Architect and Interiors India - Feb 2018

WPP license no. MR/TECH/WPP-79/NORTH/2018 License to post without prepayment Postal Registration No. MCN/101/2018-2020 Published on 5th of every month Posting date: 9th & 10th of every month Posted at Patrika Channel Sorting Office, Mumbai-400001 Registered with Registrar of Newspapers under RNI No. MAHENG/2009/33411 Total number of pages 84

Inspiration and insight for architects and interior designers

Vol 9 | Issue 11 | February 2018 | `50

Structural steel

Transforming cityscapes

Contemporary kitchens Serving up style

IT es M UM inspir S GNundoo I S DE a K HP upam An

STYLE MEETS SUBSTANCE MORPHOGENESIS’ RECENT MONOGRAPH SHOWS THE POWER OF CONTEXTUAL YET AESTHETIC, SUSTAINABLE ARCHITECTURE

Published by ITP Media (India)

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EDITOR’S LETTER

8

THE SEARCH IS ON!

IN CASE YOU FALL INTO THE BELOW-40 AGE BRACKET AND THINK THE IGEN CAP FITS YOU, DO WRITE IN TO LET US KNOW

While I sign off the February issue with the Morphogenesis combination of substance and style on our cover, my mind is racing ahead to the April issue. After all, with our anniversary just around the corner, it is time to put on our talent scout hats once again and check out the portfolios of potential iGens. As most of you know, this tribe of young architects and designers who we have thus named, are those who have earned their stripes thanks largely to their idealism and innovation – among other positive characteristics beginning with the letter ‘i’.

We have already scanned the world of Indian architecture and design over the past six years or more to unearth talent that is buried under the mountain of built projects that are being executed in our urban spaces. Each year, we showcase a new crop – so we have a population of 300 on this planet so far. If you fall into the below-40 age bracket and think the iGen cap fits you, do write in to let us know.

As usual, we appeal to resident denizens of the new planet to help us seek out like-minded peers from the industry that they have made their profession. In the past, the most exciting finds have been made through clues dropped by both established and emerging practices about youngsters with passion and potential.

Of course, we do our homework before we throw the spotlight on them – checking out their thoughts and actions through an examination of their work.

What you need to do if you have any suggestions, is to send a message to the email id below with the subject line: iGen 2018 candidate. It would help if you send us contact details, so that we could get in touch with them right away. If you yourself are a potential iGen, then lose no time in writing to us with your bio-data and samples of work. If you tick all our boxes, you will definitely hear from us.

Now that I have got this important iGen alert out of the way, I must draw your attention to the monograph of the moment. When we received this beautiful compilation of work by Morphogenesis, founded by Sonali and Manit Rastogi, we could not help but decide to share it with our readers through a book review cum portfolio of the design firm’s seminal projects. After all, their work and journey towards excellence in design is an inspiration to younger practices.

Our feature on structural steel is another must-read, as it documents buildings made of steel that have left an impact on architects of repute whose work is equally inspirational. Contemporary kitchens have come a long way from the back of the house and, with rapidly changing lifestyles, are often given prominence as part of the living room. Check out our product spotlight for the latest in kitchen design and the reports of our successful information and networking events.

Here’s looking forward to an inbox full of messages titled: iGen 2018 candidate!

Maria Louis, Editor maria.louis@itp.com

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

CONTENTS

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FEBRUARY 2018 VOLUME 9 ISSUE 11

20

36

20

PORTFOLIO

Decoding design powerhouse Morphogenesis’ philosophy through a review of the monograph featuring their seminal projects.

30

SPECIAL REPORT

The HP Design Summit dwelt on the state of architecture today, discussing how innovation and technology are shaping our world.

36

FEATURE

From rural Africa to Tirupati, structural steel is shaping modern projects with its flexibility.

46

46

PRODUCT SPOTLIGHT

Contemporary kitchens are dovetailing style, technology and functionality.

54

EVENT

Jaquar Design Confab in Pune brought together personalities from the design and allied fields.

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82

62

INTERVIEW

Korean architect Minsuk Cho talks about architecture and its political importance.

66

INTERNATIONAL CASE STUDY

Dubai’s new Bulgari Resort blends Italian craftsmanship with Middle Eastern essence.

82 Cover: Manit and Sonali Rastogi of Morphogenesis (pg20);Photograph: Vibhor Yadav

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

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12

60-SECOND INTERVIEW

APARAJITA JAIN, FOUNDER & DIRECTOR, SAAT SAATH ARTS & PETER NAGY, CURATOR, THE SCULPTURE PARK

Volume 9 | Issue 11 | February 2018 | `50 ITP Media (India) Pvt Ltd Notan Plaza, 3rd floor, 898 Turner Road Bandra (West), Mumbai – 400050, India T +91 22 6154 6000

Deputy managing director S Saikumar Group publishing director Bibhor Srivastava

EDITORIAL Editor Maria Louis T +91 22 6154 6037 maria.louis@itp.com Contributors Carol Ferrao, Aruna Rathod, Rupali Sebastian

PHOTOGRAPH: BHARAT SIKKA

ADVERTISING Director Indrajeet Saoji

Till November 2018, the Madhavendra Palace, Nahargarh Fort, Jaipur, will function as a first-of-its-kind contemporary sculpture park in the country, and display work by top Indian and international artists. Open to the pubic and a treat to artlovers, ‘The Sculpture Park’, a collaboration between the Government of Rajasthan, Saat Saath Arts and a number of corporate sponsors, aims to give a contemporary edge to India’s heritage property. Aparajita Jain of Saat Saath Arts and curator Peter Nagy speak to us about this unique project.

How did the concept for this park first come about? What motivated it?

Aparajita Jain: We have always been intensely aware of the lack of public art venues in India as well as arts being a part of our living heritage. Peter and I have been speaking about the need for venues, and he suggested the use of heritage spaces in India for contemporary sculpture. It made perfect sense; then we spoke to Malvika Singh (Chief Minister’s Advisory Council, Government of Rajasthan), and she loved the idea too. We need public spaces for art, for contemporary art to be viewed by the masses and to use culture as a conduit for job creation, tourism and economic growth of areas. Vis a vis Jaipur, though it has multiple tourist spots, amongst the forts, most of the visitation is restricted to Amer. Nahargarh is beautiful, but not as busy. For repeat visits, one needs to come up with something new.

We are doing an experiment here...let’s see if it works.

T +91 93202 85997 indrajeet.saoji@itp.com South India Director Sanjay Bhan T +91 98457 22377 sanjay.bhan@itp.com

STUDIO Head of design Milind Patil Senior designer Vinod Shinde Contributor Saili Bandre

PRODUCTION Deputy production manager Ramesh Kumar

CIRCULATION Distribution manager James D’Souza T +91 22 61546006 james.dsouza@itp.com

The publishers regret that they cannot accept liability for error or omissions contained in this publication, however caused. The opinions and views contained in this publication are not necessarily those of the publishers. Readers are advised to seek specialist advice before acting on information contained in this publication, which is provided for general use and may not be appropriate for the

Walk us through some of the highlights of this curated park.

Peter Nagy: The first thing one will notice upon entry to the palace is the grand courtyard and the four large sculptures placed there. Two figurative bronzes (one

by Huma Bhabha and the other by Bharti Kher) stand opposite each other, balanced by a large silver Ambassador car (cast in aluminium by Subodh Gupta) and two monumental wings (in grey fibreglass by Thukral & Tagra). In the far corner, almost invisible, stands a mirror-finish figure by the American artist Matthew Day Jackson. Each apartment in the palace then contains sculpture by various artists.

Certainly, a highlight is the suite of seven pieces of burnt furniture (in the Maharaja’s apartment) cast in bronze by the French artist Arman. Upstairs, don’t miss the pairing of a new three-part sculpture by Benitha Perciyal of Chennai with a room of abstracted Buddhas by the New York artist Arlene Shechet.

How does engagement with the local government help the creative field and vice versa?

Nagy: The local government has supplied the marvellous site and facilitated the installation and security. All in all, they have been enthusiastic and supportive. We look forward to more of their feedback about how to better serve the very diverse audience that is coming to Sculpture Park and interacting with the artworks.

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

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NEWS BITES

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INDUSTRY DATA Happy Planet, a secure indoor play and gaming area for young adults up to the age of 16 years, launched its largest space in Phoenix Market City, Pune. This 6,000sq-ft space is an amalgamation of indoor as well as outdoor activities.

Launched in 2010 and in its eighth year of operations, these centres are currently at Phoenix Market City, Mumbai and Pune. Happy Planet has a robust expansion plan in store, which will include many other cities going forward.

MERINO Group has inaugurated its first ever Merino Experience Centre (MEC) in New Delhi. “It’s a marketing initiative to create an organised visual display of all our brands, where any customer or business associate can visit to explore various colours, textures, and understand product applications,” highlighted CL Lohia, chairman, Merino Group, during the inaugural ceremony. Besides showcasing lamination solutions for furniture, the centre will draw attention to internal wall cladding solutions with the material. It will also serve as a creative hub for architects and designers, enabling them to explore the products and meet sales teams to work on bigger projects.

REHAU India’s newly-launched Rauvisio Mineral is becoming a preferred choice for home temples and making idols. Crafted from one third acrylic resin and two thirds aluminium hydroxide with colour pigments, it is a solid mineral that is easy to fabricate, anti-bacterial and low maintenance. The adaptable material can be used for kitchen countertops, bathtubs and bathroom sinks, offices and in areas of healthcare.

For an attractive appearance, the surface can be laser engraved and even back-lit.

THE WHITETEAK COMPANY, an online destination for luxurious home décor, opened its first brick-and-mortar store in Bengaluru. Called The WhiteTeak Company Lighting Lounge, it will provide consumers both offline and online experiences through its wide range of premium lighting products and luxury décor accessories. “We are also planning to launch stores in Delhi, Mumbai, Chennai and other cities to connect with today’s consumers by giving the experience that is personal and relevant,” shared co-founder Anu Mehta. iBAHN Illumination announced the launch of its Prima and Elite Series of spotlights — the country’s first app-operated chip-on-board (COB) lighting solution. “COB allows for a higher packing density than the surface-mount technology, resulting in more intensity, choice of beam angles and better light quality for the user,” says Arjun Shahani, co-founder & COO, iBahn Illumination. Prima offers reflector-based spotlights with fixed and adjustable spots. Elite is a lens-based spotlight with four different reflector attachments — fixed, swing, angle and curve.

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

SURYA is showcasing a variety of rugs and accessories in the Pantone 2018 Colour of the Year — Ultra Violet — in all its stores this season. Lynne Meredith, vice president of product development at Surya, said, “We are seeing all shades of purple and mauve emerge as a key colour for textiles and decorative accents. It is a great shade for residential and commercial spaces looking to establish and maintain a sense of grandeur and originality.” At Surya’s New Delhi showroom, you will find a curated assortment of Ultra Violet accessories from rugs, pillows, poufs to art and more.

VIEGA’s new Advantix shower channel range is designed to meet premium and luxury housing demands for high performance drainage systems that are also aesthetically appealing. The modular kit system consists of two base units in five lengths. It also offers a choice of three drains, adjusting feet in two different heights, three frame variants, and five different grates. An innovative clip fastening provides a permanently secure attachment between the drain and the channel body. Its sanded flanges protect against leakages, besides offering features such as odour trap and insect trap.

WICKER WORLD, the Indian furniture design company that specialises in natural wicker, recently shifted to a new location at MG Road, New Delhi, and have re-launched their store.

The 14,000sq-ft store houses indoor and outdoor furniture showcased in rustic interiors and lush green outdoors. “The idea is to create an intimate yet vibrant space to showcase our latest collection closest to the natural environment. The refurbished store expresses both – where the brand comes from and where we want to go,” says Amit Sawhney, promoter and designer at Wicker World.

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NEWS & PEOPLE

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Competition alert for avid photographers!

Foundation for Design Excellence is inviting entries for its prestigious photography competition — CP Kukreja Photography Awards 2018. The award attempts to honour visual styles and interpretations of photographers, architects, designers and enthusiasts, and acknowledge disciplines as diverse as architecture, urban design, interior design, public art, construction engineering, urban sociology and landscape design.

Specifically, the competition invites innovative shots of architectural works designed by CP Kukreja Architects with a subjective conceptual imagery of its own. Photographs of Kukreja’s work expressing architectural or aesthetic ideas, captured with a degree of freshness, aesthetic qualities, intention and charm, will have the opportunity to bag the cash prize of Rs.50,000.

Three selected entries will be declared Special Mentions on the jury’s discretion as well. The last date of registration is February 10, while the last date for submission of entries is February 25. Results will be declared on March 1, and a special exhibition and awards ceremony will be held on March 5. For queries and clarifications, the organisers can be reached at cpkukreja. awards@gmail.com.

World Record attempt at Maker Mela 2018 With the purspose of raising awareness about the global water management crisis, an official attempt at the Guinness World Record for the world’s largest cardboard structure – in the form of a boat – was made during the three-day Maker Mela at the Somaiya Vidya Vihar campus in Mumbai. Over 300 students volunteered for this project along with Somaiya Riidl (Research Innovation Incubation Design Laboratory Foundation), Nuru Karim (founder & principal, NUDES), in partnership with Häfele India and Jyna Packaging. The paper boat, made with 1,000 sheets, was constructed using an interlocking technique to minimise the use of glue and reduce wastage. Karim shared, “Water conservation has posed a challenge to humanity.

Here at Maker Mela, we are working with ecofriendly cardboard to raise awareness about this crisis.” Measuring 88ft x 25ft x 9ft, the boat is

The field has expanded too rapidly and suffers from result-oriented goals... where is the time for maturity?”

SEN KAPADIA, FOUNDER, SEN KAPADIA ARCHITECTS

fully deployable and comprises 3,050 interlocking CNC pieces. Jürgen Wolf, MD, Häfele South Asia, said, “It is of utmost essence that all need to be made aware of the seriousness of the issue of water crisis that is currently prevailing. A project like this achieves that! Häfele supports worthy causes, and is happy to associate with #PaperBoat – World Record, an eco-friendly initiative.” The required documentation, along with the videos, and pictures have been shared with the Guinness World Record team by a third party auditor; and the final result is expected in a month’s time.

Architecture is not merely about creation, it is also a search...a continuous process of discovery and cohesion into the world.”

ABIN CHAUDHARI, PRINCIPAL, ABIN DESIGN STUDIO

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

H&R Johnson’s winning act

Johnson Marble & Quartz received the prestigious Consumer Superbrands 2017 award certification. Ajit Singh, business head, Johnson Marble & Quartz Division, H&R Johnson (India), said, “Owing to the longstanding relationship with our customers, it is a proud moment for us to receive recognition for one of our key and eco-friendly verticals – the Engineered Marble & Quartz Business.

This award motivates us to keep helping our consumers redefine their lifestyles through relentless innovation and research.” The certification follows a selection process that takes into account the views of more than 19,000 consumers.

Mikasa shines at Domotex

Mikasa, the premium engineered wood floors from the House of Greenlam Industries Ltd, was the only Indian flooring brand present at Domotex, the trade fair for floor coverings, in Hannover, Germany. Domotex has long been a prestigious platform to connect the architecture and design community with interior brands.

Saurabh Mittal, MD and CEO, Greenlam Industries Ltd, said, “Platforms such as Domotex offer us an opportunity to showcase our progress and share the stage with some of the biggest names in the industry.” Mikasa exhibited its easy-to-install flooring solutions that rely on the PlankLoc technology which lets customers install floors without the use of any adhesive or glue.

Design...has to be larger than the sum of its parts, yet become a large enough part of something else.”

AKSHAT BHATT, PRINCIPAL, ARCHITECTURE DISCIPLINE

7TH INTERNATIONAL ELEVATOR & ESCALATOR EXPO

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NEWS & PEOPLE

18

HP gets its 3D printing technology to India manufacturing segment.

India is a strategic hub for this significant shift, and we are excited to bring the cutting-edge Multi Jet Fusion technology to Indian customers across a variety of vertical markets.” The 3D printing solution is a productionready commercial system that delivers quality Sumeer Chandra, MD, HP Inc India with Alexandre Lalumiere, director, APJ, 3D Printing, HP Inc. physical parts up to 10 times faster and at half the cost of current 3D printing systems. HP Expanding on its 3D printing industry also announced Imaginarium and Adroitec leadership and momentum, HP Inc. announced as resellers of its 3D printing solution in the the commercial availability of its awardcountry. Speaking on this partnering, Atit winning Multi Jet Fusion (MJF) 3D printing Kothari, business development – Leadership solution in India. “We believe that digital Team, Imaginarium, said, “With its transformation of manufacturing will be a revolutionary Voxel technology, the HP MJF key enabler of the next industrial revolution,” machine will be a game changer for the Indian said Sumeer Chandra, MD, HP Inc. India. manufacturing sector, and we’re primed to play “3D printing will contribute to democratising a part in this as an early adopter, evangelist, manufacturing and transforming industries, reseller and service bureau for the technology.” including the $6 trillion Asia-Pacific and Japan

Kala Ghoda goes Green Green is the new black, as Mumbai city’s much-awaited and the largest multi-cultural festival Kala Ghoda Arts Festival (KGAF) 2018 has chosen the theme ‘Hara Ghoda!’ this year.

From February 3-11, the festival will showcase a kaleidoscope of events that bring alive the rich culture of art in every form, with a special focus on sustainability. Festival coordinator, Nicole Mody said, “This year, we’re looking at embracing young artists and performers who don’t conform to traditional ideas of expression. The theme is Hara Ghoda, which is a movement in itself – and I am excited to see how the city participates in one of India’s most loved art and culture festivals.” The theme is a nod to environmental issues, while at the same time revelling in the beauty of nature, in the peace found in greenery and in celebrating the natural history of the world.

The Urban Design & Architecture section at KGAF 2018 will focus on the potential of

Design is an organic entity that blends cultures to give birth to beauty.”

BOBBY MUKHERJI, FOUNDER, BM&A

Ozone’s seamless innovation

Ozone has unveiled one of the slimmest automatic sliding door systems. Airdrive is designed with a tiny yet powerful operator of only 68mm height and 135mm depth, the slimmest in size. This energy-efficient door system is compliant with the prevailing German standards, CE standards and EU standards for low-voltage directives with max power consumption of 250W. With this system, two and three-metre door openings can be achieved in single sliding and biparting door configurations respectively.

This new product launch stays true to the message of the brand: “what’s visible is seamless interior décor, what’s invisible is innovative engineering.”

Irish vibes in suburban Mumbai

design and its influence on social, cultural, and everyday lives of people. Some wellknown architects and designers are expected at the event to discuss pertinent issues, among them Ashiesh Shah, Rooshad Shroff, Zameer and Ayaz Basrai, Rajiv Saini, Shilpa and Pinkish Shah, Sameep Padora, Praveen Bavadekar and Pankaj Vir.

As the global marketplace becomes more competitive, the architect’s vision should lead and drive the market.”

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

KIRAN KAPADIA, PRINCIPAL, KAPADIA ASSOCIATES

The new g77 Club and Kitchen is bringing the Irish spirit to Mumbai. Targeted towards progressive music lovers, the Irish resto-club located at MIDC, Andheri East, has a vintage feel with a mix of wooden and metal material palette. The high and low seating are the perfect combination for a relaxed ambience as well as a high-energy party vibe. There is also the outdoor seating option, and the upstairs section designed as a casual seating space. g77 Club and Kitchen orients itself as an experience of quintessential food, quirky cocktails and a rustic ambience.

An open mindedness towards cultures from around the world and our inherent design instinct leads to innovation.”

KRUPA ZUBIN, PRINCIPAL, ZZ ARCHITECTS

PORTFOLIO MORPHOGENESIS

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1

PORTFOLIO MORPHOGENESIS

IN SEARCH OF

EXCELLENCE MORPHOGENESIS’ NEW MONOGRAPH SHOWS THE POWER OF CONTEXTUAL, SUSTAINABLE ARCHITECTURE

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BY CAROL FERRAO

ore than an architectural practice, Morphogenesis has often pegged itself as a “knowledge firm”. Honestly, this outlook and approach is justified. Just take a look at their recently unveiled monograph, and it becomes evident why this 22-year-old practice has been successful in creating sustainable models, ones we can all learn from. Called ‘Morphogenesis: The Indian Perspective. The Global Context’, the book is a publishing exercise that is bound to inspire a whole generation of architects and design enthusiasts and help us see the relevance — and practicality — of contextual designs.

When Manit and Sonali Rastogi started this practice in 1996, after their time at the Architectural Association London, they found themselves (if we can borrow Dickens’ words) at ‘the best of times, the worst of times’. “India was at the cusp of globalisation, and that presented incredible opportunity, albeit in very challenging conditions,” recall the principal architects. If there was as much chaos to battle with in this changing economic scenario, there was also the opportunity to create a social impact that could bring order and direction – not just for their practice, but also for architecture in the country.

Did the practice manage to achieve that in the years that followed? In his foreword for the monograph, Los Angeles-based writer Michael Webb (who has authored more than 20 books on architecture and design) alludes to just that. He states, “Every Asian city is with a multiplicity of crisis…architects like Morphogenesis must sometimes feel as though they are carrying buckets of water to extinguish a raging inferno. But the power of example is immense.” We couldn’t agree more. Especially, when we look at projects like Pearl Academy, India Glycols HQ, Infosys Campus, The British School… all showing that scale, typology, climate are no limitations in achieving a truly sustainable, modern, contextual building.

What differentiates them as a practice is not just their ability to create sustainable structures. It is their ability to design relevant modern forms with clever juxtaposition of traditional wisdom and modern tools that deserves every bit of appreciation. If at one place, Pearl Academy relies on traditional low-cost thermal insulation technique using matkas (earthen pots), in the very next we learn how the fluid self-shading courtyards were derived through an extensive computed daylight performance analysis. “It is this bridge between tradition and modernity, where the work of the practice is positioned. Thus, we like to think of our work as the Indian perspective in the global context,” explain the Rastogis.

Even when the practice goes “global” in their approach, it is in service of better design, to create a habitable, contextual space. It isn’t technology for technology’s sake. Throughout the monograph, the pages illustrate, both with words, pictures and drawings, how this fine balance is achieved. “Their skills with computer techniques are deployed as powerful tools for the control of the metric of energy efficient design in a social and economic context,” writes Professor John Frazer in the note ‘A New Architecture’, seen in the book.

1. Manit and Sonali Rastogi, founders of Morphogenesis.

ABOUT THE FIRM In 1996, Manit and Sonali Rastogi founded Morphogenesis with a shared vision of defining a new emergent Indian architecture. If we glance through their work executed during the past two decades, we see the fruitful realisation of this vision across India, and even in SAARC countries and South Africa. This constant innovative streak has been possible because the firm comprises a vibrant cross-disciplinary team of architects, interior designers, landscape architects, urban designers, 3D visualisers and researchers, with diverse backgrounds and specialisations from universities the world over. Together, they seed sustainable ideas into different projects, whether it is masterplanning, residential, commercial, workplace, institutional or hospitality; through in-house integrated project delivery in sustainability, interiors, landscape, digital technologies and design management.

Recipients of over 75 international and national awards, Morphogenesis – with its offices in Delhi and Bengaluru – aspires to take brand India global. And in so many ways, it has achieved just that. It became the first Indian practice to win at the World Architecture Festival (2009), the Singapore Institute of Architects SIA-Getz Award (2014) and the Architects Regional Council of Asia Award (2014), besides being a five-time winner of the Indian Institute of Architects Award for Excellence in Architecture. The practice has been consistently ranked as one of the Top 100 architectural design firms worldwide by Building Design Magazine UK in WA100 (World Architecture) from 2012 to 2017.

Some of their key clients include Ascendas Singbridge,Tata Housing, TRIL, Mahindra Lifespaces, Maker, Adani Realty, Piramal Fund Management, Ambuja Neotia, Trump, Bharti Land, Infosys, Wipro, ITC, BSE, Zydus Cadila, The British Council, Micromax, RP-SG, Ascott, Starwood, Lalit, ITC Hotels, Somerset and IHG.

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

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PORTFOLIO MORPHOGENESIS

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Every design solution from Morphogenesis tries to address four fundamentals: sustainability, affordability, identity and livability. These parameters have defined the enquiry process in projects capturing a diversity of people, culture, wealth and climate. “This has elicited varied architectural responses from us, which sit within an ongoing dialogue and investigation into sustainability through passive design, resource optimisation and contextual identity,” explain Sonali and Manit. Thus, the monograph chronicles 26 projects that are neatly divided into three distinct sections: Passive Design, Resource Optimisation and Contextual Architecture.

PASSIVE DESIGN

2. Learnings from Apollo HQ helped Morphogenesis evolve the courtyard typology for future projects.

3. Glass insertions on the courtyard floor illuminate the basement during the day. In the evening, the indoor light functions as façade lighting as well.

Central to the concept of sustainability is passive design strategies, and Morphogenesis has been able to implement these in the most exemplary way. The first section of the monograph details how such strategies help in achieving an energy-efficient building even on a massive scale. From the famed Pearl Academy (Institutional, Jaipur) to the Infosys Campus (Workplace, Nagpur), we see how clever orientation and modern interpretation of traditional knowledge have been effortlessly translated into contemporary structures.

In particular, Morphogenesis has been exploring the courtyard typology in their designs. One of their earliest projects, the Apollo Headquarters that is featured in this section, shows how their understanding of this typology helped them evolve newer models for future projects. “We won this competition in 1997. This project is when we first started looking at computational strategy and exploring the thermal comfort bands,” shares Manit. The HQ is divided into four blocks, each nine metres wide. “The reason it’s nine meters wide punctuated by the courtyards in between, is that you get daylight from two sides, which gives you a 100% daylit floorplate,” he explains.

Internal and external courtyards ensure maximum daylight, as well as help create a virtually blinds-free environment. The terrace gardens also provide a high level of thermal insulation. The courtyard floor is punctured and embedded with glass blocks that stream in natural light into the base-

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

PROJECT DETAILS The project: Apollo Headquarters Location: Gurgaon, Haryana, India Client: Apollo Tyres Ltd. Architecture & interior design: Morphogenesis Structural consultants: Mehro Consultants HVAC: Dewpoint Plumbing: Saviram Electrical: Sunil Nayyar IBMS: Johnson Controls Curtainwall: Al Karma Landscape: Dr. Iyengar and Parivartan System furniture: Teknion Signage: Intex Systems Built-up area: 100,000sq-ft Year of completion: 2000 Climate: Composite Photographer: Jatinder Marwaha ment during the daytime; and reversely, at night, the internal lighting functions as façade lighting as well. “We came up with this solution keeping the affordability, economy of this building in mind,” Manit discloses.

This courtyard typology with its many meeting spaces challenged the hierarchical structure of Indian workplace then prevalent. “This spine was positioned in such a way that, anytime you went to any point in the building, you would have to pass through interaction spaces,” he explains.

The architecture here also adopts an arts and crafts approach, which is most apparent in the design and execution of the sculptural external fire escape staircase in rippling stainless steel. “The external fire escape staircase was very difficult to achieve; it went up and was taken down three times, because the prime contractors couldn’t make this ribbon-like railing which we had designed to catch the quality of the

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PROJECT DETAILS The project: IILM Location: Greater Noida Client: Ram Krishan and Sons Charitable Trust Architecture: Morphogenesis Structural consultants: BMSF Design Consultants HVAC: Apostle Design Studio Plumbing: Apostle Design Studio Electrical: Apostle Design Studio Landscape design: NMP Built-up area: 175,000sq-ft Year of completion: 2013 Climate: Composite Photographer: Jatinder Marwaha, Morphogenesis

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4. The student housing complex at IILM utilises the street-court morphology seen in old Delhi settlements.

5. The brick façade functions as a highperformance shell, while simultaneously being low in maintenance as it weathers well in the harsh climate.

sunlight. We employed local craftsmen who made utensils, and they got it right in the first go,” informs Manit.

Besides the Apollo HQ, readers can also study passive design strategies employed in Pearl Academy, India Glycols HQ, GYS Vision, Mahindra Luminaire, Delhi Nullahs, Zydus HQ, and Fort House in this section. So efficient are these strategies that a graph in the book details how five projects, despite being of varying scale and nature, still manage to exhibit EPI (Energy Performance Index) about 70% less than the GRIHA Baseline of 140 EPI. That’s taking Green to a whole new level of implementation.

RESOURCE OPTIMISATION Each section opens with an essay, followed by a detailed

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analysis of select projects. The second section of the monograph begins by stating that “affordability derived from resource optimisation is as crucial to sustainable urbanism as environmental protection and socio-cultural sustainability.” To imbibe this principle, Morphogenesis looks at processes in nature and how nature creates maximum impact with limited resources, and with almost zero waste in the end. This strategy is expounded through projects Uttorayon, Amarnath, IILM Campus, Adani Shantigram, The Lalit Suri Hospitality Institute, Chettinad Health City Auditorium and The British School.

At the IILM Campus, the affordable, humble brick is utilised to create a commanding architecture. This student-housing complex, situated in the existing campus of the Institute for Integrated Learning in Management in Greater Noida, is a derivative of the urban court structure, cluster and street living of Shahjahanabad, and the old settlement of Delhi.

Brick is used as the primary façade material because the region is known for its traditional brick construction. It also

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PROJECT DETAILS The project: DAG Modern, Mumbai Location: Mumbai, Maharashtra, Client: Delhi Art Gallery Firm: Morphogenesis Design team: Sonali Rastogi, Neelu Dhar, Rohit Sharma and Sumeet Kumar Plumbing: MJ Consultant Electrical: MJ Consultant HVAC: MJ Consultant Built-up area: 7,000sq-ft Year of completion: October 2013 Climate: Warm, humid Photographer: Deepshikha Jain 7

6. Delhi Art Gallery in Mumbai, was restored using an adaptive reuse approach.

7. Two distinct rafter ceilings that were added at different times, were exposed and unified in the new design.

functions as a high-performance shell, while simultaneously being low in maintenance as it weathers well in the harsh climate of the region.

Here, the courtyard morphology plays with volumes and heights to allow for maximum shading and also generate a microclimate, making the outdoor space pleasant for most part of the day. Daylight analysis helped articulate the façade whilst ensuring optimal light penetration. Indoor gathering spaces have been located below ground and are open to large earth-banked subterranean courtyards. The subterranean landscape areas are articulated with water features and seating spaces to enhance student use.

Comprising four blocks, each with their own internal communal spaces, the campus maintains a great visual field.

A series of interaction spaces in the form of voids spiral up the form – creating, in a way, a vertical urbanscape that overlooks the central spine and the courts. For Morphogenesis, this approach was crucial to ensure an atmosphere of

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safety and security. As much as it is traditionally inspired, the street-court morphology is also inspired by Americanjournalist Jane Jacobs’ theory: “There must be eyes upon the street, eyes belonging to those we might call the natural proprietors of the street.”

The spatial character of the built-form contributes to the dayto-day socio-cultural ethos of the student community. Optimising resources through material and morphology also allowed for reduced built-form without reducing functionality.

CONTEXTUAL IDENTITY Morphogenesis strives to instill in their projects a sense of place, a regional identity that will aid its sustainable lifecycle and keep the structure rooted in the local context. It then has the ability to be an “iconic” structure in the truest sense of the word – a representation of something bigger than itself. Elaborating this aspect of Morphogenesis’ thought process are the projects Artisan House, Delhi Art Gallery, Harley Davidson

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8&9. The Architects’ House + Studio responds to the passive energy-efficient techniques suitable to the Delhi climate. The lap pool helps with heat absorption on the top terraces.

India, Kumarakom Resort, 2 Hailey Road, The Courtyard, ITC Campus, RP-SG Headquarters, Desert Habitat, and Architects’ House + Studio.

Designing the Delhi Art Gallery, Mumbai, needed careful evaluation, as the four-level gallery sits in a century-old building in Kala Ghoda. The challenge was to restore and recreate the heritage value, without imitating in an anachronistic way. After researching colonial architecture and studying patterns and materiality of surrounding heritage structures, an adaptive reuse approach was adopted. While the ground and first floors had to showcase artworks, the next two levels had to accommodate the gallery’s permanent collection, a sculpture courtyard with auditorium, private lounges and gallery offices.

The building exterior needed an extensive overhaul; years of defacing had to be peeled off. The original wrought iron and stucco that remained, were blended with floral motifs that were extrapolated from the surrounding buildings, arranged in geometric and rhythmic patterns. In order to maintain the heritage quality, the need for signage was met in the most complementary and subtle manner. One side of the building façade was originally bare, with almost no decorative elements. Pilasters were added so as to continue the design thread, while also cleverly concealing services within them.

Over the years, the building went through many changes.

The ceilings, in particular, were constructed at two separate points in time – one in stone rafters and the other in wood. To unify the two styles, expose them, as they talk of the building’s history, was a design challenge that was successfully addressed. The spacious stairwell, too, was restored to its past

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PROJECT DETAILS The project: Architects’ House + Studio Location: New Delhi Client: Undisclosed Firm: Morphogenesis Architecture team: Sneha Sah, Vijay Dahiya, Sachi Gupta, Chandra Prakash and Shubhra Dahiya Structure: Optimal Consultancy Services Plumbing: Spectral Services Consultants Electrical: Spectral Services Consultants Landscape design: Morphogenesis Interiors: Morphogenesis Built-up area: 16,000sq-ft Year of completion: 2007 Climate: Composite Photographers: Amit Mehra, Edmund Sumner and Jatinder Marwaha glory by eliminating the more recent elevator shaft, and it now towers as an airy sculpture. In its restored glory, the DAG Mumbai adds value to the already historic Kala Ghoda area.

Standing poignantly right across the amazing Blue Synagogue, it shows how contemporary restoration can be mindful of history while also being relevant to present times.

Another example of contextual architecture, is the Architects’ House + Studio, where the planning, orientation, structure and materiality of the house respond to the essential passive energy-efficient techniques suitable to the Delhi

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climate. This residence multitasks as a house for a three-generation family, a busy workspace (architectural studio) and, on occasion, a cultural hub. It is organised in overlapping spatial categories split into three levels: the private domain of the nuclear family (bedrooms and breakfast room); the shared intergenerational spaces of the joint family, such as the family room, kitchen and dining areas; and the fluid public domain of the lobby and living spaces.

The house incorporates high thermal mass in the west, earth damping for the basement studios, landscape buffers on the south, high-performance surfaces on the east and a large cavity on the barrel roof. Additionally, the lap pool helps with heat absorption on the top terraces. The courtyard concept has been radically re-interpreted and, along with landscape, earth, daylight simulators and carbon-dioxide sensors, it is an entire ecosystem living and growing in the heart of the house.

The materiality is arranged in crisp, clear planes that are articulated in local limestone, local hardwood and concrete.

While the materiality of the opaque surfaces is highlighted as light picks up the various textures of these different planes, transparency is achieved by a combination of glass and water, through reflections and modulated natural light.

Each featured project is a treat to the eyes and the mind. In so many ways, it is Morphogenesis inviting each one of us to share their quest for good design by laying bare the knowledge they have amassed over the years. Christopher Charles Benninger explains it best in his essay, when he writes: “The story of Morphogenesis is a narrative of continual search for excellence and relevance in a rapidly changing urban context, technological milieu, and transforming economy.� A&I

10. The materiality of the house is arranged in crisp, clear planes that are articulated in local limestone, local hardwood and concrete.

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SPECIAL REPORT HP DESIGN SUMMIT

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DRIVEN BY INTELLIGENCE THE HP DESIGN SUMMIT SAW A HEALTHY EXCHANGE OF IDEAS THAT COULD BENEFIT OUR TECH-SAVVY WORLD

BY CAROL FERRAO

1. Panel members: (L-R) Kalhan Mattoo, Swapnil Sawant, Sachin Goregaoker, Nirmal Mangal, Devang Karia, Nilesh Gandhi, Rajiv Parekh, Chirag Jain and Ayaz Basrai.

2. Anupama Kundoo, the inspiring keynote speaker.

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here is no escaping the fact that we live in a techdriven world. Being such an ingrained human pursuit, innovation has given us technological solutions with the promises of a better — and faster — life. As much as we ought to celebrate these advances, we also need to step back and map its true, holistic potential. The HP Design Summit proved to be just the platform for this; it was a celebration of innovative new solutions and an opportunity to brainstorm how civilisation can best respond to technological growth.

Held at ITC Grand Central, Mumbai on January 11, the event gathered architects in a discussion on the state of architecture today, and how innovation and technology is shaping our

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SPECIAL REPORT HP DESIGN SUMMIT world and the positive change it could initiate. The evening began with Neil Westhoff, director & GM, APJ for DesignJet business, HP, delivering the opening address on stage. “For us, it is key to innovate,” stated Westoff as he highlighted how HP is constantly responding to consumer needs. He then chalked out some of the “mega trends” one needs to consider, mainly rapid urbanisation, changing demographics, hyper globalisation and accelerated innovation.

How can we appropriately respond to these mega trends with technology? The summit had the privilege of witnessing Anupama Kundoo, principal, Anupama Kundoo Architects, indirectly answer this question through her presentation – wherein she offered her views on modern advancements, and how she tries to balance the low-tech with the high-tech. Titled ‘Upgrading the human: innovation and technology towards a sustainable future’, the talk challenged the audience to not become “the tool of the tool“. Kundoo invited everyone to contextualise the development taking place in digitalisation.

“We’ll have to go back and face the [fact that] pollution is analog. All the mess we create and we are going to throw away is going to be analog. We cannot escape into a virtual space...

How are we going to use technology to bridge the gap rather than to widen the gap is my question,” the architect declared.

“I don’t want to be a passive person, and just say ‘digitalisation is happening, how will it impact me. I’ll analyse it’. No, I prefer to put it the other way around and say, how do we navigate the advances in technology to our advantage?”

When talking about innovation, design technology, building the future, Kundoo shared that innovating with the material

PANEL MEMBERS Topic of dicussion: Building the Future: Lead by Design, Innovation & Technology Nilesh Gandhi, owner, Metadesign Pvt Ltd (moderator) Ayaz Basrai, founder & partner, The Busride Design Studio Rajiv Parekh, partner, Research and Enquiry into Design (reD) Nirmal Mangal, director and country head - India, M Moser Associates Chirag Jain, principal architect, UCJ Architecture & Environment Kalhan Mattoo, principal architect & partner, Planet 3 Studios Sachin Goregaoker, director, GA Design Swapnil Sawant, principal architect, Worksphere Architects Devang Karia, country manager-Large Format Design, PPS-GSB, HP Inc. India should be the starting point – “a one-to-one contact with materials cannot be underestimated.” As an architect, she would like to preserve the methodology which requires thinking with the hands. “The physicality of innovation, which is very much in the material, will need to make space for analog interventions.

Only together with both of those will we achieve affordable sustainable solutions which are also beautiful. Beauty not only for the elite – but for all, everybody needs that. It’s a human need to live in a beautiful space, not just an affordable space.”

Time is one of the most valuable resources at our disposal,

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3. The rapt audience at the Mumbai edition of the HP Design Summit.

4. Neil Westhoff, director & GM, APJ for DesignJet business, HP, delivering the opening address.

5. Devang Karia from HP Inc. India talks about the latest innovations in print technology.

6. Kaushik Shaw, MDM Workstation, HP, sheds light on the state-of-art features of the company’s newlylaunched products.

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and for Kundoo it means spending it wisely to fight for the smart citizen who will have a good quality of life. “We need to take time and contextualise; architects are very good at that. We know how to synthesise different things into a holistic thing. In this age of rapid urban transformations, I would rely on architects more than anyone else to work on that synthesis and the holistic picture – and not put the cart before the horse.”

Depend on human intelligence and learn to use available solutions wisely and in context, Kundoo suggested. “Just because we have the technologies, we cannot afford to become more stupid. Because the computer can decide so many things for us, doesn’t mean we can afford to not know how to spell and not know basic things which our ancestors knew very well,” she added. “The need of the hour is to negotiate between high-tech and low-tech to our advantage, [to negotiate] between handmade and machine-made.”

Kundoo assured her enthralled audience that there doesn’t need to be a polarity between people who are high-tech or lowtech. If we are willing to adopt other ways, embrace the other, it could lead to solutions that are holistically good for all. “Architecture can be more effective if you remain in context to the rest of society instead of becoming incestuous and remaining and hanging out with yourselves only,” she expressed. In the end, Kundoo advised that we have to use technology diligently, and drive these advancements with human wisdom. “I’m not saying hold, put the brake on. I’m saying, accelerate on the human intelligence,” she concluded.

PANEL DISCUSSION Following these presentations and the HP product launch (see box), a discussion on ’Building the Future: Lead by Design, Innovation & Technology’ was held, with a dynamic panel of eight architects. Nilesh Gandhi, who moderated the session, steered the conversation, covering aspects like the impact of digitalisation in the design process, architects’ receptivity to data-driven innovations, the culture of digital engagement

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in the construction sector, and opportunities for cross-sector collaboration in the industry. Sachin Goregaoker was quick to note, “It’s really magnificent to see how things are progressing and CAD (Computer Aided Design) has actually transformed the architecture all around, completely.”

Ayaz Basrai pointed out that there is a place for analog and there is a place for digital – the trick was to find the right tool for a specific task. “Take Grasshopper (software), for example; you can create forms that you cannot visualise with an unaided mind, because it’s an algorithmic base, it’s self-frequencing things which the human mind cannot process,” he explained, adding that some tasks are better fulfilled digitally and some others manually. “If you ask a human to compute the square root of a million or the six digit number, [it would be] floundering. But if you try to teach a computer to pour a cup of coffee, you have the same problem.”

Technology has altered the competitive nature of the profession, as architect Swapnil Sawant pointed out, stating that Pinterest has become the new competitor. Besides, the architect is also competing with other consultants, “who have proved themselves more important than us.” Sawant went on to add, “That’s the challenge. We are giving just an envelope. And in the entire scenario, the contribution of the architect has become less, because he’s not digitalised to that extent. A client can live without an architect, but he needs an air-conditioning guy, a security person, building management services.” Keeping abreast with all the technological demands of a project has become as paramount as the design of the structure itself.

“It’s not an onslaught, it’s the future. We need to work with what’s happening,” was Kalhan Mattoo’s response. “The ability of the computer to do what a human mind can’t, is incredible.

Unfortunately, we’re only limiting it to the aesthetic elements mostly. We just see very seductive renderings.” Mattoo also questioned the practice of working in silos, with no healthy exchange of ideas. “I think parametric computational design will essentially allow individual studio’s systems to create their own little bits of code to solve some elements of problems that are out there.” A banking of knowledge, of skill could be the future of tech-enhanced design.

Coming from a collaborative environment, Rajiv Parekh expressed, “Frankly, there are enough studios which we collaborate with for different projects, different scales, different skill sets, because we don’t claim to have all of them ourselves anyway.” Agreeing with Basrai, he opined that there is a right software for the right kind of practice –— since most studios differ in ideology. “You don’t need to buy the fancy high-end machine, just buy what’s right for you. Figure out where your heart is and what makes you tick. Lots of people are doing

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PRODUCT LAUNCH The HP Design Summit was the perfect occasion to unveil the new HP DesignJet T830 24-Inch Multifunction Printer – an ultra-compact, versatile large-format printing solution for architects, engineers and construction teams. Devang Karia, country manager-Large Format Design, PPS-GSB, HP Inc. India, commented, “It is our endeavour to constantly reinvent our printing portfolio to meet the evolving needs of our customers.

The latest HP DesignJet portfolio aims to enable architects, engineers and construction teams to unleash their creativity while helping them collaborate seamlessly in designing and building for the future.” Users can immediately update all partners on project review results with the most compact large-format MFP. The intuitive model offers convenient print/ scan/copy function, and the HP DesignJet print quality helps communicate effectively and move the project forward. At the summit, the audience was also given an exclusive showcase of DesignJet T830 with armour case – a tough exterior casing – which makes it the preferred choice for on-site large-format printing for the armed forces, disaster management groups, engineering and construction, mining, oil and gas sectors.

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7&8. Karia speaks about the new technology and unveils the HP DesignJet T830 24-Inch Multifunction Printer.

9. Representatives of the organising team from HP and ITP Media with keynote speaker Kundoo and the panel members.

good work, but in different ways,” he shared. The only limiting factor however, is often the cost of the software, “and that’s the sort of hurdle to be crossed along the way.”

Devang Karia of HP Inc. India responded, “Any given technology which is an enabler in any form of overcoming a challenge, will get immortalised over a period of time – and the eventual reality is mass adoption. Over a period of time, the ways and means of acquiring technology could change.

So it could be a buyout, it could be a rental model, it could be pay-for-use. There are many, many different ways of looking at this. The question is, how important is that need to do things differently, and how can technology help you.”

For architect Chirag Jain, the biggest advantage of technology was that it has compressed the time period within which a project can be delivered. He also cautioned that professionals needed to make appropriate distinctions between what technology to use, and where to employ it effectively. “In some places, a hands-on approach may be more conducive, a constant switching between the two approaches may also be required.

Otherwise, one of the challenges is that the human mind can

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

become lazy and, if technology makes you lazy, then you stop thinking – and that’s a trap to avoid. It is quite challenging sometimes to even make sure that, in the studio, people don’t get caught in that kind of a trap.”

Nirmal Mangal reminded everyone that we still need people for technology to work, especially human creativity. “If you put all the instruments in a room, would they, by themselves, create music? No,” he stated. “What Grasshopper allows us to do is explore shapes – which was not possible before. What Frank Gehry did for Los Angeles Philharmonic, wouldn’t have been possible if he wasn’t using the software which was a tool for aircraft design.” But the innovation and the thought process finally comes from the architect. “If you punch data in the computer, it’s telling you: yes, it (the structure) is stable – but it is not designing by itself.”

Moderator Gandhi finally invited the architects to predict the future of architecture in terms of technology and innovation. Basrai put it very succinctly: “It’s retarded to be in a kind of paradigm of ego-driven iconic sort of architecture, because our cities don’t need more icons. Make technology accessible.

It’s not about being prescriptive or shoving (technology) down someone’s throat. Just make it accessible, and offer it as one of the many tools that one can use to design better cities.” A&I

FEATURE STRUCTURAL STEEL

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STEEL OF LIFE

ADAPTABLE TO DIFFERENT CONTEXTS AS WELL AS DESIGNS, STRUCTURAL STEEL IS EMPLOYED IN A VARIETY OF PROJECTS

BY CAROL FERRAO

1. Steel is making a range of creative – and pragmatic – expressions possible.

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hether it is the trend for sleek designs or the constant drive to create the most experimental forms, structural steel is making a wide range of creative – and pragmatic – expressions possible. Most projects also no longer hide the metal structure but display it proudly, either finished in a choice of colour or by retaining

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its industrial simplicity. As a prefabricated element, structural steel brings in a certain level of convenience and sophistication to the construction process too – improving the time frame in which the project can be delivered.

“For constructions that require large spans, flexible curves and/or heavy industrial or commercial uses, steel is highly efficient,” point out Gayathri Shetty and Namith Varma,

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deployed in various construction sectors. “In India, we have been hesitant to use steel for structural systems, primarily due to cost constraints. Lack of familiarity and use has led to lack of proficiency in the design of steel structural systems, limited steel fabrication capabilities and limited market support,” says Nirmal Mangal, director and country head – India, M Moser Associates.

Few projects, both within the country and outside, are breaking this cycle of ignorance and apprehension. It’s not just larger-than-life designs that are successfully resulting in steel structures. We chronicle four distinct projects, set in unique contextual environments, that use structural steel to deliver appropriate, workable designs. principals, Gayathri & Namith Architects (GNA). The ability to cater to some of the most challenging projects, either in form or design brief, has made steel a go-to construction material for highly conceptual outputs. The application of this sturdy material has gone beyond engineering marvels like bridges, and has made way for futuristic, architectural feats that would have been otherwise improbable.

While the material is often applauded for its flexibility and versatility, the fact that it can deliver a clean, systematic construction process has also augmented its popularity. “A shift from the concrete-based conventional method of constructing buildings to steel structures, will halve the completion time to two years,” highlights Akshay Sekhri, marketinghead, Pomegranate Design.

In an industry where time is money, this advantage cannot be stressed enough. Precision-based construction methods create less room for error or surprises – especially when executed with the right skill and knowledge.

In a developing nation like ours, the many advantages of structural steel are still to be explored and practically

MEDITATION IN STEEL To be completed later this year, GNA’s upcoming project relies extensively on structural steel for its organic form. The Brahmrishi Ashram Meditation Centre in Tirupati is inspired by the shanka (or the conch shell). Along with the principles of Vastu Shastra, the building’s form is derived from the characteristics and geometry of the shanka. The conceptual design is an interpretation of the theme – ‘unshackle your thoughts and set them free’.

“Conch shells have a significant place in Indian mythology.

It’s believed that, if held near the ear, the sound of the ocean humming gently resonates from within. We wanted this experience to resonate within the built space of the meditation hall, and achieved it by first identifying the geometry from its natural form and then transforming it into an integrated shell structure with progressive cut portions that would aim at heightening one’s senses during a meditation seminar – just like the experience in a place of worship,” share the architects.

Creating such an uninhibited structure was possible with a steel framework that spans a wide radius, with absolutely

2&3. GNA’s upcoming project, Brahmrishi Ashram Meditation Centre in Tirupati, relies extensively on steel for its organic form. The project is expected to be completed later this year.

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no vertical columns within the main internal space. The meditation centre occupies a good 1.3 acres in the 17.2-acre site, making it a fairly large structure. The shelled roof has slits at different levels for natural light to stream in and add to the serene atmosphere. “We oriented the structure in the cardinal directions, auspicious to that of a typical Hindu temple plan. The entrance vestibule to the east and the Gurusthana or Stage to the west allow the circulation pathways to move from the east to the west just like in Hindu temple architecture,” the architects add.

STEEL IN URBAN ART

STEEL HEADQUARTERS Commissioned to M Moser Associates, a new campus in Indore for a global software company is envisioned as a sustainable integrated pedestrian-oriented environment, connecting a mix of commercial, hotel, retail and recreational space. The project is divided into four phases: headquarters building, central landscape and shared amenities (phase one); commercial office and data centre (phase two); commercial office (phase three); and hotel and retail program (phase four).

As a 45m cube tilted on its axis, the HQ immediately draws all attention in this software park. The cube is conceptualised with photovoltaic transparent glass façade facing south and two façades of fritted glass facing east and west with clear glazing facing north, to the lake. The interior floor plates, adding up to 15,100sq-m, revolve around an internal atrium connected by a central core and monumental stairs.

Due to its challenging geometrical form, multiple structural systems were explored for the headquarters building during the concept design phase. “The studies indicated that, because of varying floor plate sizes and configurations, it would be difficult and expensive to build the project in reinforced concrete system. The studies also indicated that a steel moment frame system with composite metal deck would be the most cost-effective and constructible structural system,” architects at M Moser explain. The lateral bracing for the structure would be accomplished using reinforced concrete shear walls at the core. Additional benefit of using steel structural system would be the speed of construction and much higher level of construction tolerance and quality.

STEEL IN A RURAL PROJECT 4. In M Moser's upcoming Indore project, steel frame system with composite metal decking will be used to create a 45m tilted cube as a HQ building.

Further away in rural Africa, steel was cleverly juxtaposed with local building techniques to create a community space. Designed by Johannesburg-based Architecture For A Change (A4AC) and and executed along with the locals, the new community church in Chimphamba village, Mijinji District, Malawi, replaced the old, small dilapidated build-

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

Commissioned by Jindal Steel, Vibhor Sogani’s steel sculpture sits on an expansive six acres of greens between the flyovers at AIIMS crossing, Delhi. The 40ft-high creation in steel, called Sprouts, was initiated by the Delhi Government towards the beautification of the city. Sogani recalls sowing seeds when he was called by the government to create something that reflected the global appeal of India, announcing that we have arrived. The idea behind the installation was then to compare sprouting seeds to the nation’s growth and transformation since Independence. Steel, as a material, points to the advancements made and the promising future that lies ahead. The artist notes that the approach towards this project was different from what one tends to see in public spaces in the country. Despite the initial hurdles, Sprouts is now one of the most visible public art installations in the country. ing. Along with the chiefs of the village, Youth of Malawi (a not-for-profit corporation) approached A4AC to design and manage the build of the new church/community hall.

In rural communities, these buildings also function as gathering areas to discuss important matters such as food security, community challenges, etc. Additionally, A4AC wanted to devise a building solution that could be easily built by the community builders themselves.”Through our analysis of geometric shapes in the community, it became evident that cylindrical forms resonate with safety and protection,” the architects note. From chicken coups and protection walls around small trees to maize storage structures, the widely visible circular form in the village life became a starting point for the structure’s design.

“Essentially the building is a round cylinder, with three boxes that have been inserted into it. The boxes are constructed from local brick, to match the existing structures in the village. The first box serves as a foyer into the building,

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5. The central circular hall of the Malawi Church is built in local burnt red bricks and supported by a lightweight steel roof with IBR sheeting.

and the second taller box serves as a ventilation tower,” explain the architects. The central circular hall built in local burnt red bricks is supported by a lightweight steel roof with IBR sheeting (IBR sheets have become a household name in the South African building industry as side cladding or roofing material in commercial, industrial and residential buildings. With the name abbreviated from ‘inverted box rib’ owing to their square fluted profile, the sheets are made from a variety of materials). The long steel members allow for a large gathering space without any obtrusive columns getting in the way.

The circular shape of the building also helps with acoustical quality of the building. “The ventilation tower generates natural ventilation through the concept of a heat stack. The tower is heated by the sun. This leads to hot air rising towards the top of the tower. In return, this creates a suction at the bottom, drawing fresh air from the exterior,” add the architects.

The climate in Chimphamba allows for the walls to remain breathable throughout the year, which, in turn, promotes enhanced natural ventilation. The light openings inside the wall were inspired by the previous church.

The structure had many small holes in the decaying roof.

Although this was not created intentionally, it resulted in small beams of light entering the space. This memory was replicated in the new church.

STEEL HOME 6. Inspired by local forms in the village, A4AC chose a circular design for the community space.

In one of their most recent projects, located in the northern part of Bengaluru, Designhaaus used structural steel to meet the client’s brief. “Our client being a man of vast experience wanted his house to reflect his philosophy

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that ‘simplicity is the ultimate sophistication’. Part of his initial brief was to have an organised approach devoid of all clutter that is associated with a conventional construction methodology,” share Gourav Das and Rajeev Kumar Sharma, directors, Designhaaus.

After a lot of deliberation, it was decided to build the house predominantly with structural steel. “Being a part of the petroleum and gas industry, the client had prior experience in building steel structures and was fully aware of the advantages associated with it. This nascent idea was to be extended and adapted to develop a construction methodology fulfilling the requirement of a full-fledged residence.

From there on, the approach was to think beyond the obvious and explore new possibilities,” the duo add.

The five-bedroom house was built on a structural system of RCC footings with ISMC (Indian Standard Medium Channel) columns, ISMB (Indian Standard Medium Beam) with steel decking sheet, finished with 50mm-thick RCC having minimal reinforcement bars. The beams are castellated allowing service lines to pass through them. The bottom surface was finished with gypsum false ceiling in the interior, while waterproof fibre cement boards were used for external application.

SEISMIC SHIFT Seven years after a series of quakes affected Christchurch (New Zealand), locals have adopted a new approach to construction. A 170-page report – Reconstructing Christchurch: A Seismic Shift in Building Structural System – by co-authors Michel Bruneau from the University of Buffalo, and Greg MacRae, a professor at the University of Canterbury in Christchurch, details how the previously “concrete city” is now adopting steel construction to create stable buildings. Preventing loss of life is no longer the only objective, as the rebuilding project is carried on by locals to also prevent loss of buildings and ensure minimum structural damage.

The search for cost-effective, easy-to-repair buildings, is leading local engineers and architects to create steel braced structures despite the comparatively high cost.

Similarly, a team of researchers at the University of Arizona along with few partnering universities is looking at steel collectors as a key feature that will prevent a building from collapse, even if it’s a major earthquake like the recent 7.1-magnitude quake in central Mexico and 7.3-magnitude quake that hit the Iran-Iraq border. Through the various design iterations, the research team is studying horizontal transfer of forces as opposed to vertical.

The steel reinforcements fitted either in the concrete floor slabs or in beams below, will transfer earthquake forces horizontally.

Computer simulations and Big Shake tests are being employed to determine the effectiveness of these engineering strategies.

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THE ROAD AHEAD For the steel structure industry to grow in India, we will need to  promote steel structure engineering design.  create national standards for structural steel for manufacturing, fabrication and steel erection.  promote market for structural steel, fabrication and steel erection industry.  develop capabilities for large-scale steel fabrication, transportation of large steel assemblies and steel erection on site.

Inputs from Nirmal Mangal, director and country head – India, M Moser Associates 8

7&8. Designhaaus sees their Bengaluru project as a prototype in steel houses.

In continuation with the philosophy of optimised and non-cluttered design, the structure was completed using lightweight AACB (Autoclaved Aerated Concrete Blocks) and extruded PU foams. “The requirement of sand in plastering was substituted with the use of quarry dust and fly ash mix which brings in a whole lot of advantages in terms of increased workability, reduction of cement consumption and decreased permeability,” the architects disclose.

A floor-to-floor height of 4m is maintained at the two lower levels, which significantly lifted the upper floor to capture the best views around. To maximise these views, blocks were added, deducted and modified – resulting in interesting juxtaposition of masses. “This led to the formation of expansive covered/uncovered terraces and sit-outs, which help

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

in keeping the upper levels connected to the ground despite levitating higher up in the air,” Das and Sharma explain. The entire block faces the southwest corner, adhering to the local cultural context. It also helps in opening up a large expanse of landscaped lawns in the north and east side which act as buffer spaces from immediate neighbouring surroundings.

“This project remains a humble attempt to develop a prototype of House in Steel, which we believe can be adapted to varying contexts with a few changes and will be much more relevant in the days to come,” state the directors.

Adaptability of structural steel in such wide contexts and geography is quite noteworthy. It is evident that the many benefits of the material don’t need to be restricted to a handful of projects. As the market matures, it will be interesting to see what new steel marvels await us in the future. A&I

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EXPERT OPINION 1

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ARCHITECTS TALK ABOUT STRUCTURAL STEEL: ITS POTENTIAL, CONSTRAINTS AND NOTEWORTHY EDIFICES What kind of projects do you think benefit most from structural steel?

Gayathri Shetty and Namith Varma: Steel is highly efficient in the case of constructions that require large spans, flexible curves and/or heavy industrial or commercial uses.

Steel possessing high tensile strength is more versatile than concrete structures. Nowadays, construction demands an early assembly and an immediate occupation, which steel structures can easily provide.

Akshay Sekhri: Even though steel is a naturally strong material, proper welding techniques can augment its quality further. This process makes steel suitable for high-pressure applications such as columns and I-beams in commercially designed buildings.

Nirmal Mangal: Structural steel is a very versatile structural system suitable for a wide variety of projects. The benefits include speed of construction, future adaptability and suitability for excellent seismic compliance. It is also the preferred material for super tall structures and long-span structures such as airport terminals, trains stations, bus terminals as well as convention centres.

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Do you see structural steel being used to its full potential in the country? Any critiques on current application methods and design?

Shetty and Varma: As of now, steel is not to being used to its maximum potential in India. Instead, there is more familiarity with working with materials like concrete. The building industry in India is not fully aware of how this material is to be treated. More time is needed to witness the use of steel to its optimum potential. We are seeing this change happening gradually, and Gayathri and Namith Architects are adapt-

1. Gayathri Shetty.

2. Namith Varma.

3. Akshay Sekhri.

4. Nirmal Mangal.

5. Gaurav Das. 6. GNA chooses Santiago Calatrava’s Liege railway station in Belgium as an exemplary steel structure.

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PANEL OF EXPERTS Gayathri Shetty and Namith Varma, principals, GNA Akshay Sekhri, marketing-head, Pomegranate Nirmal Mangal, director and country head – India, M Moser Associates Gaurav Das, director, Designhaaus ing to the market demands. We experiment with steel in non-commercial projects such as museums, exhibition spaces, public gathering spaces, etc, where large spans and flexibility in design are required.

Sekhri: No, we have along way to go. India’s massive construction sector must increase the use of structural steel to accelerate the development of commercial and residential complexes, while retaining the indigenous cultural appearances. A shift from the concrete-based conventional method of constructing buildings to steel structures will halve the completion time to two years.

Mangal: In India, we have been hesitant to use steel for structural systems, primarily due to cost constraints. Lack of familiarity and use has led to lack of proficiency in the design of steel structural systems, limited steel fabrication capabilities and limited market support.

For owners and builders, structural steel offers excellent speed of construction. Steel structures provide better quality of construction and reduced construction timeline at a modest premium. The real estate industry is not sufficiently evolved to consider the cost benefit of reduced construction duration. For contractors, steel structures offer better quality of construction and much tighter construction tolerances. They

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are hesitant to embrace it because of lack of market support, lack of equipment necessary for steel construction, and lack of skilled steel workers/labourers.

The architect must be the change agent in the design and construction industry. The architectural industry has been slow to embrace structural steel in architectural design. This comes primarily from lack of familiarity and expertise in architectural design using steel as structural system. Most architects fall back on what they know better, and very few are willing to experiment outside their comfort zone. Architectural colleges and universities also pay very little attention to structural steel in building design because their faculty also lack such experience.

Gaurav Das: End-users (particularly in the case of residential projects) are not very receptive to the idea of a home made in steel, hence the technology – in spite of its benefits – is not being used to its full potential.

What are some of the constraints/challenges while working with this material?

Shetty and Varma: A high level of proficiency is expected from labourers when working with steel. An orientation among the existing labour force needs to be made to formally train then while handling steel structures. Since steel structures need constant maintenance and there is a lack of skilled labourers, the quality of steel structures is inconsistent.

Sekhri: Component fabrication problems, anchor bolt installation problems, steel installation problems and deformation of components are some of the major challenges.

Mangal: The constraints and challenges for the structural steel are similar to all emerging technologies. These challenges include but are not limited to engineering capabilities, high cost of steel structures and lack of market support for steel structures.

The cost differential between steel structures and concrete structures have been declining over the decade. The cost can come further down substantially if there is a greater volume of use of structural steel in the building industry. The engineering design of steel structures is lot more precise than concrete structures. The engineering community in India is more familiar with concrete structure, which leads to an inherent bias towards concrete structures. The engineering industry

has been lagging behind in updating its structural design capabilities for steel structures. Our engineering capabilities needed during design and during the fabrication of structural steel are not at par with global standards and capabilities. The stock on hand-based CAD/CAD structural design is common in the developed countries. Given the population and size of the construction industry, the market for structural steel is very small. Most of the steel manufactured in India is normal mild steel and smaller steel sections. Here, we also tend to use more recycled steel, which has lower strength vis a vis non-recycled steel. Large steel members needed for high-rise buildings and long-span structures are not fabricated in India, so they have to be imported from China, Japan or Europe. It is a demand-based cycle; unless there is substantial market demand for larger steel sections, the manufactures will not manufacture them in India.

Das: The biggest challenge is lack of skilled and experienced workforce required to deliver these kinds of projects to reap the true benefits.

Where have you seen exemplary use of structural steel recently?

Shetty and Varma: Most projects by Santiago Calatrava use steel to its greatest potential. We recently had the opportunity to see the railway station in Liege, Belgium, which was designed by him and shows an exemplary use of steel.

Mangal: Some of the good examples of use of structural steel include high-rise buildings and long-span structures such as airport terminals. Mumbai International Airport’s Terminal T2 required a tall column-free space for the public concourse. The design solutions for public spaces are creative and inspiring.

Jawaharlal Nehru Stadium, New Delhi, was completed in 2010.

Its design is unique and creative, and uses structural steel to accomplish design objectives. The original Bangalore International Airport Terminal was designed as a steel structure. The new expansion increases the size of the terminal several-fold seamlessly, thanks to the expandable quality of steel structures.

The renovated terminal is a creative solution for the third busiest airport in India. At 442m height, World One Tower in Mumbai would be one of the tallest residential buildings in the world; the wonders of structural steel make its height possible.

The design of the tower is creative and sculptural. A&I

7. The Jawaharlal Nehru Stadium, New Delhi, is Nirmal Mangal’s pick for a creative steel structure.

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

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NEW-AGE KITCHENS

PRODUCT SPOTLIGHT CONTEMPORARY KITCHENS

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CONTEMPORARY KITCHENS INCORPORATE SIMPLE AND SLEEK DESIGNS WITH THE AIM OF AMALGAMATING FUNCTIONALITY, STYLE AND COLOUR

BY ARUNA RATHOD

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1. Contemporary dining-room furniture and lights by Cuisine Regale, a Godrej venture.

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lean and simple seems to be the mantra of the contemporary kitchen. High functionality and streamlined surfaces are important features, yet the design often incorporates traditional ideas. Pristine white or single coloured cabinetry with clean lines are popular; texture and warmth are incorporated by way of interesting tiles or dark

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

hardwood flooring. Contemporary designs are very linear, often with a majority of the cabinetry on one wall, and geometrical with straight lines and rectangular shapes. The kitchen is accented using various finishes and colours with modern tables and chairs to add a place to dine.

Vaishali Lahoti Shah, chief designer, Cuisine Regale (a Godrej venture) says that the kitchen is the heart of a family

PRODUCT SPOTLIGHT CONTEMPORARY KITCHENS and also a centrepiece of their home. “Kitchens have evolved drastically and are no longer just functional spaces. Some of the trending looks blend sophisticated colour selection with high-quality materials.� In case of counter tops, quartz offers a high-end alternative to granite, and integrated sinks with countertop is the latest trend.

Whether a client requires a huge open kitchen with all the

trimmings or a combination living and kitchen area in an apartment space, there are enough modern designs to suit every need. Shami Goregaoker, design director, GA Design (Architecture & Interior Design) observes that kitchens have undergone a huge change in terms of layout, requirements and design. Contemporary kitchens combine functionality, style and colour. With more people engaging in this area

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2. Countertops in muted colours by Cuisine Regale.

3. Häfele’s new ‘out-ofthe-box’ range of sliding countertops that can double up as an addition to the current countertop or cover built-in hobs, kitchen sinks, retractable faucets, pop-up sockets, etc, when not in use.

during parties and entertainment, an open plan kitchen seems to be increasingly attractive as it allows for uninterrupted communication. “Island counters are a big hit within open kitchen layouts with innovative counter-top surfaces,” reveals Jürgen Wolf, managing director, Häfele South Asia.

Modular kitchens are a popular choice, as they provide sleek alternatives in design and material in a very short time. Besides a wide range of hardware options that these kitchens offer, they can be installed with minimum disruption and mess.

Rakesh Kaul, president & chief, Consumer Products Division, HSIL, says, “With changing times and an evolving consumer mindset, the outlook of contemporary home seekers is shifting. Home owners have also started to focus on kitchens and bathrooms. The idea of a contemporary kitchen has become more appealing to the consumers because these kitchens have the advantage of space optimisa-

tion and convenience, which has led to a surge in demand for built-in products like ovens, microwaves, dishwashers, etc.” New-age modular kitchens are functional and easy to install, clean and maintain. Apart from tech-enabled kitchen appliances, consumers are also opting for effective storage cabinetry, kitchen islands, as well as dual bowl sinks for rinsing and cleaning.

STORAGE SOLUTIONS Contemporary kitchens are streamlined spaces, where matt or glossy surfaces and metallic accents work together to create a look that is sleek, and where everything has its place thanks to clever storage solutions. “Within the kitchen itself, the trend is now moving towards having closed and open storage areas with aesthetically designed cabinets for closed storage and elegant shelving systems for open storage. The baseline of planning storage areas is effective utilisation of available space. Vertical space in kitchens has to be exploited to store bulky groceries – and here, tall larder units are your best bet,” insists Wolf, adding that with the right kind of accessories, monthly groceries for a family of six can easily be stored in a compact 2ft x 2ft unit. This thought is echoed

by Kaul, too, who highlights the ‘premiumness’ of space for apartment dwellers and urban consumers. “It has become a necessity to create space-efficient kitchens. The new modular kitchens offer convenient storage options, with aesthetically tucked-away shelves and pull-out drawers.”

HIDE-AWAY HELP

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While new technology may have created time-saving gadgets, finding place for them to adhere to the clean, uncluttered look becomes imperative. Enter built-in appliances such as under-counter dishwashers, washing machines, freezers and the like. Goregaoker says, “Even free-standing appliances like mixers, juicers and fryers have a specific place where they can be put away when not in use. Rolling shutters are gaining immense popularity in contemporary

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4. Add style with Hindware’s Stella V8 cooker hood

kitchens, and these are used specifically for free-standing gadgets and other kitchen accessories which can be easily stored away.”Apart from tech-enabled kitchen appliances, consumers are also opting for effective storage cabinetry, kitchen islands, dual bowl sinks for rinsing and cleaning.

KITCHEN LIGHTING 5. Stainless steel sink, also from Hindware.

Apart from general illumination in the kitchen, each zone should have specific task lights for the cooking zone, the

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

sink, the storage and the preparation area. Contemporary kitchen lighting involves a lot of indirect light, which can be seen in the form of cove lighting in the ceiling or task lighting underneath kitchen cabinets. Goregaoker states, “Kitchen lighting is a very vital aspect of kitchen design and has to be factored in at the planning stage itself. It is important to create a well-planned lighting scheme for your kitchen that sets the mood for cooking and entertaining. Clever lighting can make your kitchen look spectacular.”

A good lighting system in today’s kitchen needs at least two elements: bright, shadow-free task lighting for safe cooking and preparation; and atmospheric illumination to highlight architectural features. Wolf says, “General lighting in kitchens creates an ambience, while functional or task lighting within and around cabinets provides convenience.

Decorative lighting at the plinth area and on the dado surfaces adds to the overall aesthetic appeal, especially when the kitchen is integrated into the living room.”

Shah elucidates a few lighting styles to add more depth to the entire look and feel of the kitchen. “For wider mood lighting, it should be controlled separately so that you can create different moods at the flick of a switch. To achieve the

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kitchen. The kitchen’s size, layout and look help determine the number and placement of fixtures. Skylights can also be used to make the room look bright and cheerful while creating an airy ambience.

REFERENCES FOR REMODELLING

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right ambience in relaxing zones, wall lights and ‘washers’ will add ultra fine background illumination.”

Under-cupboard spots fitted directly above the sink and chopping board for focused task lighting will add a modern touch. Also, spotlights are a great kitchen lighting idea.

The advantage of accent lighting, besides looking good, is to guide the eye to points of interest around the room.

Lights built into the kickboards or countertops or a run of units give a gentle glow across the floor. It also creates the appearance of levitating cabinetry. Another interesting feature of contemporary kitchens is a run of LED lights under the rim of a kitchen island top to create a “happy” mood especially if there are tall bar stools. Many LED strips available today are flexible, so they can follow the lines of cabinetry as well.

A series of beautiful pendant lights or a fabulous single lampshade above the cooking or dining space will help differentiate space. “To add more flexibility, one can try fitting pendants or cluster lights with a dimmer switch – so the countertop can function as a bright area for working, or a place to gather with friends, with softer low-level lighting,” adds Shah. Essentially, there should be focused lighting over the cooking surface, at the sink, over the counters, and over any table or work surface.

Apart from artificial illumination, a kitchen would also benefit from natural light. “A contemporary kitchen should not just be space efficient, but energy efficient as well,” says Kaul. “While designing a kitchen, one must always keep in mind the pouring in of natural light. Many consumers are now opting for large windows – which not only make the kitchen well-lit, but also make the room look bigger.”

A well-lit kitchen is dependent on a number of lighting sources such as ambient or overall, task, accent or decorative and natural. A combination of a variety of independently controlled lighting creates warmth and ambience in the

A kitchen remodel can span from one month to one year, depending on the size and scope of the project. While a major remodel may involve plumbing, electrical and/or structural changes, a quick-fix could involve a change of shutters and handles. “Most evolutions of existing systems are coming with compatible designs. A normal soft-close drawer could be converted into a push-to-open drawer by buying basic add-ons. And a kitchen with handles could easily be upgraded to a handle-less kitchen,” advises Wolf.

Refurbishing cabinets, countertops and lighting plays a significant role in remodelling of the kitchen space, according to Shah. “The colour theme of the floors and the walls and storage space uplift the entire aura of the kitchen, solving all major issues,” she points out.

Old dado tiles can be replaced with new tiles or glass for a seamless look. Changing the lighting scheme can add character to your kitchen, and using stylish display accessories can make your kitchen look spectacular. Goregaoker is of the opinion that an existing traditional kitchen can be remodelled to look contemporary by making more provision for storage and adding rich cabinet finishes.

However, doing a little bit of homework will serve you well before embarking on a kitchen refurbishment project, he adds. “Before starting your remodelling project, always undertake a market survey to check if all your kitchen requirements fall within your budget. Once you have set your budget, then move on to putting your thoughts into a plan.

“First and foremost, carefully consider the layout, including where to place large appliances. Secondly, the focus should be on storage – as kitchens usually have a host of small and big utensils, gadgets, etc. In the end, focus on the design itself as it should reflect your personality. The ultimate goal to is to create a functional yet beautiful space that can withstand the daily grind and meet all requirements.”

Contemporary design is truly good design that is relevant.

An ingenious combination of colours, materials and sophisticated surfaces that suit the requirement of the user is the hallmark of a well-designed kitchen. A&I

6&7. Kitchens by Shami Goregaoker of GA Design.

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THE GLOCAL TOUCH 1

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1. Vaishali Lahoti Shah.

2. Shami Goregaoker.

3. Rakesh Kaul.

4. Jürgen Wolf.

INDUSTRY EXPERTS OFFER CLUES TO CREATING A KITCHEN THAT’S SUITED TO THE INDIAN STYLE OF COOKING Does an Indian kitchen need to be designed differently as per our cooking requirements?

Vaishali Lahoti Shah: An Indian kitchen is a place for cooking as well as partaking of meals. Plus, there is demand for storage of utensils and groceries. Therefore, there’s always the need for easy-to-maintain, organised storage space.

Shami Goregaoker: Kitchen layouts and design depend on the functionality and requirement of the user. Indian kitchens are believed to be different as some kitchens are used for larger families and, hence, require more counter space and storage.

Also, traditional Indian cooking involves a lot of spices and oil/ ghee, making it important to use materials which do not stain.

Rakesh Kaul: The way we cook is very different from where the concept of contemporary kitchens originated (the West), hence slight modifications need to be made. For instance, modern Indian kitchens need efficient chimneys to remove strong smells. In the case of hobs, there has been a drastic shift from Italian designs to the Indian cooking-friendly brass burner designs – because the former have a slower flame, while Indian cooking is done on a high flame.

Jürgen Wolf: While Indian kitchens are getting more inspired by Western trends with each passing day, there are still some factors that distinguish our designs from the rest of the world. Large pantry units, spacious drawers (for bulk groceries) and overhead cabinets (for vessels and crockery) essentially characterise the storage areas of Indian kitchens. Moreover, Indian cooking output is much larger than that of European counterparts. Here, the right kind of cooking appliances and efficient waste management systems (that can organise and manage wet and dry waste) have to be considered.

Are there any must-haves in terms of gadgets/equipment?

How does one prepare for these additions?

Shah: Small is big these days, and micro-living is taking off for millennials and retirees in a big way. Owners of multigenerational homes are installing tiny, secondary kitchens for returning adult children and elderly parents. Air fryers, dishwashers, compact juicers, wine coolers, espresso machines, toaster ovens and bullet mixers are examples of essentials that don’t consume space and also add value to our everyday life.

Goregaoker: For a contemporary kitchen, it is essential to have built-in appliances to maintain a tidy and minimalist look. Cabinets designed specifically for these appliances, with concealed wiring and convenient switch points, have to be considered at the planning stage itself. Apart from this, contemporary kitchens should have adequate storage for free-standing gadgets and other kitchen accessories. Hardware is equally important and should not be ignored.

Kaul: Contemporary appliances not only enhance the look of the kitchen, but are space efficient, practical and provide maximum cooking efficiency. Advanced kitchen appliances like dishwashers, built-in ovens, built-in hobs, built-in dishwashers, etc, contribute to creating an ergonomic and a beautiful space.

Wolf: The daily activity in the kitchen can be easily compared to a workout in the gym. The person in charge of the kitchen for an average four-person household, does this

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

PANEL OF EXPERTS Vaishali Lahoti Shah, chief designer, Cuisine Regale Shami Goregaoker, design director, GA Design Rakesh Kaul, president & chief, Consumer Products Division, HSIL Jürgen Wolf, managing director, Häfele South Asia for approximately two hours a day! The kitchen layout and plan should, therefore, be carefully thought-out; and aspects of ergonomics and optimized work flows should always be taken into account. For Indian kitchens, it’s important to choose appliances that can sustain the type of cooking habits that are followed here. Interior lighting plays a key role.

Additional lights in cabinets, compartments and suspended ceilings can enhance and effectively supplement the light from traditional wall and ceiling light fixtures Most designers and consumers forget or even ignore waste management. It is essential for all the people involved in designing the kitchen, to emphasise on having optimal equipment to manage waste. With the new regulations of segregation, this topic becomes even more important.

What are the colour predictions for kitchens for 2018?

Shah: This is the year for dark colours – be it floors or using textures, walls, woods in your perfect kitchen. If you choose a dark floor, one needs to go with white/pastel to complement the duality of the two opposite colour themes. Grey undertones lend a timeless viable vibe to most colours along with beige. Trendy colour choices will range from natural neutrals, oak, petrolgreen and charcoal to sage, and vibrant, bold colour choices like deep-blue with intense tonalities. The influence of reflections in colour is expected to have a strong stand next season.

Goregaoker: As a kitchen is an integral part of the house, it should follow the same design theme as the rest of the house.

People are not afraid of using colours any more. From lime green to aqua blue and royal purple, kitchen cabinets can be finished in any colour that you want. A clever combination of materials and colours for flooring, counter top, dado and cabinetry can make your kitchen look as stylish as your house.

Kaul: The colour of every surface contributes to the overall effect, which is useful in creating a harmony. Soft and muted colour palettes such as charcoal, greys and even neutral pastels like pale blue, pale green, grey and tinted whites are becoming a preferred choice over standard white. Stainless steel has also been a popular choice among consumers for years now, as it suits nearly all existing décor. Not just sinks – but appliances like chimneys, ovens, dishwashers, etc, now come with brush steel finish to create a more aesthetically uniform kitchen.

Wolf: Overall, kitchen colour tones are leaning more towards earthy and warm shades with clean matt finishes. Glass and wooden finishes for cabinet doors are becoming popular. Grey is the new ‘white’ in kitchens – where even hardware fittings are now available is smart grey finishes to meet the design philosophy of contemporary kitchens. A&I

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The 41st China International Furniture Fair (Guangzhou)

The 42nd China International Furniture Fair (Shanghai)

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September 2018

18-21 March 2018 28-31 March 2018

home/homedecor/hometextile/outdoor ofďŹ ce/hotel/commercial/materials&machines

China Import and Export Fair Complex & PWTC Expo

National Exhibition and Convention Center (Shanghai) in Hongqiao

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EVENT JAQUAR DESIGN CONFAB

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CELEBRATING THE ‘SPIRIT OF DESIGN’ DESIGN INTELLIGENTSIA DISCUSS SMART BUILDING PRACTICES AT THE JAQUAR DESIGN CONFAB IN PUNE

BY SHRISTI NANGALIA

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1. Panel members: (L-R) Kalhan Mattoo, Ash Parekh, Manish Kumat, Ketan Jawdekar, Kalpak Bhandari, Pratap Jadhav, Sanjay Patil, Prashant Sutaria and Dev Malhotra.

2. Keynote speaker: Dikshu Kukreja.

eading bathroom and lighting solutions company Jaquar Group launched a forum — Design ConFab — to reflect upon ‘Best practices for Smart, HighPerformance Indian Buildings’ in association with Architect & Interiors India magazine in Pune last month. Eminent personalities from the design, real estate and construction fraternities were invited to discuss the various challenges and issues that the industry is currently facing on this unique knowledge-sharing platform.

Speaking about the brand’s focus on sustainable and smart design solutions in his welcome address, Mohit Hajela, group head, Business Development, Jaquar Group, also narrated the importance of India’s architectural legacy: “Architecture in India has come a long way. Going back to the influences of period architecture with its stroke of brilliance in every form, the subcontinent stands blessed with a legacy that’s a cynosure for all eyes; reflective of the nation’s rich culture, tradition, provenance and pedigree.”

Following a short video exhibiting Jaquar as a brand, Hajela opened the Design ConFab by introducing the key-

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

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EVENT JAQUAR DESIGN CONFAB 3

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PANEL OF EXPERTS Dikshu Kukreja, principal architect, CP Kukreja Architects Ash Parekh, principal architect, Opus D’Sign Studio Manish Kumat, founder and chief designer, Abhikalpan Architects Ketan Jawdekar, principal architect, Studio K-7 Designs Kalpak Bhandari, principal architect & partner, VEEKAS Studio Pratap Jadhav, principal architect, Pratap Jadhav & Associates Sanjay Patil, principal architect, Environ Planners Prashant Sutaria, principal architect, PSA Dev Malhotra, group advisor – Sales & Marketing, Jaquar Group note speaker for the evening — Dikshu Kukreja, principal architect, CP Kukreja Architects, one of the top 100 architecture firms in the world.

Kukreja took the opportunity to talk about ‘the power of design’ and its real meaning for architects. “I believe, we architects have the ultimate power; we can make sure that our designs are as powerful and iconic as they used to be in the ancient golden era,” Kukreja emphasised. He presented some of the firm’s state-of-the-art projects that were not just architecturally astounding, but also define India’s infrastructural needs.

Parvez Amin, president, Sales & Marketing, Jaquar Group, felicitated Kukreja for his insightful speech and called on stage the next speaker who played a critical role in embodying the principles and ideals that the company

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3. Sudhir, senior associate architect, Gayathri & Namith Architects, spoke about the conceptual design and planning of Jaquar Group’s global HQ building.

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stood for into the building housing its headquarters.

Elaborating on its conceptual design and planning, Sudhir, senior associate architect, Gayathri & Namith Architects, shared a glimpse of the Jaquar Group’s beautiful global headquarters (HQ) building – a standing example and the symbol of what the company represents. In his presentation, Sudhir mentioned, “We went back to the age-old tradition of Tattva, Shastra and Vyavhara for development of our design. We were constantly inspired by sayings and

4. Rajesh Mehra, director & promoter, Jaquar Group, addresses the gathering after receiving the Platinum LEED Certification for the HQ. 5. Mohit Hajela from Jaquar Group talks about the Indian architectural legacy in his welcome address.

6. Anik Mehta, Jaquar Group, delivers the vote of thanks.

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EVENT JAQUAR DESIGN CONFAB

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7. Over 200 architects and designers congregated at the Jaquar Design ConFab (JDC).

8. Members of the fraternity networking over cocktails and dinner after the JDC.

practices of famous architects, including FL Wright, Zaha Hadid and more.”

On the occasion, Aalok Vinod Jhunjhunwala, international marketing manager at GBCI, and Padmanabh Subramanium, regional manager – market development at GBCI, awarded Rajesh Mehra, director & promoter, Jaquar Group, with the Platinum LEED Certification by USGBC for the head office building.

It is under Mehra’s leadership and direction that Jaquar Group today is an undisputed leader in the branded bath fittings market in India with over 60% market share. Mehra delivered his vote of thanks, and shared his experiences and highpoints of the journey while accepting the certification, and anticipated a greater success for the brand in the coming years.

Kick-starting the most awaited session of the evening — the panel discussion — Kalhan Mattoo, principal architect & partner, Planet 3 Studios, moderated the session with an aim of extracting as much wisdom from the accomplished speakers of the panel as possible.

Mattoo asked Sanjay Patil, principal architect, Environ Planners, to give his views on smart buildings, performance and the Indian scenario. “‘Smart’ is a relative term in design,” opined Patil. “Every design, be it a building or a city as a whole, in my opinion, should be smart and sustainable.”

When Pratap Jadhav, principal architect, Pratap Jadhav & Associates, was invited to give his views on why going ‘smart’ was an imposition when it ought to be the basis of every design, he rightly stated, “It is true that going smart should be a fundamental criterion, but I feel these are fashion words that have come in now. Conserving energy has been our basic

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nature, even before the influx of technology.” Ketan Jawdekar, principal architect, Studio K-7, added, “I, particularly, do not understand the meaning of smartness in today’s scenario.

While designing, I make sure I adhere to my basic instinct, the local context and the brief.”

Being the only non-architect on the panel, Dev Malhotra, group advisor – Sales & Marketing, Jaquar Group, shared his views as a user by saying, “The customer is looking for an experience. How this experience can be enhanced through smart architecture and smart interiors, matters.” Prashant Sutaria, principal architect, PSA, took it forward saying, “A smart performing building may mean different things to different people. For me, it is about the use of equipments in a space that lets the user interact better and lets the controller derive information of the entire building system. Above all, I try to incorporate smart technology only if it enhances the design.”

Agreeing to Sutaria’s remarks, Kalpak Bhandari, principal architect & partner, VEEKAS Studio, suggested: “Architects should be judicious enough to adapt to technology that adds value to the need and design of the project.”

When asked about the tool to measure the performance of the building, Ash Parekh, principal architect, Opus D’Sign Studio, stated, “The end users’ responses are our performance-measuring tool.” On the other hand, Manish Kumat, founder and chief designer, Abhikalpan, spoke about a nonhumanistic, non-abstract way of measuring performance.

“Technology itself can be an enabler here,” he said. “We can derive exact numbers by establishing tools and meters running on technology.”

Many delegates and dignitaries from the audience actively participated in the open discussion to create a meaningful dialogue with the enthusiastic panelists. A hearty exchange of thoughts, expressions and ideas marked the end of a thoughtprovoking and insightful panel session that concluded with a night of networking amongst the fraternity.

Towards the close of the event, Anik Mehta, Umesh Yadav and Mohit Hajela of Jaquar Group thanked and felicitated the panelists. Mehta, on behalf of the organisers, gave a vote of thanks by acknowledging the keynote speaker, panel members, attendees from GBCI and GNA, design fraternity invitees, team Jaquar of Pune, ITP Media, knowledge partners and the media for making the Design Confab successful and special. Cocktails and dinner concluded the insightful evening. A&I

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www.architectandinteriorsindia.com | FEBRUARY 2017 | ARCHITECT and INTERIORS INDIA

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EVENT ROCA

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DECODING DESIGN

ROCA BRINGS TOGETHER EXPERTS FROM THE FIELD OF BUILDING DESIGN FOR AN OPEN FORUM AT JAIPUR

BY SHRISTI NANGALIA

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1. Panel members: (L-R) Mukul Goyal, Gyanendra Sekhawat, CR Raju, Divya Kush, Prakash Deshmukh, Alok Ranjan and Tushar Sogani.

2. Keynote speaker Jyoti Rath.

3. Parveen Kumar Khurana, GM-Sales, Roca Bathroom Products Pvt Ltd.

s part of the Think Turf series addressing ‘Design Excellence and Best Practices’, Roca called to order a forum in association with ITP Media India recently at Radisson Blu Hotel, Jaipur. The discussion aimed to understand the values, ethical expertise and the business aspect of this field through the perspective of practising minds from the profession itself.

Jyoti Rath, principal architect, JRA, kick-started the evening with his keynote address. Jaipur being the locale of Rath’s initial corporate journey, he briefly shared the high points of his experiences as a newbie. “If we accept architecture as a business, and we choose to move away into the realm of art in architecture, we will be able to do justice to our aim as an architect. The profession, today, lacks social relevance. We architects can still do business of architecture as an art, if we keep in mind society and its needs,” Rath, the sustainability-driven designer, pointed out.

Following the keynote speech, Parveen Kumar Khurana, GM-Sales, Roca Bathroom Products Pvt Ltd, delivered an informative presentation on the presence, achievements, products and offerings of the pioneering brand as well as what lies in store.

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

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PANEL OF EXPERTS Mukul Goyal, treasurer, IIA Rajasthan Chapter (moderator) Gyanendra Sekhawat, chairman, IIA Rajasthan Chapter CR Raju, joint honorary secretary, IIA Divya Kush, president, IIA Prakash Deshmukh, past president, IIA Alok Ranjan, executive member, COA Tushar Sogani, vice chairman, IIA Rajasthan Chapter

EVENT ROCA 4

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Next in session was the panel discussion – in anticipation of bringing out the best from the panel speakers, the discussion was moderated by Mukul Goyal, principal architect, Mukul Goyal Designs.

Divya Kush, being the president of IIA, was asked to describe the evolution of the design profession and IIA’s role in giving a status to architects in the public domain. Kush started off by stating that architecture has greatly evolved and has gradually received prominence and meaning over the years.

“Perceptions do change with time, and it changed for the good.

Though architecture cannot be termed as a business; for me it will always remain a profession, a passion,” he maintained.

As a senior member of the fraternity, Prakash Deshmukh, past president IIA, was asked his views on the impact of the influx of industry dominance and technology on the design process. “The dominance will prevail if architects treat this profession as a business,” he said.

“The educational institutions are also turning into business firms. Regulations and rules that are implemented by the governing committees and forums are important in order to generate quality architecture.”

Tushar Sogani, vice chairman, IIA Rajasthan Chapter, shared his viewpoint, saying, “There has to be a synchronisation between the practitioners and the educationists. The goal, manifesto and vision of, not only the educational process, but the profession and business itself, must be familiar with all the regulating committee leaders.”

Upon being asked about the relevance of regional identity and local practices within the contemporary generation of architects and the rising demand for international architects, CR Raju, joint honorary secretary, IIA, replied: “Each and every designer, be it local or otherwise, should be sensible about the climate, culture, material and needs of the locality within which the building is to be designed.” If the design is developed after proper prior research, the issue is rightly addressed, he added.

A hearty exchange of experiences and knowledge marked the insightful panel discussion. The panelists were then thanked and felicitated by Roca and ITP Media India for their participation. Alok Ranjan, executive member, COA, on behalf of the IIA Rajasthan Chapter, gave the final vote of thanks, expressing his appreciation of the fair-minded and passionate members of the team. A&I

4. Roca felicitates members of the IIA Rajasthan Chapter.

5&6. Delegates interacting with the panel speakers.

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IN ASSOCIATION WITH

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SPEAKERS AT THE 4TH SMART OFFICE INDIA SUMMIT

Rajat Malhotra

Neelam Chhabra Head Administration at The Boston Consulting Group

Ar. Ninad Tipnis

Deepak Ohlyan

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Vibhu Narayan

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Sameer Saxena

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Sanjeev Sethi

Col. Ashok Prabhakar

Ar. Niramal Mangal

Sathish Rajendren

Capt. C K Bhandari

Chief Operating Officer, Integrated Facilities Management, West Asia, JLL

VP – Global Real Estate, American Express, Gurgaon

Region Manager, Real Estate Services, Mercer

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INTERVIEW MINSUK CHO PHOTOGRAPHS: COURTESY AASIYA JAGADEESH & MINSUK CHO

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INTERVIEW MINSUK CHO

A NEW WORLD

KOREAN ARCHITECT MINSUK CHO DISCUSSES THE POLITICAL IMPORTANCE OF ARCHITECTURE

BY RIMA ALSAMMARAE

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He has long been committed to the discourse of architecture through socio-cultural and urban research. His built works include the Daejeon University dormitories, Daum Space 1 and Missing Matric, among others. In 2011, he cocurated the Korean Pavilion for the Venice Biennale, which won the Golden Lion for best national participation.

“Korea in the 1970s was all about creating new wealth,” he said, “which was reflected in the towers and monumental blocks drawn up across the cities. Everyone who moved into those communities was finally becoming a part of the middle class and, in that, they lost interest in the politics

1. Minsuk Cho. 2. The Korea Pavilion, designed by Mass Studies for the Shanghai Expo 2010.

PHOTOGRAPH: KYUNGSUB SHIN

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think everything you do is political,” said Korean architect Minsuk Cho, founder of the Seoul-based studio Mass Studies. “Wasn’t it Winston Churchill who said that? He said something like, ‘We shape our buildings; thereafter they shape us.’ I think it’s very important and very powerful being an architect – we need to be very aware of what we’re doing.”

Having recently visited Dubai and presented at the designMENA Summit as a keynote speaker, Cho was quite vocal about the role of architecture in developing a new world for transitioning societies.

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INTERVIEW MINSUK CHO 3

3. Mass Studies’ project stretching along Songdo Triple Street.

4. Cho’s project, ‘Dome-ino’.

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PHOTOGRAPH: KYUNGSUB SHIN

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INTERVIEW MINSUK CHO PHOTOGRAPH: CHANGWOO CHOI

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of the country. They were busy paying mortgages now.

And we’ve been going through that ever since – it not only encourages an anti-urban space, but it creates a homogenous mindset that’s easy to control.”

According to Cho, following its growth spurt in the 1970s, South Korea’s urban development has been stagnating.

“Important values can sometimes be lost or forgotten when we create a city,” he said, “but we now need to translate them into a much denser and higher understanding of urban development. We need to create something that hasn’t existed before in a very fast way – a 21st century format, if you will.”

When confronted with issues that arise out of rapid growth – from little genuine community emphasis to poor on-site decision making, Cho noted that countries can learn

from each other’s mistakes.

“If you look at China, they’re skipping mistakes that we’ve made, which I find very impressive,” he said. “You have to be fearless to create a human environment that hasn’t been created before – and at such a speed.

“I think the majority of countries are now expressing their modernity. America, Europe and Japan were major protagonists in modernism, while the rest of us were living in the margins under colonial rule. Until the 20th century, Japan had been implanting modernist principles into Korea, which were taken from Germany, the UK and so on. It’s only been half a century that we’ve been actively articulating our own modernity, and Korea is not a rare case. Now, everything happens simultaneously. We are now all learning from each other.”

Since establishing his firm in 2003, Cho has spent the better part of his career designing buildings that also serve as public interventions. They command their site, draw movement from the environment and reflect his hope for progression. And while he believes architects are often forced to choose between two identities, Cho looks to move fluidly between impact and intention.

“You’re either part of this giant machine that spits out systemic ways to create spaces and cities, or you’re on the side that’s sensitive, artistic and intellectual. These polarities are very severe in architecture,” he observed. “I would like to bridge this gap. I’ve been trying to build a practice that’s equally fearless and sensitive. That’s what I’m interested in and, along the way, I would like to make some decent, nice buildings that people enjoy and are inspired by. That’s the ultimate goal.” A&I

5. Daum Space.1 is designed as five elementary structural modules of 8.4m x 8.4m with variations of extrusional or rotational attributes.

6. Situated on a steep hill, the Daejeon Univ Residential College is a 10-storey volume with a courtyard.

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LA DOLCE VITA

INTERNATIONAL CASE STUDY BULGARI RESORT DUBAI

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ANTONIO CITTERIO PATRICIA VIEL DESIGNS THE BULGARI RESORT IN DUBAI USING A FUSION OF EUROPEAN AND MIDDLE EASTERN INFLUENCES

BY AIDAN IMANOVA

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I 1. Coral-like brise soleils add interest to the exterior façade.

talian architecture firm Antonio Citterio Patricia Viel has completed the architecture and interior design of the Bulgari Resort in Dubai. The newly-opened property resembles a traditional seaside village in southern Italy. The 130,064m2 property is located on the seahorse-shaped Jumeirah Bay Island, connected by a 300m-long bridge to the city’s centre. In addition to the resort, the development also includes six residential buildings of 173 sea-facing apartments, 15 private mansions, a beach club, and the brand’s first Marina and Yacht Club, inspired by the yacht clubs of Italy’s 1950s and 60s, providing a sense of entering a film set from the past.

“The land allocated to Bulgari is vast,” says Silvio Ursini, executive vice president of Bulgari, in charge of Bulgari Hotels & Resorts worldwide. “The whole land is 55 hectares, and ours is 13 hectares. The direction that we took was to position the hotel building in the middle of two bases [The Marina and

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

Yacht Club on one side and hotel amenities on the other]. This was mostly to create two different energies. It is like a ship that is anchored at the dock.

“The early sketches of the building from Antonio and Patricia started off with a vision of a low rise building and very thin staggered and layered floors. As Italians, we don’t do blocks. We do things that try to be more interesting, have a relationship with the place,” Ursini explains.“The way Patricia and Antonio strung the six residential buildings around the marina was inspired by a Bulgari-designed emerald necklace,” he adds.

A coral texture characterises the two main buildings of the hotel. Created on the overlay of horizontal lines, the building façade is defined by coral-like brise soleils (sunscreens) or matt white lacquered steel parapets. In addition to serving their function in providing shade from the hot sun, the sunscreens also reference shading techniques in the Middle East.

INTERNATIONAL CASE STUDY BULGARI RESORT DUBAI 2

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While some aspects of the project aim to block the sun, others such as the light colour palette and large glass windows utilise natural daylight. The interior surfaces of the resort are clad in fine oak wood, featuring long thin planks that recall the deck of a ship.

The overall design merges inspiration from southern Italy and Roman architecture with elements and colour palette of the desert landscape in the Middle East. “It is very dangerous to touch Middle Eastern design heritage and culture, because the risk of becoming clichéd is huge. We believe we have approached it in a different way,” Ursini says.

“We have used a brand new coral-inspired shading to evoke the necessary shading in the Middle East in a way that is innovative. We have also used the Bulgari pattern in a different way, layering it so you have these transparencies. And we have involved craftsmen from Morocco to design the carpets. The Middle Eastern inspiration was about being respectful and

not clichéd,” he adds.

The use of limestone across the project is reminiscent of the golden sand of the desert, as well as the architecture typologies found in the south of Italy. Lava stone and basalt paving create a contrast between public and private spaces, treated as an ‘inner urban environment’.

Throughout the property, a repeated use of ‘Maglia Pantheon’ mesh patterns are used as a nod to the ornamentation on the floor of the Roman Pantheon, a classic example of Baroque Rome, featuring an intricate bronze lattice-work.

Bulgari’s eight-point star motif, inspired by the Campidoglio floor in Rome, is used in the lobby of the resort – a familiar emblem of the brand.

The ‘Maglia Pantheon’ pattern is echoed in other places across the project, including the light fixtures, the space divider screen in the lobby, as well as backdrop and table divider in the Il Ristorante restaurant.

Marble is used extensively across the design, with the architects and artisans on the project hand-selecting singular marble slabs at quarries from various parts of the world. It is also a thread that binds Italy to the Middle East, according to Ursini.

The external walls of the resort are made from Arabescato marble from the Italian city of Carrara. The lobby features Breccia Medicea while Calacatta Voila is used across the La Galleria floors. Other types of marble from Mongolia and Brazil are used in the public area floors of the resort as well

2. Marble, quarried from all over the world, has been extensively used in the interiors of the resort.

3. The colour palette was inspired by the Middle East’s desert landscape.

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INTERNATIONAL CASE STUDY BULGARI RESORT DUBAI

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4. Sumptuous details, typically used in home interiors, abound.

5. All the rooms and suites include large balconies and floor-length windows overlooking the sea.

6. Night view of the spa.

as the walls of the boardroom. In the spa, the reception desk is made of green onyx from Iran cut with a ‘book matched’ technique that allows a near mirror image of its veins. The material is also featured in the hamman walls, alongside Aphyon marble from Turkey.

“We used rare materials which are considered very difficult in the hotel industry. We used details, including furniture and fixtures that are not hotel-related furniture and fixtures: they are Italian residential and retail products. [They are] products that have taken many years to create, from prototyping to manufacturing, applying the traditions of Italian craftsmanship,” Ursini elaborates.

The villas, with walls made of limestone from India, also feature private pools made of rare Green Sukabumi stone from Indonesia. The residences are defined by overlapping wooden terraces that continue the patterns of the façade and are interspersed with large glazed sliding doors.

The landscaping includes a selection of native and imported plants, including palms, olive and lemon trees, rosemary bushes and flowers.

The resort itself includes 101 hotel rooms and suites and 20

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hotel villas, furnished with Italian luxury brands such as Maxalto, Flos, Flexform and B&B Italia, in an effort to express the ‘Made in Italy’ quality of the hotel and its design. All rooms and suites boast large balconies and floor-length windows that overlook the sea and Dubai’s skyline.

Ursini explains that the Bulgari Resort Dubai, which took seven years to complete, is designed keeping in mind “today’s cosmopolitan and sophisticated travellers and local communities” – much like other Bulgari properties around the world.

Fundamentals such as consistency, craftsmanship, and a ‘spirit of a place’ (genius loci) is essential to the Bulgari brand and must be reflected in all aspects of the hotels, including the design. “The hotel must reflect the hotels of the past, where everything was crafted to perfection,” Ursini says, adding that, with that spirit, many of the details within the resort have been custom designed.

“We don’t come from a hotel background, which is a great advantage if you want to do something extraordinary; because if you come from the hotel industry, you will have a hotel architect and hotel furniture and hotel details,” explains Ursini. “In our case, no. We want to craft the home of the Bulgari brand – and we start from the designers. We have appointed Antonio Citterio and Patricia Viel, the foremost Italian residential designers to craft our hotels from the very beginning, again in keeping with the consistency of all our properties,” he concludes. A&I

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TREND REPORT F&B OUTLETS PHOTOGRAPHS: COURTESY TAMAYOUZ EXCELLENCE AWARD

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A TASTE OF THE FUTURE 2

1. Takumi, part of the new Dolce Sky development in which world-renowned chef Hide Yamamoto is the driving force.

2. Paul Bishop, interior designer and CEO, Bishop Design.

3&4. Torno Subito within the new W Hotel, Palm Jumeirah.

The design is reminiscent of beachside days spent in Rimini, Italy, during the 1950s-60s.

INTERIOR DESIGNER PAUL BISHOP SAYS EMERGING F&B DESIGN WILL BE ABOUT PERSONALISED EXPERIENCES

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n such a competitive market, F&B outlets have to stand out from the crowd by innovating and developing unique concepts and offerings. It is up to us as designers to lead the way in creating original and bespoke venues alongside restaurant owners and investors. The way forward, and I predict this would be an emerging trend in 2018, is restaurants which do not require large spaces and, contradictorily, spatially larger ones with a multifaceted diverse physical offering. This is crucial for F&B outlets to survive.

We are going to see F&B outlets focus on smaller, unique and more niche markets; answering to customers’ desire of a much more personalised experience. These trend predictions are only loose guidelines of a panel’s overview of what will be popular, but an interior can be popular without being ‘trendy’.

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PERFORMING ARTS Performance-driven venues will also become an integral offering to F&B outlets during 2018, enhancing the guest dining experience even further. This is perfectly represented in our project Dolce Sky which is due to be completed in Q1 2018. Both restaurants are designed with the understanding that the performer and chef will be the primary visual attractions, allowing guests to be exposed to a beautiful hybrid of performance and dining.

I believe 2018 will see a wider use of statement art as a fixed installation to animate a space, with art being considered as the main in-situ focal point holding a physical

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TREND REPORT F&B OUTLETS

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and visual presence perfectly. Establishing an equilibrium between interior styling, material, finish and space, it is what connects subliminally to people’s subconscious, and what they will remember from the venue. Our upcoming project, Torno Subito, due to open in January, is a perfect representation of not just how original – but also how playful and daring you can be with a dining space.

People want a more playful approach with fresher, youthful and more dynamic styling. Current colour palettes use yellows, pinks and turquoises, ranging in different intensities from pastel hues through to brighter tones, all of which beautifully harmonise together within the interior. I like to think of colour as the animation and not the entire envelope – it is there to bring visual enhancements.

DELIVERING EXPERIENCES In addition, I envision a hybrid of casual yet elegant venues to be created and developed. High-end experiences accessible to all that will attract a wider range of clientele, which is paramount in ensuring food and beverage venues thrive in this demographic due to the diverse and multifaceted culture of Dubai (although we don’t just design for Dubai, we design on a global stage).

Trends are generic. They are global, but for me a trend is something that happens sporadically. The venues I have most enjoyed are the ones that surprise, and I don’t necessarily mean the palette and materials. It’s experiential. That is the trend. More engaging. Pleasantly surprising. In theory, you create your own trend. Is it a trend, is it not?

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I feel there is an ‘80s revival coming — which can be seen on the high street. Film, fashion and music, which sets the precedent for what we do in an interior. I believe this will be continued and enhanced throughout 2018, following the idea of imperfection is beauty. Even the simplest contrast enhances a space, making it come alive whilst adding visual dynamic and vibrancy.

5. Instacool: Sosyal Steakhouse optimises the street styling ideology of Istanbul.

6. Larte in D3 fuses art and media in one dynamic and versatile venue.

THE TALENTS Trends are also about what we take, how we evolve, and how we apply it. Take Tulum in Mexico, which attracts people for the food and experience. Chefs are experimenting with new indigenous ingredients that they’ve never had access to before. That’s the trend. Not what the space looks like. Its about what the chefs are doing. People make things trendy. However, trends occur sporadically, so what has been popular this year may well be non-existent the next.

A trend that will always remain paramount, though, is creating memories through the interior, of storytelling, establishing a narrative. It’s just about how we achieve that.

Whether it be through art, colour, Instagrammable opportunities, unique lighting solutions or whatever other elements we conceive, design and create. It’s all about how we combine these in the creation of something extraordinary.

In conclusion, restaurants are set to become more specialised in their offerings, catering to the needs of smaller markets, whilst ensuring a personalised experience is achieved through the cuisine and – ultimately – through the interior design. A&I

7. Little Black Door flaunts provocative art, innovative flooring and cheeky (Instagrammable) bathrooms.

8. Toro + Ko in Citywalk, where an open kitchen and martini cocktail bar provide the visual theatrics.

9. Award-winning Cubano Lito in Dubai features reclaimed furniture and graffiti artwork.

10-12. Waka has become an internet sensation thanks to its blend of Peruvian cuisine and eclectic interiors.

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TREND REPORT HOSPITALITY DESIGN

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GEARING UP FOR GEN-Y

THE HOTEL OF TOMORROW NEEDS TO SATISFY THE YOUNG AND YOUNG-AT-HEART, SAYS GILLIAN DOCHERTY BLAIR

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s millennial designers, we have a great passion for creating and leading change. The hospitality industry has been experiencing the biggest disruption to the ‘norm’ in decades, and this will continue for years to come as the business seeks to reinvent itself.

The millennial demographic is currently estimated to account for one-third of the world’s hotel guests, with this figure anticipated to rise to 50% by 2020. The millennial generation is a highly influential powerhouse with attitude and a sharp eye for a good ‘selfie’ backdrop. More importantly, coupled with the power of social media and the internet, they can make hospitality offerings sink or fly.

Hoteliers are responding to this movement through the introduction of new and revolutionary sub-brands to appeal to this rising profitable travel segment of the young and ‘young at heart’. Operators who are tapping into this movement include Marriot International with Moxy, Accor with 25h, Rezidor with Radisson Red, Best Western with Vib and, more locally, Jumeirah with Venu. The key is for designers to address the movement – not as a controlled demographic, but based on psychographic research of a particular mentality to maintain a universal appeal of value, authenticity and connection.

1. The reception lobby of Ovolo hotel.

2. Gillian Docherty Blair, senior interior designer at Godwin Austen Johnson.

GOODBYE, COOKIE-CUTTER EXPERIENCES In the past, hotel brands were striving for consistency within their brand, a familiar and reliable identity irrespective of location. Due to the exponential growth of the internet and connectivity, the millennial guest is much more informed and design savvy than the guest of yesteryear.

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

Breaking out of past moulds, operators are becoming more focused on providing original and honest experiences. Clearly, the millennial traveller values ‘the experience’ more than any other generation and they explore the cultural elements of their surroundings. Savvy hotels are responding to this notion through a commitment to a strong and individual design narrative, creating design hotels which are carefully curated and culturally engaging with relevance to the local context.

NO STRANGERS HERE To make a millennial design-driven hotel financially sustainable, operators have to either charge significantly more for an overnight stay by positioning the hotel as ‘luxury’ or, as most operators are now doing, add more keys within a unit – resulting in substantially smaller guestrooms.

With this in mind, comes change to hotel public areas. Lobbies are no longer a transient space for check-ins and passing greetings. Now they are viewed as an annex of the now smaller guestrooms. The millennial traveller is informal by nature – so we are now taking the reception desk barrier down, and completely changing the purpose of this area to ‘anything goes’.

These large open multi-functional ‘living-space’ lobbies are the social epicentre of the hotel, abundant with power outlets for charging personal devices and 24-hour coffee supply, where guests will spend most of their downtime with a member of staff on standby with an iPad in hand. These spaces have become the brand image that defines a millennial hotel, what it stands for and how it connects with the guest and the locale.

ONE SIZE DOES NOT FIT ALL Society will attempt to impose a stereotypical label on the

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millennial, but this stereotype is not as easily translated into design due to the extreme diversity of the generation.

Our challenge is to create spaces that enable adaptability and customisation, so that a more personalised service can be delivered.

As millennial designers, we have become storytellers – it is similar to developing a group of novels, a series of stories with common threads that are connected and related – but at the same time, diverse and different. The threads can be complex, subtle or even humorous.

We encourage guests to shape their stay and to adapt their environments within the hotel experience. At Radisson Red, guests can arrange for their in-room minibar to be stocked with their favourite beverages and populate the television screen with family photos even before reaching their room, via the Hotel Mobile App. Other operators are experimenting by removing the desk completely, and offering it as an optional room-service feature.

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signs, in lieu of fully committing to current millennial trends.

Furniture is modular with limited built-in hardwiring, allowing for easy and cost-effective future refurbishments, or minor immediate changes to stay relevant in a more subtle, turbulent and challenging market.

WHAT’S NON-NEGOTIABLE Irrelevant of consumer demographics or room rate, essential guest requirements remain non-negotiable: a comfortable bed, controllable lighting and room temperature, a warm, powerful shower, sufficient vanity space and an ample number of power outlets in useful locations for charging numerous personal devices.

These elements don’t sacrifice design and aesthetics, but provide guests with the best of basic necessities they would expect, per price point. What we foresee is further definition of these basic offerings as underlying hotel categories within hospitality brands.

Due to the disruption of the hospitality industry, we have seen experimentation, risk taking and, ultimately, confusion within portfolios. Going forward, we believe that we will now see a drive towards better definition between brands within hospitality portfolios, as operators understand what works and what doesn’t with guests today.

FUTURE-PROOF DESIGNS I call it ‘the white box approach’. Clearly, hotel operators cannot afford to become complacent with the excitement and changes brought on by the millennial movement. Operators are moving toward these new brands with easy-to-alter de-

WILL LUXURY BE LEFT BEHIND? How important is luxury in the future? The lines of luxury have been blurred in recent years. Less – with the right story – can attract those with the budget to spend. What was once classed as luxury has now been absorbed into the upper midcategory of hospitality design, whilst luxury has increased in opulence and become less accessible. In a new world where more can afford more, it means that there is now a true level of luxury that few can access.

This is such a narrow band, that it has limited impact on the hospitality business. The luxury market is about consolidating investments and, more rarely, about new developments due to the costs involved. As the millennials begin to enter their peak earning years, with this comes disposable income for ‘luxury experiences’. As a result, we can expect this aggressive design shift to continue, ultimately redefining luxury. If millennials are the future, luxury brands will also need to rise to the challenge and embrace them by segmenting their brands.

Not everyone will support change – but as a design force, I think we are ready to challenge and be challenged. As our Generation Z approaches the limelight, I foresee that this is just the beginning of a huge movement in the hotel and the broader design industry. A&I

3. Guestroom, Moxy by Marriott.

4. Guestroom, Radisson Red: the white box approach.

5. Reception lobby, Moxy by Marriott.

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

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TECH TOOLS

TOP 5 MOBILE APPS FOR ARCHITECTS

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A ROUND-UP OF FIVE POPULAR MOBILE DESIGN APPS

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he technological revolution is changing the way most industries operate and has had an immense impact on the design industry – be it interior design, architecture or graphic design.

With the popularity of smart phones and tablets, mundane tasks have become less time-consuming as advancing software continues to help with drawings, computation and site analysis. Apps can also help architects and designers with other fundamentals as well, from creating colour combinations to drafting floor plans.

With respect to the latest advancements in design technology, there are a number of mobile apps that are being lauded by architects and designers alike. Presenting the pick of the lot – the top five from this year.

1. Mobile apps make mundane tasks less timeconsuming.

ARKI ARki is a real-time augmented reality visualisation service for architectural models. Producing architectural visualisa-

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

tion in-house, the app provides bespoke AP apps that are unique for each project. By incorporating AR technology within the architectural design process, ARki is able to visualise 3D models for both design and presentation purposes, helping to create an immersive visualisation technique with multiple layers of interactivity.

The app can be used on any iOS or Android device, and allows the user to explore 3D data with an added level of navigational freedom. ARki is also able to visualise models in any environment without the need for printed markers or floorplans.

CONCEPTS Self-proclaimed ‘the future of professional design’, Concepts combines paper and pencil with powerful vector manipulation. Architects can make quick sketches, illustrations or precise drawings with ease. The app offers infinite canvas and layers, flexible multi-touch shape guides, vector manipula-

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tion with advanced transforms, and the ability to export sketched to standardised formats like CAD. Its precision tools include multi-touch shape guides, automatic measurements and snap-to-sketching.

MORPHOLIO TRACE Founded by four architects who wanted smarter mobile tools for all phases of the design process, Morpholio’s app, Trace, is a drawing app for architects and designers that uses analog tools of trace paper, technical pens, rulers, triangles and stencils. The app has also recently incorporated augmented reality, letting users uncover virtual perspective grids to scale.

AUTOCAD Not a particularly new software, AutoCAD nonetheless remains one of the most popular apps for architects. Its mobile app tool is designed especially for CAD users on-site,

enabling them to create, view, edit and share CAD drawings at anytime from anywhere. Available for iOS, Android and Windows, the AutoCAD mobile app allows users of any device to present their projects to clients, enabling real collaboration between stakeholders through simple access. Moreover, some of its features are still accessible even when offline.

PADCAD An easy-to-use application, PadCAD is designed for small to medium-sized projects, such as home additions, remodelling projects, cabinetry work and site surveys. With PadCAD, architects can produce clean and clear CAD drawings at faster rates. Not a full blown CAD application, PadCAD still allows users to export their drawings into popular formats like PDF. Some of its main features include intuitive fingerbased drawing and editing, fine-tune controls for precision, unlimited undo and redo, and the integration of your device’s built-in camera. A&I

2. ARki 3. Morpholio Trace

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

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GLOBAL NEWS

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FIRST BIM CENTRE IN THE MIDDLE EAST UNVEILED BY RTA

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ubai’s Roads and Transport Authority (RTA) has unveiled the Middle East and North Africa’s first building information modelling (BIM) centre. Located within the authority’s head office, the BIM centre makes RTA MENA’s first government entity to launch a BIM-specific hub.

HE Mattar Al Tayer, director-general and chairman of RTA’s board of executive directors said the centre would help realise the Dubai government’s vision to make the emirate a smart city.

RTA’s BIM centre is expected to provide modern technologies and nurture an interactive environment for communication and coordination with partners carrying out RTA’s projects.

Specialist workshops about BIM, aimed at the employees of RTA’s agencies and sectors, are currently being designed by the new centre.

“The centre has brought in a huge shift in leveraging RTA’s business and cementing its leading position in […] ensuring an active participation in revamping the building

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

industry in the region and the world over,” Al Tayer said.

“It focuses on high technology in managing project information during their life cycles, right from the design stage up to the operation and maintenance phase.”

RTA has been working with BIM technologies on its projects since 2014, and also holds BIS accreditation to use BIM for design, construction and operation and maintenance activities.

Commenting on the centre’s expected contribution to RTA’s operations, Saeed Al Ramsi, director of RTA’s strategy and corporate governance sector, said, “The centre aims to foster a smart and interactive environment engaging all stakeholders of RTA’s projects. Meetings and workshops will be held to coordinate and follow up [on] projects and review the latest development – besides taking appropriate decisions thereon.

“Stakeholders can rely on the 3D models of these projects through applying modern technologies generated by the centre. They can also store and update the project data throughout their lifecycles.” A&I

THE IRAQI MODERNIST ARCHITECT WAS HONOURED AT A CEREMONY IN AMMAN IN EARLY DECEMBER

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enowned Iraqi modernist architect Hisham Munir was recently presented with the Tamayouz Lifetime Achievement Award for Architecture at a ceremony held in Amman, Jordan in early December.

The prize, which was previously awarded to Iraqi architecture pioneers including Mohamed Makiya, Rifat Chadirji and Kahtan Al-Madfai, honours individuals who have made significant contributions towards the advancement of architecture in Iraq, and comes as part of the greater Tamayouz Excellence Award programme.

The director of the Centre for Urban Conflicts Research at Cambridge University, Dr Wendy Pullan, and the associate dean (International) of the Faculty of Engineering, Environment and Computing at Coventry University, Barbara Howell, presented Munir with the award. “[This award] is in recognition of [Munir’s] lasting contribution to architecture in Iraq as a celebrated practitioner and mentor to generations of aspiring architects, and for his role in the establishment of the Baghdad School of Architecture,” said Pullan on the occasion.

Founder of Hisham Munir & Associates, Munir is largely considered one of the most prolific Iraqi architects, who built more than 100 buildings and structures across Iraq and the greater Middle East. His projects include the University of Mosul (1956), the former Awqaf Building in Baghdad (1964), the Iraqi Ministry of Trade (1965), the Sheraton Hotels in Baghdad and Basra (1981), and the Agricultural Museum (1975-1981) – which was so beloved it was transformed into the headquarters

GLOBAL NEWS

HISHAM MUNIR WINS TAMAYOUZ LIFETIME ACHIEVEMENT AWARD

for the Ba’athist authorities and, later, the headquarters for the US military in 2003.

Munir’s achievements also include the establishment of the School of Architecture at the University of Baghdad in 1959 and his time served as dean, during which he implemented many of the lessons learned as an architecture student in Texas and California in the late 1940s and early 1950s.

A source of great pride for the architect is the circled story of how his firm won first place in 14 out of the first 18 design competitions they entered – more than any other firm in Iraq, he often reminds his peers. “And only in Iraq, do they repeat the competition and change the judges only for us to win first place again,” he joked while accepting his award.

“To me, this is the crowning achievement of the many awards I have received during my 40 years as an architect – because this award promotes and honours both professional and academic achievements, which is unique,” Munir said.

“We are delighted to be able to celebrate the achievements of Hisham Munir, who inspired and still inspires generations of young Iraqi architects with his work. His buildings are still used, and function after more than 50 years of neglect and lack of maintenance,” said Ahmed Al-Mallak, founder of the Tamayouz Excellence Award.

“It’s important for us to highlight Munir’s contribution as an architect and an academic, because serious, hardworking and honest individuals like Hisham Munir are what Iraq needs to look up to today to get back on its feet,” Al-Mallak added. A&I

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

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PRODUCTS

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NEW ON THE MARKET INTO THE WOODS When Shades of India designed its new collection, Petals and Roses, they pictured a woodland setting characterised in distinct shades of blue, green and red. Each combination relies on an interesting play of colours to provide the most comfortable setting for modern homes. The silk-cotton bedcover in lapiz blue has been contrasted with a velvet, floral-printed quilt, paired with charcoal-coloured cushions embroidered in zari and silk cutwork for added texture. In another scheme, a jade green matlesse bedcover forms the backdrop to saffron cushions and an accent cushion that is embellished with hand-foiled gold print, metal sequins and decorative stones.

SHADES OF INDIA Tel: +91-11-49053333, +91-9810904857 Email: admin@shadesofindia.com Website: www.shadesofindia.com

SPARKLING KITCHEN

CHARMINGLY FUNCTIONAL

Said to be the year of Jewel Tones, home décor is set to get a sparkling makeover with rich colours inspired by precious gems. Homestudio wants to drive this trend with its new line of luxurious kitchens in ruby, emerald, sapphire and amethyst. Easy to clean, simple to maintain, these plush glass exterior modular kitchens add a pop of colour to the house. Part of the Deline Kitchen collection, it is offered by Homestudio in 12 finishes and 35 colours.

Pergo’s Wood Parquet brings more than natural charm to interiors, it is engineered to be durable too. It can withstand continuous activities or footfalls, and is also fire- and slip-resistant. Whether you choose an oiled or lacquered floors, they are designed to allow the natural character of the wood to shine through. It consists of three layers of wood with the grain running in different directions to reduce the natural swelling and shrinking caused by fluctuations in temperature and humidity. An advanced core of spruce, pine or HDF absorbs stress and strain to ensure that the floor remains stable in all conditions.

HOMESTUDIO Tel: +91-9900058326 Website: www.homestudio.com

PERGO Tel: +91-7498909222, +91-22-66627900 Email: customercare.mumbai@unilin.com Website: www.pergo.co.in

GRAND UPHOLSTERY The Grandeur Collection by U-Like Fabrics imbibes a neo-classic feel, but with a contemporary twist. It features geometrical prints, stripes and chevron patterns that have been combined with textured fabric — together resulting in an elegant collection. Quality fabrics, such as dobby and jacquard that includes polyester and cotton yarns in the weave, ensure that the classy designs are matched in strength and durability. Lightweight and offering the softest, most comfortable touch, this collection can be purposed into upholstery, cushion covers, table runners and more.

U-LIKE FABRICS Tel: +91-11-23649409, +91-9810075262 Email: ulikefabrics@gmail.com Website: www.ulikefabrics.in ARCHITECT and INTERIORS INDIA | FEBRUARY 2018 | www.architectandinteriorsindia.com

In RR Decor’s evocative Bukhara collection of furnishing fabrics, you will find a modern interpretation of the artistry seen during the Golden Age of India. Modern and sophisticated, this collection offers geometrics to floral patterns, heavy embroideries, digitally printed fabrics in rich, vibrant colours combined with the latest innovations. Vivid and masterful florals, decorative jacquards with rich, brooding textured effects can be found in this stunning collection. Suitable for all applications from upholstery to luxurious curtains and cushions, the collection makes a contemporary statement for high-end interiors.

PRODUCTS

EVOKING A GOLDEN ERA

RR DECOR SLEEP LIKE ROYALTY

Tel: +91-11-41731107/08, 46068777 Email: export@rrdecor.com, admin@rrdecor.com Website: www.rrdecor.com

Promising longevity, comfort and style, King Koil with its new mattress – V4 – wants to ensure people have the ultimate sleeping experience. It is manufactured with 100% pure foam, and can be produced in different densities and firmness options. The 119-year-old global mattress brand ensures the product is made in a controlled environment, enabling standardised quality and allowing the customers to choose the level of firmness they desire. “In a country, where nearly 90% of the population is sleep-deprived, we aim to provide them a solution which combines style, comfort and opulence – slashing health hazards of sleeping disorders,” stated Maneesh Mathur, VP, Sales & Marketing, King Koil India.

KING KOIL Contact person: Maneesh Mathur Tel: +91-120-4737700 Email: mail@kingkoil.in Website: www.kingkoil.in

CONCRETE BEAUTY Craft Béton, a creative launchpad of Dalmia Bharat Group, is giving an entirely new definition to cement. This pioneering platform creates decor and lifestyle objects using the “world’s greenest” cement. Internationallyacclaimed designers Somesh Singh (Co-Creando, Italy); Iti Tyagi (Craft Village, India); Miroslaw Baca (Mexico), Alan Saga (Mexico) and Cynthia Mijares Rodríguez (Kokor Hekkus, Mexico) have used cement as an alternative to conventional material to create high-end luxury home accessory products for Craft Béton. This eclectic collection has revolutionised the perception of cement, offering a user-friendly, aesthetically appealing and widely adaptable decor line.

CRAFT BÉTON Contact person: Pooja Bhardwaj Tel: +91-7042221219 Email: bharadwaj.pooja@dalmiabharat.com Website: www.craftbeton.com

SUN-KISSED OBJETS D’ART IOTA is celebrating its first anniversary with the launch of its newest range of animal figurines, candlestands, photo frames, designed in the most unusual patterns. Crafted with teakwood, these sculptures are environmentally sound because no trees were cut down to produce them. Sun-weathered wood (picked from the forest floor) is reclaimed, recycled, and reused by transforming it into everything from wall décor to sculptures. The artistic objects may be used as tabletop accessories or can be cleverly placed to liven up a dull corner of a home or office.

IOTA Tel: +91- 9958492212 Email: ask@iotafurniture.com Website: www.iotafurniture.com

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

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PRODUCTS

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PERENNIAL RELAXATION An easy form for an easy chair, the Always Lounge chair hides its complexity well. A careful combination of shapes has created a lounge chair that is comfortable and looks great from every angle. The Always lounge chair is available with four different base styles. Being an upholstered product, it can be customised to suit any space.

NAUGHTONE Website: www.naughtone.com

FURNITURE THAT WEATHERS Neocement is a blend of liquid water-based polymers mixed with special cement materials to form a seamless, micro-decorative concrete finish. It is specifically designed to create or renovate interior or exterior walls, floors and even objects such as furniture.

A newly-launched furniture collection crafted in the finest quality teakwood, Ixtapa is manufactured to stringent quality and commercial standards at the Intermetal factory in Dubai, UAE. Recommended for contract use, it is the ideal choice for hotels, resorts, restaurants, cafÊs and clubs. Intermetal’s range of teakwood furniture is extremely durable and upholstered in high-performance, weather-resistant Sunbrella fabric.

COLORTEK

INTERMETAL

Website: www.neocement.com

Website: www.intermetal.com

BUILT TO LAST

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

PRODUCTS

STYLISH CARPET TILES Freestile is a 100% recyclable, robust carpet tile. An innovative flatweaving technique gives the floor covering its trim, modern and extremely hard surface. It still retains all the advantages of textile floor coverings in terms of acoustics, comfort and health. The tiles can be laid in a freestyle arrangement without any visible repetitions to create a multi-dimensional effect, which emphasises and accentuates the patterns.

IRIS SEIFFER Tel: +971 50 459 6490 Email: iris.seiffer@object-carpet.com Website: www.object-carpet.com

WASHROOM WOW The Metropol range by Hansgrohe has a precise, linear design.

Numerous product variants (different handles, spout heights and lengths) enable a wealth of application and design options. It can be installed for washbasins, bidets, bathtubs or showers. The basin mixer in the user-friendly Select variant is controlled intuitively, at the touch of a button.

Metropol is also available as a bidet mixer or as a bidet set.Â

HANSGROHE MIDDLE EAST Tel: +971 4 448 0200 Email: me.support@hansgrohe.com Website: www.hansgrohe.com www.architectandinteriorsindia.com | FEBRUARY 2018 | ARCHITECT and INTERIORS INDIA

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THE BIG PICTURE BRINDA MILLER

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VANISHING LANDSCAPES

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1. A painting from the artist’s new collection, Vanishing Point.

2. Brinda Miller, the artist.

rinda Miller, Mumbai-based contemporary Indian artist who is known both for her artistic and organisational talents (she was former director of the Kala Ghoda Arts Festival), held her 16th solo show titled Vanishing Point in the city last month. Based on the premise that a vanishing point, or point of convergence, is a key element in many works of art, especially in a linear perspective drawing, the vanishing point is the spot on the horizon line to which the receding parallel lines diminish.

Just like art imitates life, Miller’s multi-tasking skills are reflected in the way she paints. There is both energy and a sense of calmness pervading her canvases, just as she likes to balance her busy life with the introspective peace of working on her art. With this new body of work, she veers away from the landscape-laden vocabulary drawn chiefly from her travels across the world.

Her expression has become increasingly architectural, thanks to the fact that her studio is physically part of the architecture and design firm ABM Architects.

Miller’s recent collection could be interpreted as a new phase wherein her preoccupations are based on principles of the architectural and an urbanscape abstraction via vestigial lines, angles, arcs and ellipses, and through other geometrical devices. These continue to exercise a structural function – primarily that of a scaffolding that supports the many layered hues and shades, and their countering tonalities. Clearly, her paintings with their conscious denial

ABOUT THE ARTIST Brinda Miller qualified in Textile Design from the Sir JJ. School of Art, Mumbai, in 1979 with a First Class, standing first in order of merit in Maharashtra. Miller, who has been exhibiting her work since 1982, also studied Drawing and Painting at the Parsons School of Design, New York, in 1989.

Miller has been honorary festival director of the iconic Kala Ghoda Arts Festival, and has been instrumental in bringing this festival to its present popularity. She is also art advisor and mentor to several NGOs and other not-for-profit art organisations such as AVID, a learning programme, and is a committee member of Artists’ Centre, a non-profit art gallery.

She has been on several prestigious art and design juries too.

The artist has won several awards throughout school and college: She was honoured by The Rotary Club of Sealand as ‘Acclaimed Artist’, 2009. She has also won the Women Achievers Award from the Giants Group, 2009; International Women’s Day Award, Young Environmentalists Programme Trust, 2009; the Institute of Indian Interior Designers’ Icon Among Women Award, 2010; and the Bharat Nirman Award, 2017. In September 2017, she was a TEDX speaker at IIT (BHU), Varanasi. of strict form, and their preoccupations with colour, can be viewed as restless cityscapes. A&I

By Maria Louis

Note: Vanishing Point by Brinda Miller was held last month at Tao Art Gallery, Worli, Mumbai.

For queries, contact the gallery at +91 22 2491 8585 or +91 9820628870

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