Custom created in-house (IPS) that is used for the flooring along with cement tiles to break the monotony, the natural redness of bricks and natural brown of the teak wood table tops. As yellow is the colour of the brand, the bicycle art installation was done in yellow. Corrugated cement sheets are used to panel the walls of the private dining space and painted in rusty tones of brown. The entire colour palette is of natural tones offset with dark navy blue and tan faux leather used to upholster the couches. White and mustard yellow tiles in a chevron

2. The colour and material palette leans towards an earthy aesthetic: natural tones offset by selected colours such as blue and yellow - as seen in the quirky bicycle installation. 3. The irregularly curved façade from the mall side was a challenge, which the designers responded to by fitting window panels.

www.architectandinteriorsindia.com | SEPTEMBER 2018 | ARCHITECT and INTERIORS INDIA

NEW DESIGN POT POURRI

4 2

PROJECT DETAILS The project: Pot Pourri The clients: Pradeep Nair, Sagar and Apurva The designers: Minnie Bhatt and Misbah Kapadia Area: 3,000sq-ft Location: Cubic mall, Chembur Cost: Rs.65-70lakh Duration of project: 5 months Date of completion: December 2017

4. Whimsical touches, like this ‘qwerty’ typewriter depiction, add a fun element to the spatial experience. 5. Elements like antique mirrors, pots and plants, and wall textures lend character to the space. 6. The bar, with barrel lids for beer taps.

pattern form a backdrop to the live kitchen to make it look fresh and appealing. The columns were clad with red brick covered with distressed plaster. All the lights are custom designed and created especially for the restaurant. Elements like antique mirrors, pots and plants, and wall textures were added to lend character to the space. The flooring design, with its hexagonal black, grey and ivory tiles in the central area of the bar space – radiating out randomly – helps to visually segregate the spaces. The rest of the restaurant has flooring done in grey IPS that seamlessly merges with the hexagonal tiles. A chunky wooden community table is set in front of the bar counter with customised hanging lights suspended over it. Sofa seating was planned on one side of the space along with curved booth seating

ARCHITECT and INTERIORS INDIA | SEPTEMBER 2018 | www.architectandinteriorsindia.com

with marble-top tables. A metal framework was created for shelving between the sofas with lights coming out of them, and the chairs are in red oak wood and tables in wood and white-and-grey speckled marble. Two triangular marble tables seat six guests each. These have a different form compared to the rectangular, square or round tables. The bar counter has barrel lids for the beer taps and an installation with wooden barrels above the booth seating. “We raised the area towards the façade of the restaurant and planned booth seating on it. The DJ was accommodated on a loft above the booths overlooking the restaurant. A small PDR area with concrete lights over the table, was created towards the back and segregated with an installation of yellow bicycles,” adds Bhatt. “The backdrop is finished with corrugated cement sheets, with a quirky installation of typewriter keys.” Luckily, the clients were very accepting of the design decisions. “They left everything to us in terms of design after the layouts were discussed and closed, ensuring easy operations,” discloses Bhatt. Still, there were other challenges – one of them being that the façade of the restaurant from the mall side had irregular curves. The designers panelled it to form window panels with text on them, among them the quirky ‘Gas Chembur’ that brought a smile to our faces. A small entrance area was created inside with wireframe motifs that express the brand identity. Bhatt adds that “the most challenging aspect was getting the work on site executed as desired, as the project execution team needed a lot of monitoring, considering we were working with them for the first time.” Obviously, the designers succeeded in getting what they wanted, for the clients were satisfied with the final product. “It shaped up exactly as we had imagined, giving the easy, unpretentious and casual vibe that we set out to create,” says a satisfied Bhatt, whose method of working is probably what gets her the desired results. “We had samples of every design element made – like the different chairs, the hanging lights, the wall paneling, etc. Art is included in the artwork created above the bar, the yellow bicycle installation, the quirky ‘qwerty’ typewriter keyboard depiction and the small yellow wireframe elements at the entrance.” While she has no regrets, Bhatt admits that the one thing they could have done differently is the location of the projector screens. But that’s a small detail in the larger scheme of things. A&I

CONSUMER CONNECT 1

Greenovation by LG Greenovation stands for Green + Innovation. It is dedicated towards providing the planet with an energy saving and Green commercial air-conditioning systems. Committed to delivering nothing less than excellence, LG commercial air-conditioning systems are the best for all sectors including offices, hospitality, healthcare, education, residential, factories, retail and others. Discover the perfect air-conditioning solution for your needs with a wide range of LG commercial air-conditioning systems. The new range of LG commercial air conditioning systems are: 1. VRF Systems 1.1. Full Inverter VRF systems - Top discharge/Side discharge/Water-cooled

1.2. Hydrokit - for Hot water generation upto 800 C with VRF systems 2. Light Commercial Systems 2.1. Full Inverter Ducted units 2.2. Inverter Cassette units 2.3. Inverter Floor standing units 2.4. Inverter Rooftop units 3. Chillers 3.1. Magnetic bearing centrifugal chillers (260 RT to 2200 RT) 3.2. Air bearing centrifugal chillers (100 RT to 300 RT) 3.3. Centrifugal chillers (200 RT to 3000 RT) 3.4. Screw chillers - Air cooled / Water cooled (75 RT to 500 RT) 3.5. Inverter Scroll chillers - Air cooled (20 RT to 180 RT) APPLICATIONS LG commercial air-conditioning systems & the health sector When it comes to health, thereâ&#x20AC;&#x2122;s nothing more important as each life counts. Proper air-conditioning system is not just responsible for comfort and clean air, but also delivers therapeutic benefits to patients. Certain patients like those with cardiac issue feel warmer than others due to improper blood circulation. Patients with other health problems too face temperature issues and commercial air-conditioning makes sure that optimum temperature is maintained for the comfort of the patients.

1. Magnetic Bearing Centrifugal Chiller. 2. Hydrokit. 3. Multi V (VRF) System. 4. Inverter Duct Indoor Unit.

www.architectandinteriorsindia.com | SEPTEMBER 2018 | ARCHITECT and INTERIORS INDIA

FEATURE KITCHEN DESIGN

CONTEXTUAL C MODERN KITCHENS ARE ACCOMMODATING COMPLEX REQUIREMENTS THAT ARE SPECIFIC TO THE COUNTRY BY CAROL FERRAO

1. Nolte’s Neo Salon Kitchen has the carcass and interiors in Kansas oak, island fronts in genuine glass mirrors with 12mm thick glass white worktop.

itchens are becoming extremely precise and high-tech, a trend evident at the Salone Del Mobile Eurocucina 2018, held in April. The sense of order and organisation in modern kitchens is impressive and, finally, ergonomics is the defining characteristic of a good kitchen. Modular kitchens are now the default solutions, but brands have developed customisable options within formulaic

ARCHITECT and INTERIORS INDIA | SEPTEMBER 2018 | www.architectandinteriorsindia.com

design. Even though European designs continue to transform the Indian kitchen, local sensibilities have urged manufacturers to tweak these designs for a more contextual solution – ensuring a wonderful blend of cultural influences. As consumers become more receptive and drawn to such finesse in design, the growth in this sector (both in terms of design and market value) is imperative. “Indian consumers are open to accepting (new designs) and, probably, that is the

FEATURE KITCHEN DESIGN

COOKSCAPES reason they are one of the major purchasers in the world. The consumer power in India is actually exploding,” highlights Sapna Aggarwal, creative director, Ansa Interiors. European retailers and solution providers have, thus, saturated the market with their technologically-advanced solutions, changing our relationship with food and manner of cooking effectively. Technology has entered the kitchen in full force in the form of smart kitchen solutions and appliances, says Pralhad Bhutada, CEO, Elica PB India. “Today, you can have a kitchen with technology integrated into every appliance – such as the chimneys, hoods, dishwasher, barbeque, etc. This is what we call a smart kitchen. With modular and smart kitchen concept, chimneys and hoods have especially taken a front seat. There is a remarkable evolution in the shape, design, control features, lighting and overall aesthetics for smart kitchen solutions such as chimneys.” With the increase

in purchasing power and advancements in technology resulting in smart solutions, kitchens have been transformed into a versatile, central space in modern homes.

DESIGN AND MATERIAL TRENDS As the market evolves, so does the appearance and functional nature of kitchens. Some of the key trends, according to Amitha Madan, partner at House of Magari, and principal architect at Treelight Design, include compact, space-saving cabinetry that integrates all equipment and storage to create a small yet functional kitchen; cabinet shutters finished in stone to make the entire central counter look like a homogeneous mass of stone; and sliding motorised partition and shutters that hide an open kitchen when desired. “This is very helpful, especially for Indian kitchens where you have very strong cooking smells and it provides privacy when

www.architectandinteriorsindia.com | SEPTEMBER 2018 | ARCHITECT and INTERIORS INDIA

FEATURE KITCHEN DESIGN

KITCHEN CONFIDENTIAL We asked experts which kitchen solution, one that isn’t incorporated much in Indian kitchens, would they recommend as a must. Here’s what they had to say:

“I would recommend more options for kitchen counter surfaces that are durable, anti-fungal, easy to clean and look great.” Amitha Madan, House of Magari

2. Ansa Interiors recommends flexi kitchen designs which can be utilised in various ways: as informal eating space, ironing area or just a coffee corner. 3. Sapna Aggarwal, creative director, Ansa Interiors. 4. Nikesh Modon, national head - Products, Nolte India. 5. Elica Space is one of the most silent hoods in the world, with a noise level of only 40db.

househelp is working in the kitchen,” points out Madan. Flexibility in design is appreciated the most and, hence, shelf tracking system routed to the carcass makes it possible to adjust the placement of shelves, allowing optimum use of storage space. “Another very useful element can be movable counter tops over the hob to conceal it, transforming into prep counter or a dining table,” she Madan. As product manager – Kitchens, Häfele India, Harshal Munde has noticed that the most experimented area is kitchen cabinet fronts, the prevailing materials being stone, porcelain, and quartz. “Be it a natural stone surface, super matt surface or even textured, these new materials are gaining popularity. However acrylic doors remain the favourite and have extended the range from high gloss to super matt finish.” There is also a swap of materials and surfaces taking place – stones being used in doors, wood as a countertop and a backsplash; similarly, glass and steel are popular backsplashes amongst designers. “The most experimented with material in the kitchen is aluminium, due to its flexibility and aesthetic appeal. So, innovative aluminium profile door solutions, shelving systems, plinth and handles available in different colours are extremely popular. Minimalistic design, open shelving, thinner cabinet and door materials are also widely favoured,” adds Munde. There is a level of diversity in the trends too. Some consumers want a more nostalgic vibe, while others want a bold, futuristic design. Nikesh Modon, national head – Prod-

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“(The) breakfast nook is an important element …used as reading corner for kids, relaxing after cooking an elaborate meal, chit chat corner when friends visit…It can be part of both an open or closed kitchen.” Nikesh Modon, Nolte India “A dishwasher, internet-savvy cook builds and warming drawers are less used in Indian kitchens, but they are highly useful.” Sapna Aggarwal, Ansa Interiors “Use of gadgets is missing, which actually makes your life much easier. Gadgets do take space and (require) investment, but they always add comfort to one’s lifestyle.” Ashok Basoya, Ottimo “Tall and larder units are available, but not explored much in India. Godrej Interio is launching a range of kitchens, which includes tall units in various configurations to suit different needs.” Vaishali Lahoti Shah, Godrej Interio “The hide-away kitchen makes all the difference (and is worth exploring).” Ashita Parmar, EIPL Group (Contorno) “There are two important and largely ignored areas in the Indian kitchen: waste management, the right equipment will help the consumer keep the space hygienic; and Space Organisers, designating an area for equipment will help the consumer have a clutter-free space.” Harshal Munde, Häfele India

FEATURE KITCHEN DESIGN

NEW IN THE MARKET NOLTE INDIA launched seven impressive kitchens at Salone Del Mobile Eurocucina 2018: Nolte Stone, Nolte Ferro Industrial finish, Nolte Ferro Copper finish, Nolte Integra, Nolte Neo Salon and Nolte Glas Tech Plus. More than eye candy, Nolte Glas Tech Plus is equipped with high-quality real-glass fronts, Matrix Art handles in black, designer-glass doors with aluminium frames, corner solutions with electric lifting columns to modern LED lights that can also be matched to any mood or time of day. It comes in four finishes and is available at all Nolte India showrooms. OTTIMO wants to glam up Indian kitchens with its Swarovski and leather kitchen solution that boasts of intricate stitching and fine finish. It has also introduced mirror finish on the internal panels of cabinets, which offers finesse to the kitchen. GODREJ INTERIO’S recent product offering, Willow Wok, builds on the classic feel of wooden kitchens. It perfectly blends natural wooden finish with modular functionality that is perfectly suited to Indian cooking. Crafted from waterproof, pre-laminated marine ply, these kitchens are built to last and come with a 10-year warranty. ELICA introduces two to three technological innovations every year, which Elica SpA transfers to India. From the international market, Elica SpA has come up with Snap, an electric exhaust system connected to the hood by Wi-Fi. It senses when the air is not pure and maintains a balanced air quality in the kitchen. Elica will soon unveil one more version of Elica Deep Silence (EDS3), which will be an affordable variant taking its technology to a wider consumer base. CONTORNO is offering discerning buyers an industrial-style kitchen called Soho that is characterised by steel, wired glass, metal and metal-effect lacquer finishes. The factory-like quality can be matched with five chestnut finishes to introduce some homely warmth into the kitchen. Soho’s distinct attributes include its profile frame cabinet door, a projecting edge profile and countertop trays. Another one of Soho’s characteristics is its black metal bookshelf that functions as a perfect space divider. HÄFELE Profin is a comprehensive range of aluminium profiles, consisting of four different categories: Gola Profiles, Stack Modular Shelving, Rail Door Profiles and Strike Shelving System. New introductions also include Qanto, the new corner solution, which comes with two versatile trays that can be extracted and retracted vertically by a linear drive at the press of a button. The Connect organisers, on the other hand, give the customer the liberty to design and organise the space within the drawers. As for Planero storage system, it is now available with a new tray shelving system – which is a move away from the basket-type storage shelves. ucts, Nolte India, explains, “Increasingly people are going back to their roots, the deep attachment to the earth giving rise to ethnic and near-natural finishes – for example, metal and stone, which are currently trending and appealing. Millennials are more open to experimenting, hence black has become the new white and is being incorporated quite generously.” Customers are also more drawn to materials that offer an almost glass-like finish. Inspired by their Pinterest feed, home owners are introducing open shelves in their kitchen. Ashok Basoya, founder, Ottimo, informs, “Apart from storing utilities, the open spaces are used to embellish the kitchen and reflect the owner’s personality with accessories like herb plants, vases, decorative kettles, plates, candles and little knick-knacks collected while travelling.” With the addition of glass shutters and internal lighting, the kitchen ambience has an almost living-room feel, says Basoya. “Brass, steel, copper are all making a comeback in

one form or other – be it as handles, design elements, utensils or even semi-worktops. Treated wood and metal to achieve interesting patinas is a hot current trend,” he further adds. From a materials perspective, Vaishali Lahoti Shah, assistant general manager, Godrej Interio, points out that there is an increase in demand in glass, wood, wood substitutes, artificial stones and metal. In backsplashes, kitchens are gravitating towards back-painted toughened glass for a neat and high-end finish. A single slab of stone, instead of tiles, also provides a similar uniform feel for kitchen walls. Shah also reminds us that kitchens, today, need to seamlessly integrate smartphones, induction chargers, tablet holders and brackets for laptops, improving the level of convenience and connectivity in the space. An alternative to glass finish, VetroTec acrylic panels is one of the newest materials introduced in the market recently. “VetroTec from Otto-Vertrieb, Germany, is a range of high-quality acrylic glass panels for kitchen shutter fronts and backsplashes, high-end furniture, wall panelling, etc,” explains Manish Maheshwari, managing director, Ventura. “(It is available) in a wide range of colours like Luxe Black, Arctic White, Gold, Copper and Exotic Snakeskin finishes… The 2mm thick superior acrylic fronts imitate a glass panel 100%, and the smooth/non-stick surfaces are easily cleaned with water and a soft cloth.” This transparent material boasts a high mechanical durability, as well as has an outstanding resistance to weathering. The panels are extremely brilliant due to the abrasion-resistant UV varnish layer applied to the surface and are covered with a protective foil. Another material that is taking over the market right now is Fenix Nano-tech Matt Material, says Ashita Parmar, COO, EIPL Group (Contorno). “The nanotechnological

6. Bofi kitchens, available exclusively from House of Magari, ensure the space is as clutter-free as possible. 7. Ventura’s VetroTec is a range of high-quality acrylic glass panels from Otto-Vertrieb, Germany, that is ideal for kitchen shutter fronts and backsplashes. 8. Amitha Madan, partner, House of Magari, and principal architect at Treelight Design. 9. Manish Maheshwari, managing director, Ventura.

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FEATURE KITCHEN DESIGN

MADE FOR INDIA

10. Godrej Interio imports several accessories from Germany, but the units are customised for India. 11. Häfele’s new sliding countertop transforms the cooking counter into a dining space when needed. 12. Harshal Munde, product manager - Kitchens, Häfele India.

material from Arpa Industriale has revolutionised the world of interior design,” she says. Fenix is composed of next-generation nanoparticles and acrylic resins, which are hardened and cured through an innovative Electron Beam Curing process, which makes the material anti-fingerprint, soft to the touch, opaque and extremely durable, so much so that it can withstand serious knocks and scratches. It is also highly resistant to the aggressive action of solvents and reagents typically used for household cleaning. If the surface has superficial microscratches, heat actually helps to repair them. The surface of the material is scattered with a dense grid of crosspolymers with their own memory, which can be reactivated by the application of heat. Fenix is also waterrepellent, hygienic, thanks to its effective bacteria-killing action, and is resistant to mould. All of these make it a perfect surface for contact with food. Contorno offers Fenix for its Doimo Cucine kitchen collection.

CUSTOMISING MODULAR DESIGNS Unlike the rest of the world, modular systems had to adapt to Indian specifications and preferences. Customisation, within the modular framework, has enabled consumers to enjoy the sophistication of European design along with the sturdiness

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For kitchen manufacturers and solution providers, taking into account the diversity of the country is crucial. “India is a country of extreme weathers. Some regions have extreme summers to extreme winters, some regions are humid for most of the year. Also, the cooking habits are different for different regions. Some regions have high oil content; some regions have spicy food. So, the durability of the shutter and cabinet material is of prime concern,” shares Vaishali Lahoti Shah of Godrej Interio. Additionally, you have to take into account that the average height of Indian women is less compared to European women. Most modular kitchens have standard heights for floor and wall units. “Godrej Interio kitchens are designed as per the anthropometric data of the Indian woman, keeping in mind the ergonomics. These kitchens are further designed as per storage needs and cooking styles of Indians. We are the only brand which offers the kitchen body in galvanised steel, which prevents it from corrosion. Indian cooking is quite elaborate and requires oil/water, hence our steel carcass is ideally suited to this.” While the brand imports some of the accessories from Germany “since the market is currently upbeat with German engineering which customer’s desire,” the units are then customised to ensure that the fit and finish is impeccable and the complete unit is suitable to Indian customer needs. in build they are more familiar with. Most architects are still wary of using MDF, the default material for modular designs. Kitchen experts have become more sensitive to this market need. “Indian clients prefer ply carcass to high-grade MDF,” shares Madan, who has seen clients prefer solid wood shutters with or without ornate Indian carving shutters, and plywood base with veneers as well. “We provide for these requirements, whereas most European designs do not offer them.” Modular designs are often perceived as rigid – but with years of experience, manufacturers like Nolte have developed an exhaustive catalogue of modules that can be used to build a variety of kitchens. Take, for instance, when they had to design keeping in mind the significant height difference between a client and the housemaid. Both having a stake in the space, the in-house designers could easily accommodate this requirement . “We have an array of 150+ colours, 3,060 storage options and 4,643 ways to design the kitchen, personalising

FEATURE KITCHEN DESIGN

kitchens in a way unique to individual users,” asserts Modon. Häfele’s Munde admits that lifestyle changes are largely influenced by the Western world and, thus, ready-to-use solutions are implemented as is. While most solutions have been quite successful in the Indian market, some, however, needed tweaking. “Stellar Wireware range of pull-outs is made in compliance with the European functionality of runners, but it hosts a lot of features that are only relevant to India (like, the material is made up of Stainless Steel Grade 304). All the kitchen accessories across the globe are made with steel and not stainless steel; the consumers, here, focus on the material.” Even appliances had to adapt to the local needs. Elica, by tailoring its international design for Indian needs, has earned the goodwill of many customers. “Hobs is a budding product category, especially with urban households. But most brands are offering high-end hobs, imported from Europe and China. On the other hand, Elica PB, which has been in the Hob category since its inception, has, over a period of time, made consistent efforts to understand consumer insights and requirements. Hence, Elica PB India strives to provide product solutions to Indian consumers with products made in India for India and the export markets,” shares Bhutada.

INNOVATIVE KITCHEN Digitalisation is slowly making its way into the kitchen, and will impact the way kitchens function in the future. The innovations we will see in the coming years will integrate these advancements more prominently. “The most innovative features I have seen lately in many trade shows are the appliances becoming smart and lights being controlled with a simple app on your phone. Also, hardware is taking minimal space and, thus, compact solutions are preferred. Therefore, the lift and hinge systems are being concealed in cabinets and drawers,” informs Munde. Expect designs to get sleeker and multi-functional, says Madan. “Invisible appliances are placed below the kitchen counter, rendering the surface flat and safe. The induction only comes on when there is a vessel placed on it.” It will be an interesting technological development where electricoperated elements – hobs, power switches, weighing scale and phone chargers – will be seamlessly hidden, so that they are 100% invisible when not in use. Sensor-based smart trash cans that work on voice command will be helpful in the kitchen while hands are busy. Concealed motorised chimneys are a great solution for a clean look. “I think the Indian consumer is already well versed with automated gadgets in their everyday lives, so these solutions will appeal to them.” A lot has already begun to change in the small appliances domain. “Additions like voice-activated faucets, IoT microwaves and tech-infused range hood are slowly changing the face of Indian kitchens. Hence, technology is prompting a change in kitchen storage designs, as usage of appliances is on the rise. Therefore, it is extremely important for us to ensure adaptability in our product range. Due to the mobile way of living, the world has switched to free-standing kitchen units which can be installed in any space as they are gaining popularity. One needs to watch out for this trend, as it is set to make waves in the future. Godrej Interio intends to tap this user requirement in the near future,” states Shah. Chimneys are expected to go beyond their basic utility as well. “The push control has been replaced by touch control; lights have changed to LEDs and strip lights. With strip lights, you get to change the colour of the light depending on the ambience. Silence technology, Calvin control, high efficiency and more power are the latest trend and market

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demand. It is a complete package that is designed to boost the level of comfort for its users. Even when you are not cooking, there are chimneys with almost no noise which are at work purifying your kitchen air. They are armed with special sensors. So, this is how far expectation and technology has shot up today,” explains Bhutada. Maheshwari believes that the Button Fix, an innovative new solution from UK that enables secret, secure and configurable panel fixings, is a solution to watch out for. It is a system that’smade up of durable nylon buttons which are clicked to fit into a mating fix attached to the back of the panel. “Button Fix is the ideal option for panel fitting. Ergonomic and easy to install, it is especially configurable to a wide range of panel fittings across different environments and circumstances,” he explains. No matter how innovative a solution is, the real question remains how adaptable it is to our lifestyle and environment. And that’s the determining factor to watch out for. As Bhutada rightly states, “In India, the market is progressing, but there is a long way to go, hence at present for any product we need to tailor the international design to boost functionality. In the current scenario, it is about realistic products and promises.” A&I

13. Ottimo is reaching out to millennials and their design sensibilities by offering black kitchens. 14. Contorno has invested in a robust European manufacturing unit, and ensures that the international designs are customised as per Indian climatic conditions, offering superior quality and impeccable finishing. 15. Ashok Basoya, founder, Ottimo. 16. Ashita Parmar, COO, EIPL Group (Contorno).

www.architectandinteriorsindia.com | SEPTEMBER 2018 | ARCHITECT and INTERIORS INDIA

EVENT ROCA

IN PURSUIT OF ARCHITECTURE

DESIGN MINDS GET TOGETHER IN BENGALURU TO REFLECT UPON THE STATE OF THE PROFESSION

1. Panel speakers: (L-R) Dr.Chandrashekhar Hariharan, Giuseppe Morando, Indrajeet Kembhavi, Siraj Hasan, Ravindra Kumar, Anup Naik and V Vishwannath.

s part of the ‘Think Turf’ series addressing ‘Design Excellence and Best Practices’, Roca called to order an open forum, in association with ITP Media (India), on August 9, 2018 at ITC Windsor, Bengaluru. The discussion aimed to understand the values, ethical expertise and business aspect of architecture through the perspective of the working professionals themselves. Rashmi Naicker, editor at ITP Media, welcomed the invitees on behalf of the organisers, elucidated the theme of the forum and opened the evening. Naicker, then, introduced and invited Mujib Ahmed and Lalita Tharani from Collaborative Architecture of Mumbai, to deliver the keynote address, intriguingly titled ‘Architecture as repository of memories & other ramblings’. Tharani and Ahmed took a moment to reflect on the reality of today’s environment by sharing alarming facts of the planet’s state. “To save our planet, it is essential for us to flip the narratives and strategies that we perform. This can be done by designing and building units that are relevant,” said Tharani. “We need to ponder upon and ask ourselves these questions: Why can’t Indian architects invest time and energy in innovation? Why is retaining talent is pertaining problem? Why do we quote a lower fee than we should? Why do we consider our colleagues as competitors and not collaborators? Why do we facilitate corruption? Why do fresh graduates end up as teachers? Why do we act as courier boys to international firms, further eroding our brand equity?” she added, while

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PANEL OF EXPERTS Dr.Chandrashekhar Hariharan, chairperson, BCIL Giuseppe Morando, design head - Urban Frame, Space Matrix Indrajeet Kembhavi, principal designer & partner, Kembhavi Architecture Foundation Siraj Hasan, principal architect & partner, Siraj & Renu Architects Ravindra Kumar, director - Design, Venkataramanan Associates Anup Naik, director - Architecture, Space Matrix V Vishwannath, principal architect, Vishwannath Associates talking about architecture and ethics. Coming back to the topic they had prepared, Ahmed mentioned, “Our memories are always associated with built environments and, hence, architects have the power of adding value to memories.” In conclusion, Ahmed and Tharani led the audience through a few of their ongoing designs, finished projects and competition entries. Pramod Siddapur, regional sales manager - Karnataka & Goa, RBBPL, felicitated the keynote speakers with a token of appreciation on behalf of Roca and ITP Media. Naicker opened the panel discussion by inviting the panelists and moderator Dr.Chandrashekhar Hariharan, chairperson, BCIL, to the stage. Turning the theme of the evening into a clever question, Hariharan got the dialogue going by asking the speakers why most architects failed in interpreting the brief received from

EVENT ROCA 5

the client. “We have 400 million sq-ft of air-conditioning in a temperate city like Bengaluru,” he stated. Hasan admitted to this, saying, “I agree that the brief is not read and delivered properly many a time. But I do believe that, as architects, we are responsible and we should try and make our foundations strong to go higher in life smoothly. After all, to make a 50-storey skyscraper, we need to go 20 storeys underground.” Vishwannath, being a board member of the BMS College, was asked to share the advice he gives to students. “I always suggest to the youngsters that context and culture in which the building is to grow, is very important. Building contextual will retain the vitality of the building as well,” he responded. Hariharan asked Ravindra if there was anything that experienced architects like him, who have worked on huge

projects with hundreds of architects together, took away from the architects of today. “All that matters is to be good at what you are doing, irrespective of your vertical. If any fresh architect is good at the work, he can easily make his way into something a senior architect is doing. I also believe that this qualitative aspect creates a thin line for international designers to collaborate and practice in this part of the world.” Naik highlighted the impact of technology on the profession. “Our profession is on a cusp of change,” he stated. “Knowledge has neutralised all of us because of the way IoT is working today. But the concept of application makes all the difference. Fresh graduates sometimes get glamour-struck by the profession and try taking big leaps. But I think it is all about being patient, especially in the initial years of practice.” Hariharan believes that architects are no longer on the top of the value chain. Energy and building physicists are chosen first by the corporate entities, and very often they are from out of India. “Is this the future of architecture?” he asked Kembhavi, who replied, “Architecture is not a pure science, but an applied science. A lot of thought and ideation goes into the process. At the same time, there are many factors that tie us down. We have to be creative and find a way across in setting the right balance and to sustain in the market.” Talking about the growth of smart cities and the business it generates among the local and international companies, Hariharan was eager to know from Morando if it was a profitable scenario for the Indian architects. “We, as architects, need to have a clear vision of our smart cities,” he responded. “We, including the government, should be focusing on building quality, rather than quantity. Once quality is ignored, mediocrity wouldn’t lead us very far.” A part of the audience, too, quizzed the panel with pertinent questions, which ultimately resulted in an insightful and intriguing dialogue. Naicker concluded the discussion by thanking the panel members, the moderator and the attendees for their presence and enthusiasm. Siddapur joined Naicker to felicitate the panel and went on to deliver a presentation on the presence, achievements, products and offerings that the pioneering brand, Roca India, has in store for the community. He concluded by thanking the audience and inviting them for cocktails and dinner. A&I

2. Keynote speakers Lalita Tharani and Mujib Ahmed of Collaborative Architecture. 3. Pramod Siddapur, regional sales manager - Karnataka & Goa, RBBPL, delivered a presentation on the presence, achievements, products and offerings by brand Roca. 4. Dr.Chandrashekhar Hariharan, chairperson, BCIL, moderated the discussion. 5. Audience at the forum. 6,7&8. Delegates interacting with the panelists during the discussion.

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EVENT JAQUAR iGEN DESIGN DIALOGUE

ENLIGHTENING EXCHANGES

JAQUAR IGEN DESIGN DIALOGUE CONTINUES ITS PROMISE OF KNOWLEDGE-SHARING AND NETWORKING

1. (L-R) Bibhor Srivastava, Sandeep Shukla, Nikhil Agarwal, Shruti Khanna, Sushant Verma, Amit Hajela, Sabeena Khanna and Jyoti Rath. 2. Yatin Patel delivers the keynote address.

t has only been seven years since the inception of our iGen initiative, but it has become a much-sought-after title by India’s upcoming architects and designers. In addition to being counted among design names to watch out for, our annual edition offers iGen-ers the opportunity to participate in a unique day-long design and knowledge forum – the Jaquar iGen Design Dialogue, powered by Architect and Interiors India. In addition to knowledge-sharing, networking and general peer-to-peer interactions, the event also includes visits to Jaquar Group’s headquarters in Manesar – a study in design itself. The first of this year’s iGen Design Dialogues was held from August 9 to 11, 2018 – wherein an enlightening tour of the Manesar complex was followed by a knowledge session held in the auditorium. The proceedings were set rolling with an opening address by Bibhor Srivastava, group publishing director, ITP Media (India), followed by a welcome address by Mohit Hajela, group head – Business Development, Jaquar Group. Then, it was time for what the iGen-ers were waiting for – the keynote address by well-known architect and founder of DSP Design Associates, Yatin Patel. His presentation, titled ‘Profit for Design’, gave the 16-strong group of young design practitioners insights into an architect’s mind, when he thinks beyond design, and contemplates ways of making a space more cost-effective and profitable for a client. Patel expounded the theme with three examples, varying in scale, typology and context. The first was a campus for a leading software company, on a small parcel of land – which called for making a vertical built-form. “So we went about looking at different vertical campuses and what kind of attitudes we would want: vibrancy, self-sustaining and interactive.” After realising that a simple stacking approach would yield a form with inadequate daylight penetration, the team decided to split it into two, so that dependency on artificial light was minimised. While internally, the programme developed into

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PANEL OF EXPERTS Sandeep Shukla, head - Marcom, Jaquar Group Nikhil Agrawal, chief architect, Design Atelier Shruti Khanna, director - Development & Client Services, DiLeonardo Sushant Verma, founding partner & design head, rat[LAB] - Research in Architecture & Technology Amit Hajela, architect & urban designer, Neev Architects Sabeena Khanna, architect & founder principal, Studio KIA Jyoti Rath, director & principal architect, JR+A Bibhor Srivastava, group publishing director, ITP Media India (moderator) minimal-column spaces with double- and triple-height spaces that promoted visual connections, the façade emerged out of skewing floors for self-shading, with certain portions being given external shading devices. “What did we achieve?” Patel summed up, “We got a sustainable building, flexible and adaptive spaces, climatic response, reduced operational and mainte-

EVENT JAQUAR iGEN DESIGN DIALOGUE

nance cost – paramount here – optimal spacing division…” Moving on to the next project – based on a PPP model – the question was whether to build a football stadium or a sports academy. “Now, typically, stadiums really don’t have other revenues than football matches,” reasoned Patel. “Utilisation of all that land would be 12, or at the most 15 days, of a year. How to generate revenue out of something like that? We made the program a little more robust financially by adding sporting facilities as well…football, tennis, basketball, volleyball, a sports academy, sports medicines… All of these then (would) start generating revenues, which then makes it a much more economically sustainable model.” Design-wise, this resulted in an articulation that maximised space and strategies that looked at multi-tasking spaces. “We started by making seats (that) actually went back, folded up into boxes… The area behind the goal post that could shut to become an air-conditioned space. So again, what have we achieved by doing all of this? We have multi-utility spaces that we created; each space could get transformed for various activities that could happen there... and now it is a really economically sustainable model.” The third project revolved around leveraging interior design and technology to maximise usable space and increase employee productivity, respectively. “Real estate prices are not going down at all. How can we as architects make spaces more efficient?” posed the architect. “For example, a cafeteria which we build for about a thousand employees – now that’s a waste of real estate because it’s utilised only for a couple of hours of the day. That’s a big piece of property we’re paying rent for. How can we reduce that load? We use it as a town hall.” Another aspect that Patel tries to assimilate into his designs is flexibility – especially targeted towards the millennial mindset. “Millennials differ from the earlier generations; (the) older generation likes to have fixed territories, but not these guys – they rather work from anywhere,” revealed Patel. The architect also highlighted how effective workspace design could help control attrition – and thus save on costs that go towards the training and grooming of employees. After his riveting presentation, Patel handed over the baton to Hajela, who introduced panelists participating in a discussion on ‘Design, Innovation & Technology: Trinity of Success’. Before the discussion could begin, architect Nikhil Agarwal (one of the panelists) took the audience through the various projects undertaken by his firm Design Atelier. Moderator Srivastava thanked Agarwal for his presentation, before throwing open the discussion by inviting the panelists to tell the audience how they have adapted the three topical aspects into their design. While Sabeena Khanna, architect and founder, Studio KIA, stated that a design, which is seeded in an idea, can be made more

efficient by technology, Sushant Verma, founding partner and design head, rat[LAB], said, “Whether you like it, dislike it, technology is a necessity – it certainly contributes immensely to transforming the lives of the people and the way people connect with each other.” Concurring with his fellow panelists, architect and urban designer Amit Hajela of Neev Architects, proffered a different perspective based on the etymology of technology. “The Greek roots of the word mean the expression of a technique by which a thing is gained. As far as designers are concerned, it’s about how we design. That technique or that process – I feel, that is technology. It is not the software.” Shruti Khanna, director – Development & Client Services, DiLeonardo, was quite emphatic in her views when she stated: “I think technology is a medium that makes our life easier, and that’s where it should stop.” To Srivastava’s question about innovation and technology, Jyothi Rath, director and principal architect, JR+A, responded: “To define innovation, you have to define what is normal. It’s like hiring cabs – we always hired cabs, Uber just thought about doing in a different way. So what does technology enable us to do? It enables us to do things we could not do earlier.” Sandeep Shukla, head - Marcom, Jaquar Group, brought into the discussion the significance of research when it came to innovation. “When you see large corporates, they have various in-house departments and one of them is dedicated towards research, lots of learning, understanding… Because the core of innovation basically comes from the point of better solutions. And because, at the end of the day, innovation is meaningless if you’re not understanding your customer. Understanding the customer is a tricky job.” The talk then veered towards customer satisfaction, and whether designers actually try and find out if the customer is happy. “I always try to take inputs from them when a project is completed,” revealed Design Atelier’s Nikhil Agarwal. “How the experience is, the negatives and positives of the space. It is a learning experience and a good gesture.” The panel discussion segued into more good things – a networking luncheon, and thereafter a visit to Jaquar’s Brand Experience Studio and a tour of the manufacturing areas pertaining to lighting and wellness products. A&I

3. Rajesh Mehra, Jaquar Group, felicitates Yatin Patel after his keynote address. 4. Networking over cocktails and dinner to wind up the day of knowledge sharing. 5. The sales team of Jaquar Group takes a photo op.

www.architectandinteriorsindia.com | SEPTEMBER 2018 | ARCHITECT and INTERIORS INDIA

PROFILE ANDREA SENSOLI & CECILIA MOROSI

SEEKING MEANINGFUL LUXURY ANDREA SENSOLI AND CECILIA MOROSI OF SUPERFUTUREDESIGN* STUDIO BELIEVE THAT PARED-DOWN SPLENDOUR IS BEGINNING TO MAKE AN IMPACT IN THE REGION BY SHWETA PARIDA

THE UAE AND THE REST OF THE REGION ARE GROWING FAST, WHICH MAKES DESIGN ONE OF THE MOST BASIC ASPECTS OF URBANISATION - ANDREA SENSOLI PHOTOGRAPHS: AASIYA JAGADEESH/SFD*

ARCHITECT and INTERIORS INDIA | SEPTEMBER 2018 | www.architectandinteriorsindia.com

PROFILE ANDREA SENSOLI & CECILIA MOROSI

n 1998, husband and wife architect-duo, Andrea Sensoli and Cecilia Morosi founded their design practice SuperFutureDesign* (SFD*) in the quaint and historic city of Florence, Italy. A decade later, in their quest to explore new experiences and opportunities, the designers moved to Dubai to open an international outpost of their firm. “We moved here in 2008 as we were seeking an international context and new challenges,” says Sensoli as they celebrate 20 years in the design industry. “A lot has changed in the past decade. When we first arrived here, there was a lot of scope in the commercial sector for modern design, but residential interiors was still not open to contemporary [design]. Now, the trend is changing, and I feel very lucky to be here at this time,” adds Morosi. The duo are convinced they have made the right decision in moving to the Middle East. They observe that Dubai is pushing the boundaries in design, whether it is hotels, restaurants or museums. “With the opening of Etihad museum, the impending Museum of the Future, there is a concentration of so many architectural and interior expressions in just one city,” says Sensoli. “For architects, it’s a good place to be. In Italy, things are very slow, which may be for a good reason – but for architects, it can be frustrating.” Morosi and Sensoli have also been keenly watching the ongoing transformation in Saudi Arabia, where they have been working on projects for the past few years. “We recently met some people involved in the restoration process of heritage buildings in the country, a glimpse of which is included in this year’s Biennale di Venezia,” says Sensoli about Saudi Arabia’s debut in one of the most prestigious architectural expositions in the world which is held biannually in Venice, Italy. Morosi is optimistic about the changes taking place in the country. “There’s a good energy. The young corporate executives are well-educated in prestigious universities overseas, and they are ready to take charge of all the new opportunities that are knocking on their doors,” she says. With a range of luxury projects in retail, residential, and food and beverage sectors across the region, as well as in their native Italy, Sensoli and Morosi’s studio has become associated with exclusivity. As arbiters of understated luxury and minimalism, SFD* has recently completed The Kape and Alessandro Dell’Acqua designer boutiques in the new extension of Fashion Avenue in The Dubai Mall and Oriana Spa in Jeddah, Saudi Arabia among other villa projects. How do they define luxury, which can be a subjective topic? Sensoli agrees it’s a difficult question to answer. “Luxury can be exclusive, or it can be just something that is very difficult to achieve in terms of perfection, but not necessarily for a niche audience,” he says. “Sometimes, we relate luxury with a great view or when we can afford to waste space.” For Morosi, it is an intangible trait. “It’s no longer defined

1. Al Ain Shooting Club’s lush landscape sits in contrast with the industrial exterior.

by any special materials that cost a fortune,” she says. “We are now doing a project in Riyadh, where the clients seeks minimalism,” she shows me blueprints of an austere expanse of space, highlighted only by the striking structural details. “For him, luxury is not showing off too much,” says Morosi. The architect couple is also keen to explore other dimensions of perceived luxury in the region, such as sustainability. “We are trying to work with local materials. In the

2. Morosi and Sensoli also design products such as furniture and lighting. 3&4. Exquisite surfaces have been used in Jeddah’s Oriana Spa for a tactile experience.

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PROFILE ANDREA SENSOLI & CECILIA MOROSI

LUXURY IS AN INTANGIBLE TRAIT, WHICH IS NO LONGER DEFINED BY ANY SPECIAL MATERIALS THAT COST A FORTUNE - CECILIA MOROSI

5. A luxury villa in Umm Suqueim, Dubai. 6. Luxury bouique Masel in Milan is among SFD*s latest retail projects. 7. The Al Ain Shooting Club blends in with its rustic surroundings. 8. Structural details are highlighted with the use of impactful materials. 9. Oriana Spa in Jeddah reflects the designers’ meaningful luxury approach.

FAVOURITE DESIGN DESTINATIONS IN DUBAI Andrea Sensoli: I like Zuma for the use of lighting and textures. Four Seasons hotel in DIFC is not exactly astonishing, but the way the light and materials have been used, it provides the perfect balance. Cecilia Morosi: Bvlgari Resort & Residences in Dubai is a nice project. We prefer properties that are intimate and cosy, and not too imposing. GCC, it is the sand and natural rocks that are easily available,” says Sensoli. “We are trying to use rammed earth in a couple of projects.” He notes that it’s not a new technique to them, but that they have not used it in any of their projects before. “We like this material a lot – both in terms of its final outcome and what it contributes to sustainability,” he says, adding that it’s really about using local materials to construct a building. Recently, vernacular architecture

has gained popularity among those who favour sustainable building due to the inherently environment-friendly nature of such structures. Although Sensoli feels that it has taken a long time for sustainability to be taken seriously here since it was first mooted, things are certainly moving in the right direction. With the sustainability debate gaining momentum, how is SFD* contributing to the conversation? “We have worked in the luxury industry for a long time – not only with the business and strategic decision makers, but also with several artisans, engineers, architects and designers,” says Sensoli. “This overview of how different components work together gives us an edge.” Despite the growing and intense competition, the region continues to teem with opportunities for designers and architects. “The UAE and the rest of the region are growing fast, which makes design one of the most basic aspects of urbanisation,” comments Sensoli. “Everything has to be designed, engineered and built up.” While they are aware of the increased competition, both Morosi and Sensoli feel that they have been able to work with a diverse range of clients here compared to their projects in Italy. “We may be a small practice, but our projects have found acceptance among a very different clientele,” shares Morosi. “In Italy, we mostly work with the same local clients, with a smattering of English-speaking foreign clients who have been investing in Florence and Milan.”

PROFILE ANDREA SENSOLI & CECILIA MOROSI

ARCHITECTURAL INSPIRATION 11

She attributes this to the fact that the studio communicates in English, making it easier for them to understand foreign clients, a language which is not very popular in the relatively small town of Florence. In addition to their design expertise, language skills have earned them clients in Italy, who regularly commission them to work on their projects around the world. Among the various sectors, Morosi opines that the retail industry has tremendous scope, followed by the food and beverage businesses, to experiment and introduce new concepts. “Especially in Dubai, you see new styles and themes. In Italy, even though we have a lot of design, there aren’t many international cuisines, the presence of which can also inspire the interior of restaurants,” she states. However, both make it clear that, although they are open to new ideas and concepts, they eschew stylistic influences which provide no context or meaning to the project. “We like simplicity, but we also like to mix contemporary with antique pieces,” says Morosi, who shares that their own villa is a white box peppered with things collected from around the world on their travels. “I collect statues, while Andrea collects nicely packaged bottled water,” she says about their eclectic collecting hobbies. Sensoli’s personal approach is to only incorporate those elements in the interior which have a meaning. “We are happy to do fewer projects; we have worked on commissions that have appealed to us – from a luxury villa to a small 60sq-m store. We tend to stay away from trends and fads, and include only those elements which actually add value to the space,” he says, expressing their disdain for everything superfluous. At the same time, he feels that there is no one way of designing meaningful spaces, and that there can be more than one way of doing so. “We like to transform spaces through structural and lighting design,” adds Sensoli. If there are opportunities galore, there is no lack of challenges either. What are some of the biggest hurdles they face? “Other than the regular time and budget constraints, one of our biggest challenges is finding the right audience who share the same vision as us,” says Sensoli, who mentions that

Andrea Sensoli: I have been following Jean Nouvel’s work for a long time, much before he worked on the Louvre Abu Dhabi. Cecilia Morosi: Carlos Scarpa is an absolute legend. He wasn’t an architect by training, but his instincts and his thinking were ahead of the time. not having the same goal as the client may lead to misunderstandings and arguments. “We say that the architect is like the mother and the client is the father, and they must work together to achieve the same result,” he says. Their luxury portfolio often attracts clients who do not share the same understanding of design. “It’s not everyday that we find clients who are on the same page – but when we do, the results can be awe-inspiring,” adds Morosi, citing the example of the villa project in Riyadh, which produced “spectacular” results because the client was in sync with them. To make the clients understand their thought process better, Morosi and Sensoli turn towards technology. The firm has been actively investing in resources which aid the process of presentation to clients. “For us, 3D is fundamental,” says Morosi. “Our 3D specialists are qualified architects, and not just technicians. Now, we’re working on embedding virtual reality technology into our presentations, which will help us share with our clients what the actual space will look like, including real-time modifications in materials.” She adds that such presentations are not the final iterations, rather they are tools to engage the client and encourage discussion with them, as most clients do not possess the technical knowledge to visualise the space through renderings. Although the process of making a coherent presentation using these advanced technologies might be time consuming, Morosi feels that they help avoid misunderstandings later on. However, Sensoli believes that you can’t always meet misplaced expectations, but using technology can make the details more transparent for everyone. Sensoli continues: “These technologies help us put together the two different but vital components in any spatial design – the first layer is the solid ground earth which represents our basis; and the second is more ephemeral, which can be replaced with the help of technology.” A&I

10. The couple’s own home in Dubai represents their penchant for understated luxury. 11. Morosi and Sensoli’s personal style is a mix of modernism personalised with travel collectibles. 12. The Kape luxury boutique provides an experiential space.

www.architectandinteriorsindia.com | SEPTEMBER 2018 | ARCHITECT and INTERIORS INDIA

iGen 2018

Share your Design Philosophy! Celebrating Design Marvels

BY INVITATION ONLY

For speaking opportunities:

Karishma Shah

+91 9867874792 karishma.shah@itp.com To attend:

Dinal Mehta +91 79776 46324 dinal.mehta@os.itp.com

NEW ON THE MARKET

PRODUCTS

CRYSTAL RADIANCE Czech-based producer of decorative lighting fixtures, glass objects and architectural features, Sans Souci offers you an opportunity to travel back in time and marvel at an era when high art, design and impeccable craftsmanship were the norm. Their new range of classical Maria Theresa-type chandeliers can infuse grandeur into any space – be it residential, retail or hospitality. First appearing in Austria in the 18th century, these chandeliers have a distinctive metal frame with cut crystal glass that are held in place with small glass rosettes. They are then adorned with hanging crystal pendalogues to create a spectacular display of light.

SANS SOUCI Contact person: Sandeep Kaushik Tel: +91-9818995920 Email: sandeep.kaushik@ss-gd.com Website: www.ss-gd.com

REST IN OPULENCE From the historic Tuscan city of Pisa comes the the luxury brand Cipriani Homood that has reached India’s shores thanks to Ottimo. Indulge in Cipriani’s latest collection of outdoor furniture, which stays true to the brand’s legacy of sophisticated designs and understated opulence. The Daybed Amalfi is a vision in white that allows you to recline or rest by the poolside. For outdoor dining, the Miami Pranzo set is a complementary addition with its linear structure and velvet chairs. It can be paired with a layered, woven lampshade. Another seating option is the Miami Terezza, distinct with its elegant curves that add to the relaxed vibe of the outdoor setting. Each set has a uniform design language composed of a woven base and velvet upholstery.

OTTIMO Tel: +91-9650244599, 8527009355 Email: info@ottimo.in Website: www.ottimo.in

THE SHAPE OF WATER Imagining a tranquil space most likely conjures up images of a pristine beach, calm shoreline and soothing waves. These nautical themes are the very inspirations on which Tresorie by Sonali Arora built its Aqua Collection of serveware and table-top accessories, transporting a similar tranquil quality to the dining space. A classic blue-and-white collection of serving bowls, baking dishes, jars, trays, wine glasses, cups and vases, it will make brunches and festive dinners a memorable experience. Its nautical design features – surface textures mimicking water, clam and fish shaped serving plates – make it ideal for serving a fish course or a delightful surf and turf brunch.

TRESORIE Contact person: Radha Suresh Tel: +91-22-26608042/0243 Email: radha.tresorie@gmail.com, contactus@tresorie.co

ROBUST ILLUMINATION Efficient but not obtrusive, K-Lite’s new range of cost-effective LED Bollard is the perfect solution for illuminating footpaths, entrance areas, driveways, private and public areas. The fixtures are characterised by high luminous quality, long service life and the uniformity of the degree of luminance. Available in three different heights, LEDs are integrated within K-Lite’s precision reflector module – which results in a photometric design. The sturdy construction makes the bollard vandal proof, ensuring it is suitable for high-traffic public areas.

K-LITE Tel: +91-44-26257710, +91-9500079797 Email: info@klite.in Website: www.klite.in ARCHITECT and INTERIORS INDIA | SEPTEMBER 2018 | www.architectandinteriorsindia.com

Add an element of intrigue to urban spaces with Pepperfry’s newly introduced black metal pendant lights. From statement pieces to more subtle designs, each lamp uses the much-adored black palette to create distinct styles. The Brown Iron Filament Pendant Lamp has a rustic element; it contains interconnected spheres composed of wire and jute-like rope. For a more retro vibe, try the Transparent Glass Pendant which combines a glass lamp shade with a black frame; it’s perfect for lighting up dining sets. Paired with an Einstein bulb, each of these lamps can effortlessly function as a focal element in a space.

PRODUCTS

BLACK MAGIC

PEPPERFRY Tel: +91-22-61576157 Website: www.pepperfry.com

EMOTIVE LIGHT Function alone is no longer enough, a good product design has to evoke an emotion. On this line of thought, Altus Interio designed its latest Botanical Prints collection of table lamps that echo a sense of calm and bliss. Whimsical prints of butterflies, florals, ferns… over pastel and neutral-tone lamp shades capture the intricate elements of nature and the joy it brings. When not lit, the lamps become an interesting decor element in itself because of the ornate design on the stand.

ALTUS INTERIO Contact person: Rajat Chauhan Tel: +91-8750111181 Email: info@altusinterio.com Website: www.altusinterio.com

REGAL LINEN In a bid to keep traditional aesthetics and craft alive, By Adab unveiled its new Mrs. Rajputana collection of bed linen. Made with 100% virgin, longstaple cotton to ensure maximum comfort, the linens feature block-printed patterns in vibrant colours. Since durability is the brand’s hallmark, the high quality material, with a thread count ranging from 300 to 600, ensures there is no colour fading. Each length of linen goes through a pre-shrunk process to prevent any damage to the fabric after washes. The making process is entirely Azo-free (eliminating use of synthetic dyes) and eco-friendly as per international standards – thereby making the collection suitable for the delicate skin of babies as well.

ARCHITECTURE INCLINATION Expect Carpenter’s – the furniture and accessories design extension of The Grid Architects – to produce a chair like Inclinaire with its strong architectural overtones. Conceptualised following the behavioural patterns of the human body, its linear frame is interspersed with negative and positive spaces that create a compact and sculptural seat with a natural, smooth feel and ergonomic comfort. The simplicity in form is matched with a minimalist material palette of MS and linseed oil-polished teak wood. Traditional joinery techniques such as mortise and tenon and tongue and groove methods further elevate the aesthetics of the chair.

BY ADAB

CARPENTER’S

Contact person: Abhinav Agarwal Tel: +91-9818133733 Email: abhinnav@byadab.com Website: www.byadab.com

Contact person: Bhadri Suthar Tel: +91-9427418225 Email: info@carpentersfurnitect.com

www.architectandinteriorsindia.com | SEPTEMBER 2018 | ARCHITECT and INTERIORS INDIA

THE BIG PICTURE VIGNESH PREMKUMAR

ABOUT THE ARTIST Vignesh Premkumar is a budding architect from South India who graduated from the CARE School of Architecture, Tiruchirapalli, Tamil Nadu. He is the founder and CEO of Scribble Studios, an art and animation start-up. Passionate about art, doodles and animation, he has also directed two award-winning short films which are based on social issues. In addition to all this, the young architect is also working as a consultant with CCBA, Pune.

1. The India House planometric painting by Premkumar. 2. Vignesh Premkumar, the architect-artist.

MAKING PLANS, ARTISTICALLY

he planometric drawing or painting is a combination of plans, sections, elevations and views in a miniature style of art with parallel projections in it – as we can see in Mughal miniature paintings. It should also be a documentation of the architectural spaces, elements, connectivity, ambience, humans and activities, both inside the building as well as surrounding it,

ARCHITECT and INTERIORS INDIA | SEPTEMBER 2018 | www.architectandinteriorsindia.com

the landscape, artworks, murals, sculptures, vehicles, furniture and animals. This form of art requires a lot of detailed study and understanding about the building in a different perspective. All the spaces of the building have to be documented as reference and have to be creatively imagined and converted into a drawing or painting. It also requires a lot of patience and concentration to execute this form of art. Vignesh Premkumar is blessed with the required patience, as we can see in his planometric painting of India House – the studio cum residence of architect Christopher Charles Benninger in Pune. It was completed within 64 days, with 10 hours of painstaking work per day. Most of the colours used were natural fruit colours, to lend an antique touch. The building is divided into two basic segments: the studio (left) and the residence (right). The background consists of sun and moon, interpreting both the parts of the office respectively, and the evening yellow colour is also a mix of daylight and moonlight. The connectivity between the ground floor and the first floor of the residential part of the building, is through a cut-out space with a Tangkha painting, by Buddhist monks (these paintings can only be gifted and not bought). There is also a hollow shaft here, which continues from the terrace floor and reaches the first floor to provide natural ventilation as well as to create a stack effect that is well interpreted and depicted in the painting. The basement structure opens from the lobby of the studio section, with a number of murals displayed. A few skylight openings are seen from the basement to the central courtyard. The activities in India House as well as the vehicles are well depicted. The studio and residence are connected by a series of louvers in the terrace, shown in a subtle manner. The painting collections, murals and sculptures of India House Art Gallery are documented. The palm trees in the front elevation provide the visual image of India House for passers-by on the road outside India House. The middle part of the building, which extends till the first floor behind the courtyard in the background, doesn’t belong to India House – but it is part of the visual image of India House courtyard. The silhouetted banana and coconut trees in the background add to the beauty of the landscape in the courtyard, while the activities outside India House offer a glimpse of the culture of Pune city and its varied population. Premkumar has done other planometric paintings too. For instance, The Essence of Tiruchirapalli, which depicts the important historical monuments of his hometown. A&I By Maria Louis For more details, please contact: arvigneshpremkumar@gmail.com; thescribblestudios@gmail.com