Ai 01 04 2018 by Itp India

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Inspiration and insight for architects and interior designers

Vol 10 | Issue 1 | April 2018 | `50

Anniversary issue

Gen

ICONS OF TOMORROW

THIS BATCH OF INSPIRED YOUNG ARCHITECTS AND DESIGNERS OF 2018 HAVE WHAT IT TAKES TO CHANGE OUR LIFESTYLES AND CITY SKYLINES Published by ITP Media (India)

Jaipur - Mob No: +91-9205599032 Lucknow - Mob No.: +91-9205987316 Ghaziabad - Mob No: +91-9540220666

Ahmedabad - Mob No: +91-7354113399 Indore - Mob No.: +91-9689911234 Surat - Mob No: +91-8466607404

Bengaluru - Mob No: +91-9845227298 Chennai - Mob No: +91-9205599020 Hyderabad - Mob No: +919848974897 Kochi - Mob No.: +91-9745601986 Vijaywada - Mob No.: +91-9205987310

CONTENTS

APRIL 2018 VOLUME 10 ISSUE 01 Our much-awaited list of gen-next architects and designers who are all set to shape India’s designscape:

2018

26 28 30 32 34 36 38 40 42 44 46 48 50 52 54 56 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76

ADETEE SAWHANEY ALTUS INTERIO | NEW DELHI AKHIL P BSARCHITECT | MANJERI AKHIL VK BCA ARCHITECTURE | CALICUT AMIT JADAV JAD STUDIO| MUMBAI AMITA KULKARNI & VIKRANT TIKE SAV ARCHITECTURE + DESIGN| GOA AMREEN KALEEL AD+R (ARCHITECTURE DESIGN + RESEARCH) | THRISSUR AMRUTA DAULATABADKAR AMRUTA DAULATABADKAR ARCHITECTS | AURANGABAD ANIMESH NAYAK OPEN TO SKY ARCHITECTS | BENGALURU & KOLKATA ARUN SHEKAR & MOHAMMED AFNAN HUMMING TREE | CALICUT ARUN TILAK & FAVAS MOHAMMED K ATMOF ARCHITECTS | BENGALURU & KANNUR DEVYANI GUPTA & NEHIT VIJ INTRIGUE DESIGNS | DELHI HARDIK SHAH STUDIO LAGOM | SURAT HILONI SUTARIA HSC DESIGNS | AHMEDABAD HUZEFA RANGWALA & JASEM PIRANI MUSELAB | MUMBAI JAYAKRISHNAN RJ & LEVIN JOY FINDER STUDIO | THIRUVANATHAPURAM JESAL PATHAK & NISCHAL ABHAYKUMAR M9 DESIGN STUDIO | BENGALURU JOSHUA DAWSON JOSHUA DAWSON DESIGN |BENGALURU & LOS ANGELES KETA & VARUN SHAH WORKSHOP INC | AHMEDABAD KRUTI GARG ABHA NARAIN LAMBAH ASSOCIATES | MUMBAI MANMEET ARORA LEFT OF CENTRE | MUMBAI MEGHANA KULKARNI & POOJA CHAPHALKAR M+P ARCHITECTS | PUNE NIMISHA HAKKIM DESIGN ART & CULTURE | CALICUT NISHANTI PANNEER CHELVAM DOT ARCHITECTURE AND DESIGN | CHENNAI NISHITA KAMDAR STUDIO NISHITA KAMDAR | MUMBAI POOJA SHAH & NEIL PAREKH CO.DE | SURAT PRERNA AGGARWAL & BADRINATH KALERU STUDIO ARDETE | PANCHKULA RAKESH KAKKOTH STUDIO ACIS | KOCHI SAKSHI KUMAR & VASANTH PACKIRISAMY FIRKI STUDIO| NOIDA SHARATH NAYAK BIOME ENVIRONMENTAL SOLUTIONS | BENGALURU SHIVANI KUMAR & SUCHETH PALAT STUDIO XS | BENGALURU SHRUTI JAIPURIA MAIA DESIGN|BENGALURU SMITA KHANNA & HEMANT PUROHIT NOTE-D | MUMBAI SWATI GAUTAM MORPHOGENESIS | NEW DELHI VINAY SHIPOSKAR ARCHITECT HAFEEZ CONTRACTOR | MUMBAI VINDHYA GUDURU & BABA SHASHANK SPACEFICTION STUDIO | HYDERABAD

SPECIAL REPORT

Ahmedabad shares the significance of tradition in the era of Smart cities at Jaquar Design ConFab. ARCHITECT and INTERIORS INDIA | APRIL 2018 | www.architectandinteriorsindia.com

FEATURE

It’s no longer just about LED, it is Smart LED that is leading the light technology today.

EDITOR’S LETTER

NUMBERS TO NOTE

NOW THAT OUR FIRST CROPS OF iGENS ARE FLOURISHING, WE CAN SAY WITH PRIDE THAT WE HAVE STARTED A REVOLUTION

April is the cruellest month, said poet TS Eliot in his masterpiece, The Waste Land. But for us at Architect and Interiors India, it is neither cruel nor a waste land. Instead, it’s a time to celebrate a new crop. This month, our magazine completes 9 years of bringing to our readers informative and insightful articles as well as inspirational profiles and case studies. We mark this milestone with our 2018 list of 50 gen-next architects and designers – the 7th one so far. Back in 2012, when we coined the word iGen to define the young professionals who have grown up on a diet of iPhones, iPads and iPods and are invested with the idealism, intelligence, inspiration, information, innovation and ingenuity to make a difference to our lifestyles through design, little did we know how powerful that word would become. Now that we have 350 iGens, and our first crops are flourishing, we can say with pride that we have started a revolution. A couple of months ago, when I announced that our talent search had begun once more, our inboxes got even more flooded than usual with requests to consider founders of young firms and associates of established ones on the basis of their work. As usual, we appealed to senior architects as well as resident denizens of the new planet to help us, and the most exciting finds have been made through clues dropped by both established and emerging practices about youngsters with passion and potential. Evaluating these below-40 youngsters through an examination of their thoughts, works and deeds has been exhilarating. Our exhausting but fulfilling task reached its zenith last month, but we are proud to present a sparkling lot of newly-minted iGens. We have a diverse crop this year – young entrepreneurs who started their practice early on in their professional career, associates and senior architects from the leading design practices in the nation; we even have globe-trotters who are taking their design genius across continents. While they represent their time perfectly through their work, their design philosophy is still rooted in tradition and a genuine desire to pursue all that is good and worthy. The significant numbers I have mentioned are reflected on the cover of this, our 9th anniversary issue. Check out the iGen 50 of 2018…and be amazed by their aspirations as well as their actions. Another number you need to keep in mind, is a date – June 22nd, when we celebrate this new crop with a day-long forum. Look out for the announcement of this landmark event, and do all you can to be there. And now, it’s time to celebrate – for a number of reasons!

Maria Louis, Editor maria.louis@itp.com

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

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Volume 10 | Issue 01 | April 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

ADVERTISING Director Indrajeet Saoji

The New Integrated Terminal Building at Guwahati International Airport, being designed by DFI along with AECOM, is set to be an ode to the ancient yet reinvigorated spirit of North East and India as a whole. Principal architect Anand Sharma shares with us how the ongoing project aspires to provide seamless and state-ofthe-art infrastructure for generations to come. What are some of the inspirations behind the design? Anand Sharma: The structure has taken inspiration from Icarus – the mythological figure who dared to fly. The majestic centrepiece is symbolic and looms over the departure concourse, its arms outstretched as it reaches out to the skies. The floating form doubles up as the canopy for the drop-off zone. Origami served as a guide and a tool as we delved into the evolution of form – which finds expression in the terminal roof, the flooring patterns, the column cladding, the theme walls, and even the signage design. Lastly, India, a land of diversity, finds coherence in the design of the airport. We aimed to recreate this experience for the travellers, extending it beyond books and handicraft emporiums. Spaces have been allocated for the artisans to sit and produce right at the airport, encouraging interaction with visitors.

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

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The publishers regret that they cannot accept liability for error or omissions contained in this

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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 readers’ particular circumstances. The ownership of trademarks is acknowledged. No part of this publication or any part of the contents thereof may be reproduced, stored in a retrieval system or transmitted in any form without the permission of the publishers in writing. An exemption is hereby granted for extracts used for the purpose of fair review.

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Does the design project a strong regional identity? Sharma: The tea gardens are a mark of reverence to the context, and serve as an inspiration for landscape design. They are positioned at the front yard along with a water cascade. The landscape weaves a story of its own and clings to the departing and arriving passengers as they walk through it before boarding their pick-up vehicles. The drive up to the departure level is reminiscent of the first climb up a mountain road after the tiring and relentless plains.

publication, however caused. The opinions and views contained in this publication are not necessarily

Architects & Interiors

How will the project address sustainability? Sharma: Designed with 4-star GRIHA rating parameters, the focus on sustainability was imbibed right at the inception stage, when a conscious attempt was made to interweave the built-form with the outdoors. The indoor forest is a physical manifestation of this thought: it is separated by a glass wall from the larger outdoor forest, fitting in like a tongue-in-groove with the terminal building. The car park structures are designed to be covered with photovoltaic panels that generate almost 500 kW of solar energy. Glass Fibre Reinforced Concrete (GFRC) wraps around the façade’s tricky and smooth wide expanses, facilitating daylight penetration and visual uniformity. The use of terracotta tiles references the architecture of fort-like citadels and imparts stability. Terrazzo flooring has been employed in the interiors for its versatility and playfulness, while the use of granite ensures steadiness. Aluminium origami panels endow relief, and sintered stone is used for wall and column cladding.

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NEWS BITES

INDUSTRY DATA VAYU NATURAL has come up with the simplest and an efficient way to maintain a dry, fresh and odour-free home. The Vayu Bag is a natural air purifier that rids homes of airborne chemicals. Containing 100% activated charcoal that works as a natural air purifier, the bag helps remove harmful pollutants, bacteria, pet dander, as well as odours from cigarettes, paints, and cleaning chemicals. It also absorbs excess moisture from damp areas like bathrooms, and prevents the growth of mold, mildew and bacteria. Available in three variants: 100gm, 200gm and 500gm, it can be reused for up to one year.

VIEGA is gearing up to be a driving force for the plumbing and heating industry in India and has opened a manufacturing facility in Sanand, near Ahmedabad. Besides manufacturing floor drains and toilet cisterns for the Indian market, the approximately 1,60,000sq-ft facility includes a logistics centre, research & development department, and a customer experience centre. “The Sanand plant is a major highlight in our 119-year company history, which began in 1899 with three employees in a backyard in Attendorn, Germany,” said Anna Viegener, chief strategy officer and Viega shareholder.

HP continues its innovative streak with the introduction of the faster PageWide and world’s most secure large format printers. The HP PageWide XL 5100 printers and multi-function printers print up to 50% faster output with quick turnaround and low operating costs. HP DesignJet T1700 printers is a next-generation 44-inch solution for CAD and geographic information system (GIS) workgroups that produce highly accurate documents and maps with powerful processing and a new level of security. “The debut of (these) printers is another giant leap on the HP journey to offer continued innovation in large format printing,” added Devang Karia, country manager - Large Format Design, PPSGSB, HP Inc. India.

WIPRO Consumer Care & Lighting is set to change the Smart home movement with its new launch Wipro Z Nxt, an integrated and affordable home automation solution. “With up to 40% power savings, Wipro Z Nxt home automation solution can enhance overall energy utilisation at home,” said Sanjay Gupta, senior VP and business head - Consumer Lighting & Switches, Wipro Consumer Care & Lighting. The product can be installed without replacing the existing switches and wires, thanks to the wireless Z wave technology. In-built sensors, part of the solution, alert owners in case of fire, gas leakage, intrusion, etc.

HITACHI wowed visitors at the International Elevator & Escalator Expo 2018 with its seminar and display of its latest technology. A Japanese engineer from Hitachi spoke about Hitachi’s People Flow Analysis technology and how it simulates an effective flow of people in existing or planned buildings. In the Hitachi booth, visitors were introduced to the world’s fastest speed elevator technology as well as Fibee, an elevator destination floor reservation system which realises the smooth movement of users. Mockups of Series UAG-SN1, a machine-room-less elevator; and TX series, a new escalator model to be launched in August, were also on display.

VU, the California-based luxury television company, announced the launch of its most luxurious and brightest TV yet, the Vu Quantum Pixelight LED TV. Available in sizes of 65” and 75”, it boasts of a picture quality that encompasses the ‘four ultras’ – Ultra HD, Ultra Colour, Ultra Contrast with Local Dimming, and Ultra Motion. Matched with its rich surround Dolby audio effect through 55,000 sound holes and impeccable industrial metal design, the LED TV is designed to offer an unparalleled cinematic experience. Devita Saraf, founder & CEO, Vu, mentioned, “Vu has touched $100mn dollars in revenue (April ’17-January ’18), a sign of appreciation by our customers that inspires us to keep innovating.”

ELECRAMA 2018, held at India Expo Mart in Greater Noida from March 10-14, saw over 1,200 exhibitors including 300 foreign companies from 120 countries. The 13th edition of the biggest showcase of the world of electricity was organised by Indian Electrical and Electronics Manufacturers’ Association (IEEMA). Shreegopal Kabra, president, IEEMA, said the electrical equipment industry hopes to export goods worth 35 billion dollars by 2022, up from six billion dollars at present. Moving forward, Elecrama will focus on the paradigm shift from the earlier T&D (Transmission and Distribution) in electricity space to the focus on electric vehicles, Internet of Things (IoT), storage solutions and renewable energy.

SAMSUNG INDIA unveiled the world’s first Wind-Free Room Air Conditioner & Systems Air Conditioner in India. “The new technology is designed to cater to the Indian consumer’s specific needs and preferences, given the severe climatic conditions here,” said Vipin Agrawal, director, System Air Conditioning Business, Samsung India. A two-step cooling system first lowers temperatures in Fast Cooling Mode and then automatically switches to Wind-Free Cooling Mode, creating ‘still air’ once the desired temperature is achieved. This approach reduces energy consumption by up to 72% compared to Fast Cooling mode.

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

NEWS & PEOPLE

A celebration of beautiful houses in India

If you have wondered what beautiful homes look like in India, you could grab a copy of 50 Beautiful Houses in India –Volume IV for an insightful study. The coffee-table book does more than simply establish a clear and precise classification of residential architecture and interior design that has emerged in India in recent years. It identifies works that largely represent current trends and tastes, across the country, from metro cities to second and third

tier cities and towns. With an introduction by eminent architect Alfaz Miller, the book walks through the origin of the conceptual design to its realisation, while giving a grand visual treat simultaneously. Most of the projects showcased in the volume provide an overview of the current state of architecture and design in India, with the 50 handpicked designs broadly defining contemporary residential design in the country. “Ultimately, the houses presented in this volume all share a similar objective: to formalise environments that are suited to a particular function or lifestyle, as well as to respond to the needs of the clients, without compromising the design and aesthetics,” note the publishers. Available at major bookstores across India, it can also be purchased from White Flag publishers.

Indian Art’s finest moment

Online auction house Astaguru’s tenth anniversary sale with its world record highlights proved to be memorable for both the organisation and the Indian art market as a whole. The most impressive record was the second highest sale value in the history of Indian art auction – a Tyeb Mehta creation which was sold for about Rs.19.98 crore. The auction house also created world records for artists Bikash Bhattacharjee – his famous Doll series sold for about Rs.1.27 crore, which had a higher estimate of Rs 60 lakh; and Manjit Bawa’s work, which had a higher estimate of Rs 3.5 crore, was sold for Rs.7.78 crore.

Dutch porcelain brand reaches Indian shores

iBahn goes Svarochi Smart

Beautiful porcelain tableware is a thing of beatuy and, since 2006, Dutch brand Pip Studio has been adding their own genius strokes to this sought-after decor product. Bringing this Dutch brilliance to India is Cottons and Satins that launched the brand as part of its ‘Spring to Life’ Collection. The patterns in this collection are an interplay of sketched flowers and animals inspired by old botanical drawings – each finished with golden details. The collection is available in blue, green, pink and off-white, which C&S laucnhed in phases. While February saw off-white and pink hit the shelves, blue and green made an appearance later. The product offering includes porcelain tableware such as beautifully detailed tea sets, cake stands, mugs, bowls, plates and bathroom and gift sets. Cottons and Satins store features a unique blend of upholstery,

iBahn Illumination, India’s first company specialising only in Smart LED lights, launched its new product range under the brand name Svarochi. Rajeev Chopra, founder & CEO, iBahn Illumination, said, “Our goal is to disrupt the market by offering a range of smart LEDs based on Bluetooth mesh technology, which will enable users to control the intensity and colour of their lights through our easy-to-use Smartphone app.” iBahn simultaneously launched the mobile app that will allow seamless controls over the lights. The wirelessly-operated lights can be set to the colour temperature of choice (white or yellow), and the intensity can also be adjusted with multiple colours to choose from.

Architects are guardians of the built and unbuilt environment.”

BRINDA SOMAYA, PRINCIPAL, SNK CONSULTANTS

textiles, cushions, duvets, small furniture, lampshades and carpets – and the addition of the Netherlands’ beloved brand was celebrated with an exclusive launch party. The launch was accompanied by an evening of exquisite wine tasting by Karishma Grover of Zampa Grover; guests sampled fine wines that were paired with delectable entrées curated by The Sassy Spoon.

Architecture should be honest and respond to the spirit of time, characterised by distinct ideas and divergent preferences.”

HAFEEZ CONTRACTOR, PRINCIPAL, AHC

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

Architects should be careful about chasing gimmicky trends and forgetting practical requirements of a building.”

NOSHIR TALATI, DIRECTOR, TPA

NEWS & PEOPLE

Skyline 2050: The future is calling you!

What will 2050 look like? HP Inc wants to see Indian architects’ and structural engineers’ fantastical ideas of the future through its upcoming competition Skyline 2050 – a competition by Designjet large format printers. The competition aims to inspire and empower practising architects, designers, innovators and creators of the future by showcasing the power of large format printing. Devang Karia, country manager-Large Format Design, PPS-GSB, HP Inc. India, explains, “HP’s large format printers are considered synonymous with exceptional

Ishanya’s new creative avatar

quality, versatility and robustness. It is our endeavour to constantly reinvent our printing portfolio to meet the evolving needs of our customers. With Skyline 2050, we aim to empower visionary architects and showcase their creativity by redesigning for a better future of India.” As the media partner, Bibhor Srivastava, group publishing director, ITP Media, expressed, “As one of the largest media houses in the country, ITP Media has collaborated with numerous architects across the length and breadth of the country. We’ve had the opportunity to witness the complete evolution and transformation of the fraternity. With HP Skyline 2050, we hope to explore this very progression that enables architects to traverse beyond restricting definitions to visualise a skyline that can change the perception of cities today.” Participants can submit their designs on www.hp.com/in/en/Skyline2050 by 4th May.

ADI and Pearl Academy re-imagine public places Public spaces in the city of Mumbai are always in need of good design intervention, and the students of Pearl Academy (School of Design) recognise this. Thus was born Making Design Visible 2018, an event organised along with the Association of Designers of India (ADI) at Vedanta, Mumbai, in March, where students exhibited installations suited to popular public spaces. A concept visualised by ADI as a part of their student research and design thinking project, Shanoo Bhatia, president, ADI Mumbai Chapter, said, “At ADI, we have been creating various events to bring design and its importance in improving lives, to public consciousness.” For three months, students studied nooks and corners of Mumbai and strategised a host of innovative installations to make the best use of abandoned spaces in locations such as Borivali Station, Bank of Baroda Andheri Metro

Positioned to be more than a mall, Creaticity (formerly known as Ishanya) was launched as a creative campus spread across a generous 10-acre site in Pune. Pet-project of Deepak Fertilisers and Petrochemicals Corporation Limited, the campus offers solutions in home and interior lifestyles along with an array of F&B and entertainment options. Mahesh M, CEO, Creaticity, said “We plan to build on our strengths developed over ten years... a vital part of our transformation strategy, and we have invested around Rs.10 crore to enhance the physical space. We are targeting to have an exit occupancy rate of over 80% by end of the next fiscal.”

Evolution of Kolte’s abstract art

Station, Airport Departure Terminal, Nanalal D Mehta Garden (under the Matunga flyover), Bandra Kurla Complex, and Palm Beach Road (Jewel of Navi Road). Ruchita Verma, campus director - Mumbai, Pearl Academy, declared, “It was an excellent opportunity for students to showcase their designs and creativity... Such experiences are hugely beneficial, bringing new learnings and encouraging students to push [the boundaries of] their creativity.”

Architecture, the master art, needs to address its social responsibility in building a nation with happy citizens.”

BIJU BALAN, PRINCIPAL, THE LAURELS

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

With every single line that you draw on paper, you are going to change the way people live their lives forever.” HAFEEF PK, PARTNER, ZERO STUDIO

After years of shying away from the market space and the media, artist Dr.Prabhakar Kolte presented his most-awaited show, Re-Unveiling Kolte, at the historically layered space – the Nine Fish gallery in Mumbai. Held in association with Dot Line Space, the show chronicles the last decades of Kolte’s deep evolution as an artist as well as his art. Fans of the artist can catch up on this stellar show till May 9; and also watch out for events featuring talks, discussions, etc, relating to Dr.Kolte’s art and evolution and the history of abstraction in India. For details, visit www.ninefish.in.

As an architect, I believe that the diversity of a context should not be compromised at any cost.”

SAJJU MOHAMED, PRINCIPAL ARCHITECT, INSIGHT ARCHITECTS

PRESENTS

Gen

50 IN ASSOCIATION WITH

THE YOUNG ARCHITECTS AND DESIGNERS REPRESENTING GENERATION NEXT WHO ARE SET TO MAKE A DIFFERENCE TO OUR BUILT SPACES

ADETEE SAWHANEY

AKHIL P

AKHIL VK

AMIT JADAV

AMITA KULKARNI

AMREEN KALEEL

AMRUTA DAULATABADKAR

ANIMESH NAYAK

ARUN SHEKAR

ARUN TILAK

BABA SHASHANK

BADRINATH KALERU

DEVYANI GUPTA

FAVAS MOHAMMED K

HARDIK SHAH

HEMANT PUROHIT

HILONI SUTARIA

HUZEFA RANGWALA

JASEM PIRANI

JAYAKRISHNAN RJ

JESAL PATHAK

JOSHUA DAWSON

KETA SHAH

KRUTI GARG

LEVIN JOY

ICONS OF TOMORROW 2018

These 50 inspired young architects and designers of 2018 have what it takes to change our lifestyles and city skylines BY MARIA LOUIS

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

MANMEET ARORA

MEGHANA KULKARNI

MOHAMMED AFNAN

NEHIT VIJ

NEIL PAREKH

NIMISHA HAKKIM

NISCHAL ABHAYKUMAR

NISHANTI PANNEER CHELVAM

NISHITA KAMDAR

POOJA SHAH

POOJA CHAPHALKAR

PRERNA AGGARWAL

RAKESH KAKKOTH

SAKSHI KUMAR

SHARATH NAYAK

SHIVANI KUMAR

SHRUTI JAIPURIA

SMITA KHANNA

SUCHETH PALAT

SWATI GAUTAM

VARUN SHAH

VASANTH PACKIRISAMY

VIKRANT TIKE

VINAY SHIPOSKAR

VINDHYA GUDURU

t has been an exciting and hectic time at Architect and Interiors India, for we embarked on our annual mission of looking for the brightest, most passionate and idealistic young architects and designers in the country. Adding a celebratory flavour to our ninth anniversary issue this month, are the iGen 50 of 2018 – a truly remarkable bunch of young trendsetters. Trust us, we are not exaggerating when we say we have found some of the very best, surpassing even our own expectations. What you will read and be impressed about in the following pages are the efforts of a dynamic group, spread all over the country, in pursuit of idealism, intelligence, inspiration and ingenuity. Strangely enough, there seems to be a common thread among them all. Names

commitment to contexual architecture, a simultaneous drive to explore technology and materials to produce the best design that’s possible – there is no stone left unturned when it comes to creative exploration with this group. We have a diverse crop this year – young entrepreneurs who started their practice early on in their professional career, associates and senior architects from the leading design practices in the nation; we even have globe-trotters who are taking their design genius across continents. While they represent their time perfectly through their work, their design philosophy is still rooted in tradition and a genuine desire to pursue all that is good and worthy. They take forward these noble aspirations while unfolding their clients’ dreams and wishes into marvellous built forms that not only make for picture-perfect sites – but also extremely liveable spaces! Read on...

like Charles Correa, BV Doshi, Charles & Ray Eames...are cited over and over again as their design heroes. Sensitivity towards the environment,

CONTRIBUTORS: CAROL FERRAO, RUPALI SEBASTIAN & ARUNA RATHOD www.architectandinteriorsindia.com | APRIL 2018 | ARCHITECT and INTERIORS INDIA

PHOTOGRAPHS: COURTESY DEEPAK AGGARWAL

Gen 2018 The biggest challenge is, perhaps, to keep reinventing yourself constantly while remaining true to your core philosophy”

PROJECT Chattarpur Farm House, New Delhi.

ADETEE SAWHANEY

PRINCIPAL DESIGNER, ALTUS INTERIO, NEW DELHI

reative pursuits have been Adetee Sawhaney’s calling for a long time. “The desire for creation has been the common denominator of my journey – beginning with advertising, moving on to painting and, finally, finding its anchor in interior designing,” she shares. After studying interior design at the institute Exterior Interior, New Delhi, she set out to acquire international work experience with leading architecture and interior design firms – one of them being Noor in Vietnam. Once back, she worked as a design director at a New Delhi design firm, before establishing Altus Interio in 2014 as her solo endeavour. “Altus Interio, a natural progression of more than 15 years of my experience in the profession, is one of the finest expressions of what can be described as a contemporary Global Indian, traversing the world of fine living at its best,” explains the 40-year-old designer. “Over time, the brand has come to symbolise an extraordinary reinterpretation of quintessential Indian sensibilities in design, material and craftsmanship so as to appeal to an ever-evolving audience.” Reinventing oneself constantly while remaining true to a core philosophy, is a challenge she battles with on a regular basis. “Remaining well informed of the evolving tastes of the audience, adaptability towards the latest technologies and materials, and being able to temper inspirations with your unique signature,” are challenges she navigates by staying true to her core philosophy,

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

which she defines as “authenticity, luxury, timelessness, uniqueness and quality”. The Chattarpur Farm House, where she had to transform an existing home into a mini-palace, illustrates her design ethos best. “We didn’t have the luxury of redefining the floors and the ceiling, we had to work within the set framework. We largely used dramatic wallpaper both on the walls and on the ceilings, also extensive hand-etched mirror work has been used to highlight certain walls and to inject life into otherwise staid doors and windows,” explains the designer. Largerthan-life art works (created at her in-house studio), handcrafted Persian carpets, large Venetian chandeliers and equally imposing table and floor lamps, all add to the palatial theme. “Design is a process of constant evolution,” she adds. “Each project is unique in itself, as it is an expression of the sensibilities of its occupants which have been projected more clearly...by us.”

PHOTOGRAPHS: COURTESY THE ARCHITECT

Gen 2018 Every human being is brought up with a certain culture and in a traditional set-up...we have to bring (that) sense of intimacy into the design”

PROJECT Private Residence, Melatoor.

AKHIL P

ASSOCIATE ARCHITECT, BSARCHITECT, MANJERI

n inclination towards sketching and an affinity to maths led Akhil P to take up architecture. What really amazed him – and sealed the deal – was the deep thought process involved in building design. As he delved deeper into this field at Goa College of Architecture, Panjim, he began to understand and analyse geometry, shape and form with a different perspective. “It was the book Form, Space and Order written by DK Ching that inspired me to think with a different perspective,” he remembers. In 2013, he joined BSArchitect (founded by Brijesh Shaijal in 2005) where his understanding of the profession and what it entails was further moulded – from balancing traditional and modern methods, to realising a project is not just about “satisfying the architect’s palate, but also working with clients and making a space holistically worth inhabiting.” However, he is also cautious not to photocopy their dreams. “As an architect, I believe that architecture is a social service and, like any other social service, it’s our responsibility to educate people on the knowledge we acquire from our practice,” says the 28-year-old, who considers Charles Correa and Geoffrey Bawa as role models. He firmly believes that an architect’s role is to find balance between a client’s dreams and their responsibility towards society. His most significant project till date, a private residence in Melatoor, exemplifies this approach. Nestled on a hilly terrain, the building co-exists with the natural surroundings in a harmonious manner – seen in

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

how the landscaped areas complement the natural beauty around, the simple sandstone façade, to the interim double-height interior space that facilitates natural ventilation and daylight. Akhil believes that innovation starts off by understaning the basic requirements of a project. “It has to be driven, rather than be forced. A wheel need not be reinvented, but just that the technique [needs to] be developed to better suit the present needs. When the right elements are placed at the exact location, the end product is innovative.”

PRESENTED BY

PHOTOGRAPHS: MRIGANK SHARMA

Gen 2018 Architecture, at some level, is simply an expression of the land’s culture, a representation of the citizen’s values”

PROJECT Sree Dakshayanee Narayana, Kannur.

AKHIL VK

JUNIOR ARCHITECT, BCA ARCHITECTURE, CALICUT

khil VK is a creature of creativity. He grew up on a diet of painting and classical dance. And when, as a young adult, he had to make a career choice, he opted for architecture, because “it has an exceptional practical dimension which many art forms and fields lack,” says the product of College of Engineering, Trivandrum. Being born and raised in the tropical climate of Kerala perhaps makes him naturally gravitate towards stalwarts such as Geoffrey Bawa and Laurie Baker. “The rawness and genuineness of their aims are clearly visible in the final product. They also have a global appeal which inspires countless designers to this day.” Akhil’s design aesthetics stem from the culture and social fabric of Kerala...and nature. “All our life practices in Kerala are so interwoven with nature, that it is not possible to take nature out of the cultural fibre. Ranging from medicine to architecture, cuisine to art forms, everything is functional, complements nature perfectly and has an amazing aesthetic side to it as well. This is precisely what I try to incorporate into my designs.” Since 2014, Akhil has found kindred spirits in Babu Cherian-founded BCA Architecture, which draws heavily from Kerala’s scenic beauty and vernacular architecture, and he calls the work of his mentor more craft than architecture. Sree Dakshayanee Narayana, a home set in three acres of lush green vegetation deep in Kannur, remains close to his heart for precisely this reason. “The house is adorned with richly-carved wooden

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

CMY

details – which constitute the hallmark of Kerala architecture. Amongst the high points of the design are the art forms: a Kathakali panel rendered in mosaic and a traditional wall mural narrating the story of Nala and Damayanti from the Mahabharata. It’s not only the past that Akhil finds interesting and inspiring. Growing up on the cusp of the 20th and 21st centuries, he enjoys the best of both worlds – the old world charm and the high-tech innovation that defines today’s age. Which is why he finds himself drawn to digital painting, 3D printing, AutoCAD…any “modern-day miracle that makes an architect’s life easier in both conceptual and execution stages,” says the 25-year-old young professional, who hopes that every architect and designer remains unwavering in their commitment to environmental and social responsibility.

Gen 2018 While we ‘dare to be different’, we are absolutely clear on the practicality, feasibility and viability of our solutions”

PROJECT Havwoods Experience Centre, Mumbai.

AMIT JADAV

FOUNDING PRINCIPAL AND DESIGNER, JAD STUDIO, MUMBAI

oming from a family of developers, Amit Jadav knew he wanted to pursue a profession within the architecture and construction industry. But only when he stepped into St. Francis Institute of Art & Design, Mumbai, as an interior design student, did he unearth his potential for the field. He gratefully recalls how principal Stany Mathew’s guidance helped him dive deeper into the world of ideation and design. “Raring to go” after college, he set out to accumulate a wide exposure in the field – working with an Australian firm Sanderson; studying Advanced Spatial Design at the University of Arts, London; interning with award-winning British label Barjis; and, finally, returning home to set his design roots. On his return, he joined Planet 3 Studios, Mumbai – an experience he is most thankful for. “Working with Kalhan Mattoo and Santha Gour greatly influenced me, especially in design and concept development. My learnings from them helped me conceptualise my own studio and what it stands for today. They will always hold a special place in my architecture and design journey,” shares the 32-year-old designer who also counts Norman Foster and WOHA Architects as his inspirations. Jadav finally set up his own studio – JAD (Juncture of Aesthetics & Design) – in 2014. “I visualised it as a multi-disciplinary entity that created solutions for a variety of projects, including corporate offices, residences, hospitality

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

projects, public spaces, etc,” he mentions. In just three odd years, he ended up making a mark for himself and his firm with one of their first retail projects ranking in the Top Five, Retail category in the 2017 FOAID competition. “The experience centre for Havwoods International in Mumbai was of major significance for us as a design studio, because it changed our line of thought and led us towards a niche that we hadn’t explored before – retail showrooms,” he adds. The journey has only just begun for Jadav – and clearly on promising grounds. Someday, he discloses, he sees himself designing an observatory in the country. “It will be great if young minds can explore the mysteries of astronomy and space early on in schools and colleges.”

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PHOTOGRAPHS: COURTESY FABIEN CHARUAU

Gen 2018 Good design is present where it moves you to a place you couldn’t imagine existed, without you even knowing that it has done so”

PROJECT Sun, Moon and Earth; Goa.

AMITA KULKARNI & VIKRANT TIKE CO-FOUNDERS, SAV ARCHITECTURE + DESIGN, GOA

AV Architecture + Design has been birthed by the intriguing mix of interests, experiences and personalities. Vikrant Tike studied sound engineering and fashion design, before design became a channel to express the creative outpourings of a restless, unconventional character. Amita Kulkarni had always been interested in the area overlapped by art and science; and design found her – instead of the other way around – to shape the person she is today. While she is particularly interested in a culture that can embrace modern thinking and innovation but still manage to live simply in consideration and compassion towards the surroundings, he loves working with his hands, building from micro scale through focus on joinery, materiality, narrative and physiology of things. Both credit their alma mater AA School of Architecture, London (she obtained a Master’s degree in Architecture and Urbanism, and he completed his undergraduate architectural studies and obtained a Post Graduate Diploma in Spatial Performance and Design there) for moulding their thought processes, honing their knowledge and equipping them with the requisite skills to make a mark in their chosen field. Tike is greatly interested in creating experiences and narratives, and is inspired by John Hedjuk, Enric Miralles, Carlo Scarpa, Diller Scofidio and Zaha Hadid – “as they managed to create narrative spaces that focus on a combination of experiences, poetry, details and stories,” says the 40-year-old

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

principal designer at SAV. His partner is an ardent admirer of design icons who successfully merged creative disciplines with a focus on research and learning throughout their lives – like Charles and Ray Eames, Alvar Alto, Arne Jacobsen and Charles Correa – as well as artists such as Robert Smithson, Olafur Eliasson and Anish Kapoor whose works influence architecture and landscape. “The great thing is that both Vikrant and myself have multiple interests and skills that complement each other,” observes 38-year-old Kulkarni, who leads team SAV as principal architect. “Thus, it made perfect sense to start our studio together (in 2011) – as we could bring a range of qualities into our work that creates value for our clients. “Our designs are inspired from natural systems which have evolved over generations. Their combination of ordinary beauty, elegant tactility, experiential sublimity and meticulous efficiency shapes our work.” Concurring with his partner, Tike highlights that the studio is equally excited about the process of ‘making’ within architecture, with ‘research’, ‘testing’ and ‘craftsmanship’ forming the core philosophy. These qualifiers are visible in three thoughtfully developed villas called the Sun, Moon and Earth. “These villas define our emphasis on creating architecture and design as a series of narrative and timeless experiences, along with our focus on embracing new forms and technology with traditional craftsmanship,” says Kulkarni. “For us, design is innovation. They cannot be separate identities.”

PRESENTED BY

PHOTOGRAPHS: THE ARCHITECT

Gen 2018 There is no innovation without experimentation ...and there is no scope for ingenuity without risk”

PROJECT Jewellery Boutique, Kerala.

AMREEN KALEEL

FOUNDER, AD+R (ARCHITECTURE DESIGN + RESEARCH), THRISSUR

or as long as she can remember, Amreen Kaleel was intrigued by how buildings tend to have “a subconscious connect with every living organism and vice versa.” The desire to study this interesting milieu of tangibles and intangibles in architecture led her to TKM College of Engineering, Kollam (Kerala), and finally to Bartlett School of Architecture, London, for her Master’s degree. At Bartlett, she experimented with developing a design language using computational techniques, and had the privilege of having her work assessed by jurors like Patrik Schumacher, Peter Cook and Mario Carpo, which changed her outlook towards the industry. On her return, Kaleel began collaborating with local architects, an exercise she believes brings out the best in design. Meanwhile, design icons like Charles Correa, BV Doshi and Geoffrey Bawa inspired her to “think hard and fast about an unrestrained approach to design and architecture.” When the time was right, which was somewhere in 2017, she set out more resolutely in her quest by founding Ad+R (Architecture Design + Research). Her first challenge came in the form of an interior project for a jewellery boutique, courtesy DAC (Design Art Culture) – an artichetural firm based in Kerala. “Having done my thesis in architecture, based on combinatorics and voxel theory, I applied the same to this project,” recalls the 30-year-old. “Keeping that core concept alive, I arranged one circular module that can be treated as ‘a pixel’ as the idea behind the ceiling – the main design feature in

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

the interiors.” But her most path-breaking project till date is the Curvoxel – a 3D printed chair, inspired by the Panton chair, that she developed as part of her Master’s thesis at Bartlett. Kaleel believes that her diverse experiences – living in vernacular spaces back home, and at the same time equipping herself with tools of computational design and parametric ideas at Bartlett – have influenced her sense of design immensely. “Reinvention is a process of consistent research that I consciously engage with in trying to achieve a balance between ‘where I am from’ and ‘where I would like to go’,” she concludes.

PHOTOGRAPH S: PHOTOGRAPHIX | SEBASTIAN + IRA

Gen 2018 The work we do should be close to the client’s heart. They should be able to relate to its ambience with their nature, lifestyle and emotions”

PROJECT Inward-looking Courtyard House, Aurangabad.

AMRUTA DAULATABADKAR

PRINCIPAL ARCHITECT, AMRUTA DAULATABADKAR ARCHITECTS, AURANGABAD

here’s a disarming candour with which Amruta Daulatabadkar talks about her take on good design, architecture, clients…even when it comes to why she opted for this career. It isn’t because she had a predilection for the arts or any other creative field. She simply didn’t make the cut for the medical field, and scouted around for something else. Today, the seven awards she’s bagged in 2017 belie the impromptu nature of her decision, and speak volumes about her never-say-die spirit. It’s taken her four years to get where she is, after having struck out on her own in 2013 with Amruta Daulatabadkar Architects. “We didn’t experiment too much in our initial projects, but we did good work and established ourselves in the city,” admits the architect who obtained her bachelor’s degree in Architecture from MIT in hometown Aurangabad, and gained practical experience under Edifice Architects, Pune, and Alkesh Gangwal & Associates, Aurangabad. “Later, as opportunities poured in and with increased confidence, we took an experimental approach towards work… with material palettes, spaces, natural light; we started supporting local craftsmen. Our endeavour became to create concept-driven, contextual work, something that would be complete in itself and did not need to resort to cosmetic treatment.” Good design, to this 33-year-old, is something with soul, something that is resolved with intuition. An abstract notion that is quantifiable, nevertheless, through how closely a client relates

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

to it, and how much “sense” it makes to him. “For us, design aesthetics originates in the concept — which is birthed by site conditions, the client and the context.” A good example of this is the awardwinning Inward-looking Courtyard House, whose challenging context and paradoxical requirements necessitated an out-of-the-box approach. “Being true and genuine in design is a must, because your design reflects your inner self. Design is a mirror of oneself. And a mirror doesn’t lie,” she believes.

Gen 2018 Design must be practical, inspiring, aspirational, and timeless”

PROJECT Bombaim, Kolkata.

ANIMESH NAYAK

FOUNDER PARTNER/PRINCIPAL, OPEN TO SKY ARCHITECTS, BENGALURU & KOLKATA

ith an interior designer for a mother and an architect for an uncle, design was no novelty to young Animesh Nayak. The smell of freshly-cut teak, newly-poured cement, the buzz of cutting saws and the hammering together of furniture were familiar sights and sounds harking back to his several visits to his mother’s sites. Closer home, it was the magical transformation of objets trouve into furniture and the likes by karigars and mistris under his mother’s expert guidance that inculcated a sense of wonder for design, seeded already by living in and visiting homes designed by greats such as Laurie Baker and Charles Correa. Admission into School of Planning and Architecture, Delhi, and subsequently a Master’s degree from Cornell University, USA – where he also taught at the undergraduate studio – seemed natural; and in between studies, he interned with Laurie Baker; Skidmore, Owings & Merrill; and Ranjit Sabikhi. “My internships gave me a taste of various forms of architectural practices, while Cornell exposed me to different ideas on architecture from people all over the world,” elucidates Nayak on his training, both formal and informal. “I spent four years in New York, working for one of the city’s most innovative design firms while also experiencing and learning from the unique patterns and features of the city.” Global as Nayak’s exposure to design may be, his philosophy – and that of Open to Sky Architects, which the 39-year-old set up in 2016 –

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

leans heavily towards various traditional building typologies of tropical India, where sky and nature are integral parts of living environments. Not surprisingly, he counts Laurie Baker, Geoffrey Bawa and Bijoy Jain as his design idols. His company, says the lover of polished cement, exposed concrete and exposed brickwork, focuses its energies on creating modern spaces with texture and atmosphere; free-flowing spatial articulations, using local materials and techniques – all of which are amply evident in Bombaim, a clothes atelier housed in an old colonial building in the heart of Kolkata. Replete with textural play – the fluted beauty of starburst designs on the ceiling, scalloped patterns etched on the concrete floor – it embodies the firm’s attitude towards inserting a sensitive modernism into a historical space…to create good design that is both practical and timeless.

PRESENTED BY

Gen 2018 The finest buildings are ones that improve productivity and heighten profits. The user experiences in...sociopsychological impacts”

PROJECT The O2, Calicut.

ARUN SHEKAR & MOHAMMED AFNAN PRINCIPAL ARCHITECTS, HUMMING TREE, CALICUT

ur school of thought has always focused on creating less environmental damage...as much as possible in every project we associate with,” say the idealistic duo Mohammed Afnan and Arun Shekar. The fact that the building industry can influence 30-35% of India’s total CO2 emissions, motivates them to reduce these negative impacts on the environment through design. The makings of such passionate architects started off at the BLDEA School of Architecture, Bijapur; Shekar also went on to obtain a Master’s degree in Habitat Design at BMS School of Architecture. “Architecture, an exciting subject of study, is a wide range of erudition and research that you have to carry out on a regular basis – and this extends far into one’s operational career. Each new project is a windowpane for inquiry into new technology, theories of organisation, or methods of edifice,” say the 28-year-old architects who consider learning a never-ending process. They believe their design icon Bijoy Jain’s quote: “Architecture is not about an image, it is about sensibility,” sums up the profession perfectly. This line of thought is pursued with much gusto at the design studio they started in 2014, later branded as Humming Tree in 2016. In a short span, the studio has made a mark by winning prestigious international and national awards. Their pathbreaking project is the commercial space The O2, designed for PA Hameed & Associates. The design was based on

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

the core principle: the requirement of open work spaces for a young, self-motivated team. “Level one reception, a central glass meeting room, manager’s cabin with a pantry, and stairs leading to a plant-filled floor of large workstation in a single comprehensive gesture, transform it into a generous and sanguine working space,” explain the architects. In the future, they hope to design a housing project for the economically disadvantaged. Besides, both architects believe that the greatest benefit of being an architect is having a lifetime’s work that remains after one is gone. “You can ultimately live a life that’s generously proportioned and longer than your own mortality allows, because the buildings that you design will symbolise you,” they conclude.

Gen 2018 Good design makes the user experience unique and memorable. A design that allows a user to connect, explore and enjoy the space”

PROJECT ABC Emporio, Kochi.

ARUN TILAK & FAVAS MOHAMMED K

CO-FOUNDERS AND PRINCIPAL ARCHITECTS, ATMOF ARCHITECTS, BENGALURU & KANNUR

assion towards design and the desire to make the surrounding [environment] a better, purposeful place was the primary reason that nudged Favas Mohammad K and Arun Tilak to pursue the profession. Both hold a degree in Architecture from Anna University, Chennai, after which they interned and worked with leading architects in Ahmedabad, Bengaluru and Mumbai (the most notable being Cadence Architects, RSP Architects and Nudes). Design icons like Toyo Ito and Peter Zumthor – “two contrasting architects” – have inspired them too, because of their work in fast-growing urban metropoles, the nature of materials they use and cultural roots that are significant in their work. It was in 2009 that the idea to set up ATMOF (an anagram of their names) was born, but it was officially set up only in 2012. “We enjoy aesthetics it in its evolution and in its true natural form,” explain the 31-year-old architects who, influenced by the unravelling of the Fourth Industrial Revolution, appreciate good parametric design tecnologies. They do not believe in a rigid pattern of practice – but rather, prefer to approach every project in a unique way. The biggest challenge for an architect, they feel, is to strike a balance between the client, user, society and environment. “We are constantly experimenting with design and using alternate approaches,” they say. According to them, good design makes the user’s experience unique and memorable – a design that allows a user to connect, explore and enjoy the space.

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

Their most significant project is ABC Emporio in Kochi, mainly because it was an experimental project in program, design and construction. Its eye-catching form departs from the conventional retail and commercial image of the surroundings. This project also reflects the traditional craft that inspires them the most – origami.

Gen 2018 For any 21st century design firm to be truly multidisciplinary, it must not only imbibe the available technology – but contribute to it as well”

PROJECT Apollo Cradle, Amritsar.

DEVYANI GUPTA & NEHIT VIJ

PARTNERS AND CO-FOUNDERS, INTRIGUE DESIGNS, DELHI

ntrigue, innovate and imprint – that’s how Devyani Gupta and Nehit Vij perceive the design process. “Arouse the curiosity with attention to detail, redefine spaces with relevance, and leave a reflective design which becomes a reference to emulate,” – a process they follow passionately at their young multidisciplinary design studio, Intrigue Designs. Set up in 2011, the studio has an all-embracing attitude, working with architects, fashion designers, graphic designers...who love to experiment and design, whether it is a building, a product or even a book cover. This enthusiasm for design began early on and made architecture a “natural path to pursue.” For Gupta, it was the blend of creativity and science in the profession that interested her, whereas Vij was intrigued by architecture’s ability to influence end users and vice-versa. Both went on to study at Sushant School of Art and Architecture (SSAA), Gurugram. After interning with Sudipto Ghosh and, later, with interior architect Pinky Pundit, Gupta spent a year at the Institute for Advanced Architecture of Catalonia (IAAC) in Barcelona, studying Digital and Interactive Architecture. Vij, meanwhile, interned with DRONAH (Development and Research Organisation for Nature, Arts and Heritage) and then spent five years at SAKA, helmed by architects Swanzal Kak Kapoor and Atal Kapoor. When they started the studio, they were “extremely young, yet highly confident 25-year-

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

old entrepreneurs”– which proved to be both a challenge and a blessing. But they adopted the motto “learning by doing”, and allowed the works of Tadao Ando and Geoffrey Bawa to shape their design philosophy. BV Doshi, Charles Correa and Daniel Libeskind, too, have inspired them since their college days. “Recently, we have been following the works of Carlos Ratti, Greg Lynn and Thom Mayne,” add the architects. The ethos of the firm is focused on delivering innovative solutions. “Recently, we converted a 40,000sq-ft mall into a mother-and-child hospital (Apollo Cradle) in Amritsar. The adaptive re-use of abandoned spaces in India has a huge potential owing to density and land pressure faced in city centres,” explain the duo. The existing structural grid of the mall was customised to not only meet the highly functional requirements of a medical space, but also provide a hospitality-style luxurious, cosy ambience. Services and medical technology suitable to achieve the required bed counts , OT Complex and Neo-natal care unit were cleverly introduced into the design. What’s next for Intrigue Designs? Both Gupta and Vij believe that today’s multi-disciplinary studios should both imbibe and contribute towards available technology. “We want to continue to foray in this direction, making parametric modeling essential to designing,” they mention, adding that their dream project “would definitely be a sustainable venture – maybe a resort, house, school…”

PHOTOGRAPHS COURTESY: PHOTOGRAPHIX | SEBASTIAN + IRA

PRESENTED BY

Gen 2018 Innovation and ingenuity are not only required to create better architecture, but also better architects. This is the only way you can constantly improve yourself”

PROJECT H-Cube House, Surat.

HARDIK SHAH

PRINCIPAL ARCHITECT, STUDIO LAGOM, SURAT

ld was always gold for Hardik Shah, whether it was buildings or things. In his office, a cut-glass ceiling lamp – that could have been so easily discarded when his family was doing up the house – has been cleverly converted into a light box that now casts a fascinating play of shadow and light on the washbasin counter. In his father’s home, a lovingly-restored sequinned artwork, gifted to Shah’s grandmother on the occasion of her wedding, now graces a wall. It was this fascination for objects of yore that nudged him, at some subliminal level, towards architecture as the career of choice. That, and the immense satisfaction that he derives from seeing emotions and dreams being transformed into a built-form. After achieving a Bachelor of Architecture from Sarvajanik College of Engineering and Technology, Surat, and stints at Mathew & Ghosh, Bengaluru, and VDGA, Pune, Shah faced an internal struggle – to continue working under someone, or realise his vision of a well-managed architectural practice. “I chose the latter, and Studio Lagom came into being in 2010,” says 31-year-old Shah, whose inspirations include Singapore’s Bedmar & Shi, C Anjalendran and Geoffrey Bawa from Sri Lanka, Japan’s Tadao Ando, and Bangladesh’s Rafiq Azam. Lagom, the Swedish word that can’t be interpreted exactly – but loosely means ‘just enough’, is a telling clue to Shah’s design philosophy, which is not quite minimalistic nor

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

over-indulgent. “Our practice exists to challenge the Indian architectural landscape that is still quite unorganised, where ‘layers of materials’ have ruled over ‘purity of materials’. We believe in architecture that gives importance to the beauty of each material, by creating the right balance between less and more.” His spaces are simple, but not simplistic – like the Japanese wood joinery techniques he uses. They are full of nature and laced with subtle interpretations of vibrant Indian art. “We believe that each building demands care, because each building is unique by way of its users, function and more,” says the architect who dreams of working on a crematorium one day. Which is perhaps why he picks up the compact H Cube House, Surat, as his ‘special’ project over his debut assignment that was four times the size. “Creating H-Cube reinforced many beliefs: that size doesn’t matter; there are always solutions; and God is in the details…”

Gen 2018 The USP of our company would be our ability to find the best possible design solutions for our clients, some of which even the client wouldn’t be aware were possible”

PROJECT Symbiotic Parasite, Ahmedabad.

HILONI SUTARIA

FOUNDER/LEAD ARCHITECT, HSC DESIGNS, AHMEDABAD

o Hiloni Sutaria, architecture isn’t only a profession, it’s a gist of her personality. Childhood pursuits with brick and sand may have given way to Rhinoceros and parametric design, but this alumna of APIED, Vallabh Nagar, and University of Sheffield, UK, still maintains an almost visceral connection with design, and admires, especially, icons such as Santiago Calatrava, Bjarke Ingels, Karim Rashid, Frank Gehry, Ole Scheeren and OMA for “their ability to innovate and break through the rigid restrictions in their unique ways with a deep sense of design responsibility…” Her firm, HSC Designs, which the 29-year-old set up in 2005, too, strives to leave an imprint behind through design – by delivering “the best possible design solutions for our clients, some of which even the client isn’t aware were possible,” maintains the architect. Starting out as a one-woman operation and battling extreme sexism along the way, the young design entrepreneur now employs an appreciable staff strength of 10. “The philosophy that drives us…is to combine client requirements, climate conditions, site context, and find the best possible design solutions with the use of technological and computational devices. We strive to achieve the best solutions for our clients with a sense of homage to their culture and customs, at the same time making sure that we contribute something of our own as designers,” says Sutaria, who lists travelling and constructivism (as art and its philosophy) as great design influences – especially

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

El Lissitzky ,Kazimir Malevich and Lyubov Popova’s constructivist art. HSC Designs’ first project, Symbiotic Parasite – an architectural extension to a bungalow – was its most pathbreaking, as it was an extremely ambitious and difficult project to visualise and realise. The project also exemplifies what Sutaria feels is an architect’s biggest challenge: to be able to translate a client’s ideas into concrete living spaces. “The extension is designed with calculations of sun angles and paths to form a structure that not only expanded the visual impact of the space, but also gave newer nuances to the existing space without affecting the old architecture,” says the firm’s 29-year-old founder. “It was one of our first projects to depict the range of innovation and pathbreaking execution of parametric design in a relatively smaller city with less technical knowhow. This project symbolises the philosophy of the firm and how we strive to break the mould with every project.”

Gen 2018 We all need to put our minds together and conceive architecture as something other than a personal project or [individualitybased practice]”

PROJECT Free Spirited, Mumbai

HUZEFA RANGWALA & JASEM PIRANI

DIRECTORS AND CO-FOUNDERS, MUSELAB, MUMBAI

oung Huzefa Rangwala was blessed with an aesthetically-charged upbringing. Being surrounded by a photographer father and a fashion designer mother invariably drew him to design. His grade school arts teacher also had a significant influence, and taught him “how a pen and a paintbrush performed the same task, but were designed to be held differently.” Jasem Pirani, too, was blessed as a student – being exposed to a great art and culture programme at boarding schools run by Krishnamurti Foundation of India; he spent considerable time in the art village – ” drawing, painting and exploring various art forms”. Both chose architecture as their design destination. Rangwala ended up at Academy of Architecture,Mumbai; followed by Georgia Tech’s College of Architecture in Atlanta for his Master’s specialising in the Design of Digital Manufacturing under Professor Monica Ponce de Leon. Pirani pursued both his undergraduate and Master’s at the Savannah College of Art and Design in Georgia. “ Travel has been an integral part of my life. It opens my mind to culture, food and architecture – and above all, sustainable global design trends, both past and current,” shares 38-year-old Rangwala. Interestingly, it was “friendship, a common love for food, humour and everything design, along with a life-changing trip to Mexico” that brought this dynamic duo together, leading to the start of MuseLAB, their Mumbai-based studio. “We use both intuitive and traditional methods of analysis to identify the tangible and the intangible.

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

The emerging patterns or results help us tell your story. By a systematic process of conceptualisation, schematic design and design development, our aim is to provide pure and focused experiential design to the user,” explain the architects who admire Case Design, Vir Mueller Architects and Sameep Padora “for their inimitable design styles.” Their other inspirations include Bjarke Ingles Group, Matter Design Studio, Le Corbusier, Doshi Levien, Charles and Ray Eames, and Jory Brigham. One of their first projects, and all-time favourite, is Free-spirited – a 4BHK that was upgraded to a 5BHK apartment. “The balance of warm undertones with bold pop colours, advanced machining techniques with hand craftsmanship, customised furniture and curated accessories and, most importantly, a free hand by our clients, truly reflects the mindset of MuseLAB and the level of details we have to offer,” explains 34-year-old Pirani about this ambitious craft-driven residential interiors project. As a practice, they enjoy exploring several digital manufacturing techniques ranging from CNC milling, laser cutting to 3D printing. In 2016, they founded the brand MuseMART, where they develop products with “style, substance and a story,” focusing on retaining the true characteristic of the material, and ensuring minimal wastage. “The attributes of our collaborative model are being extended from MuseLAB to MuseMART amidst unending discussions with rug makers, ceramicists and textile designers,” share the architects who would love to explore concrete in the near future.

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Gen 2018 There is no good design as such, there is always a better solution... it’s a journey in search of the most appropriate solution”

PROJECT Lattice House, Thrissur, Kerala.

JAYAKRISHNAN RJ & LEVIN P JOY PRINCIPAL ARCHITECTS, FINDER STUDIO, THIRUVANANTHAPURAM

esides having an aptitude for Arts, it was a keen sense of observation that shaped Jayakrishnan RJ and Levin P Joy’s vision to become architects. Being exposed to the works of Laurie Baker in the Loyola Chapel, Hamlet House, Centre for Development Studies made them realise how design can transform simple spaces and become part of one’s life. The young duo say, “It was this realisation that the profession can change people’s life, that attracted us to architecture.” After graduating from College of Engineering, Thiruvananthapuram, they worked for PNC Architects in Dubai. “We decided to start our own practice to challenge our capabilities – and Finder Studio was set up,” they recall, adding that the biggest challenge as architects is to be a part of the client’s dream and bring it to fruition. In this pursuit, they aim at being contextual...at the same time adapting to the changing scenario and its needs. Inspiring them along the way are Kerala traditional arts and architecture, and works of Bjarke Ingels, Glenn Murcutt, Kevin Low and Rafiq Azam with their contextual approach and material palette. RJ believes that architecture is all about sculpting spaces, and they both like working with natural materials like exposed concrete with tinted colours, natural exposed brick walls and oxide flooring. Their most significant project – the Lattice House at Thrissur, Kerala – reflects their design approach. The 2,200sq-ft four-bedroom house on a 10x34m plot is designed with a traditional outlook and has an

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open plan connecting different spatial volumes. The double height courtyard, flanked on either side with terracotta jali walls, brings sufficient air and light into the interiors. The playful patterns of terracotta blocks and coloured glass pieces create variant ambiences during different times of the day. “As beginners, we are not limiting ourselves to any technology or techniques,” add the architects, who are in their late 20s and just wish to experiment more with each new project – but within its context.

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Gen 2018 We envision spaces that will inspire people, help them connect with one another, and enrich the human experience”

PROJECT CMRU Admin and Academic Block, Bengaluru.

JESAL PATHAK & NISCHAL ABHAYKUMAR CREATIVE LEAD; FOUNDER, M9 DESIGN STUDIO, BENGALURU

reat design is the result of a combination of ideas, say Nischal Abhaykumar and Jesal Pathak who, inspired by “the dynamism of urban life,” strive to impact people’s lives through spaces. It was this and seeing how dreams can be transformed into reality that drew them to this profession. Not ones to romanticise the field, they have come to accept the limitations of the “chaotic construction industry” as well, learning to be adaptable: “We may have big corporates handling projects, but the worker at site still...has limited skills. We tweak the design based on the executing team’s capabilities to achieve a good outcome.” The foundation for such a comprehensive outlook towards design was first laid at RV School of Architecture (Bengaluru) for Abhaykumar, and at Institute of Environmental Design (Gujarat) for Pathak. After working for InFORM Architects, Abhaykumar pursued Master of Art & Advanced Architecture Design at Städelschule Architecture Class in Germany. Here, the design ideologies of the dean Ben Van Berkle (UNStudio) had a profound influence on him. Pathak – who appreciates works of Le Corbusier, Charles & Ray Eames, and products by Braun – received her Master of Design degree from the Domus Academy, Milan, Italy. After successful stints at renowned architecture studios in Frankfurt, Stuttgart and London, Abhaykumar returned to set up M9 Design Studio in 2009. In March 2014, Pathak joined as the creative

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

lead (shifting base to Bengaluru after working with Ajay Shah Design Studio in Mumbai). Together, they “envision spaces that will inspire people, help them connect with one another, and enrich the human experience,” all the while embracing the life, love and diversity of the city. The architects, both in their early 30s, chose The CMRU Admin and Academic block – a university campus in Bengaluru – as their most significant project till date. From utilising prefabricated steel structures to inserting passive cooling strategies in the space, the project illustrates their ability to juxtapose the new with the old. As for dream projects, Abhaykumar would love to improve public spaces. Pathak, too, treads along a similar lane: “I will be happy to do urban furniture for that public space. An ideal bus stop is what I really wish to do someday – the ones we have are so shabby, right?” Well, we are confident our iGens can fix that!

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Gen 2018 I often liken good design to heart surgery; the best procedures are those that are minimally invasive”

PROJECT ItalCementi, Bengaluru.

JOSHUA DAWSON

FOUNDER, JOSHUA DAWSON DESIGN, BENGALURU & LOS ANGELES

hen Joshua Dawson says his dream project is a cliché – conceptualising and building the future cities of Mars, he doesn’t realise that it isn’t so coming from him. Dawson, at only 28, has a repertoire of conceptualising futuristic set designs for Los Angeles screenwriters, besides taking up a slew of architecture and design projects back home in Bengaluru. While architecture was a natural progression for him – with a civil engineer mother and dad who ran a turn-key interiors business, the path he is on is as distinct as it gets. After studying at RV School of Architecture, Bengaluru, Dawson had the exceptional opportunity of starting his professional career at Vastu Shilpa Consultants-Sangath, Ahmedabad. “Sangath is akin to Willy Wonka’s chocolate factory – an architectural wonderland exhibiting the birth of some of the country’s most iconic modernist structures,” recalls Dawson who, soon after, received the S Kenneth Johnson Memorial Scholarship to pursue his post-professional Master’s degree in advanced architectural studies at the University of Southern California, Los Angeles. Being a student of, and later working with, Hollywood production designer Alex McDowell (known for films like Watchmen, Fight Club, Minority Report, Man of Steel) changed the course of his life. “While I was employed there, I worked on projects for companies like Nike, Burberry, Sylvia Earl, etc. This form of design thinking through storytelling was a valuable tool

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

to help clients structure their speculative goals as a company for the next couple of years,” he shares. In 2014, he founded Joshua Dawson Design – “an uncanny synthesis of the teachings of both Doshi and McDowell.” It all began when he started trading his design-build skills to students of USC’s School of Cinematic Arts in exchange for food (“because I lived off a student budget”). Now, he engages with screenwriters and filmmakers in LA who want to use his architectural imagination to envision worlds for them even before their screenplays are completed. “This is predominantly where the limits of my practice are tested,” Dawson admits. Designing ItalCementi’s brand experience product room in Bengaluru, eventually led to many architectural projects of single family homes in the city. “Although it finds itself in the realm of ‘experimental architecture’, a project called Cáustico, that envisioned a future where a social stratification occured after water was privatised 20 years into the future, is my most significant project,” notes Dawson. “It became a viral video on the internet... It questioned the architect’s love for envisioning utopian ideals to create futuristic visions as aspirations and suggested an alternative use of cautionary dystopian images to critique economic, political, societal and cultural ideas of the world. Besides the acclaim and coverage it received, Cáustico was also widely exhibited and showcased at the National Museum of Australia in particular.” It’s no wonder that Dawson believes that “architecture is the crystallisation of story.”

PHOTOGRAPHS: KUNAL BHATIA

Gen 2018

KETA & VARUN SHAH

CO-FOUNDERS, WORKSHOP INC, AHMEDABAD

hile a love for the arts combined with a rational bent of mind prompted Keta Shah to take up architecture, her spouse and partner – who set up Workshop Inc along with Harsha Mistry and Keta in 2014 – Varun Shah had always been a tinkerer, which led him to interior design. Both graduated from Ahmedabad’s CEPT University in their respective fields. Their alma mater proved to be a rich learning ground for the couple: it gave Varun an opportunity to pick up skills across various disciplines; while the people and the environment opened up Keta’s mind to interests beyond the curriculum. Not surprisingly, she began her design education by learning about the university’s founder Prof. BV Doshi, who remains an enduring influence on her as an architect. “I also look up to designers like Alan Fletcher and Charles & Ray Eames; they beautifully marry functionality and aesthetics, with a dash of playfulness,” says Keta. Le Corbusier, Varun’s design icon, is an inspiration for “his remarkable ability to envision design at various scales, from a chair to a city, and his proficiency to express his vision through different mediums, by way of his theories, art and architecture.” In fact, art remains an evergreen muse for Workshop Inc. “We love working with geometry and patterns within our projects, and are enthused by the structure and colourscapes of SH Raza,” inform the firm’s two principals (Harsha having left the firm to pursue other interests). “We

have tried to interpret Raza’s vision of geometry into various materials like concrete, wood and wall murals.” The firm’s work currently spans architecture and interior design, exhibition design, installations, visual merchandising and branding. “Working across disciplines, with various mediums, we learn new things every day, and that allows us to think beyond the apparent solutions for our designs,” reveals Keta. The duo’s pick as their most significant work – The Project Café – also has something to do with art. The brief was to design a space that could function as a retail outlet, a café as well as an art gallery. “The most challenging part of this project was to design a space that could retain its character and essence, even when all the furniture and the products within have completely changed,” state the partners, who are in their early 30s. “It was also a project where we heavily collaborated with artists and designers...and that experience has been carried over to most of our projects till date.”

The biggest challenge for an architect or designer is to keep innovating and constantly learning while on the job”

PROJECT The Project Café, Ahmedabad.

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

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PHOTOGRAPHS: COURTESY ANL ASSOCIATES

Gen 2018 Innovation in design is to reinterpret the forgotten aura of a site/ project and re-establish it [by] employing techniques amalgamating traditional systems in modern variables…”

PROJECT Royal Opera House, Mumbai.

KRUTI GARG

DIRECTOR - CONSERVATION, ABHA NARAIN LAMBAH ASSOCIATES, MUMBAI

t all began at a subconscious level that finally culminated in Kruti Garg making her way to APIED, Vallabh Vidyanagar, for undergraduate studies in architecture and, later, to SPA, Delhi, for a Master’s in architectural conservation. Summer holidays spent wandering on the brick-paved streets of Nai ki Mandi, an old settlement in historic Agra where her grandparents lived; family holidays to Sikandra, Taj Mahal and Fatehpur Sikri; and her father’s transferrable job inculcated in her a fascination for the built fabric of cities – which later crystallised into a passion for heritage conservation. She partly attributes her choice of specialisation to master architect Charles Correa, whose approach to creating designs and forms with in-depth understanding of the context and weaving the traditional with the modern were really motivating to the young architect. Within two years of being a freshly-minted specialist in architectural conservation, in 2006 Garg joined Abha Narain Lambah, crusader extraordinaire of conservation architecture. Her eponymous firm, established in 1998, has become a veritable Mecca for anything connected to ‘historic’ assignments. This is also where Garg realised her dream of working on Mumbai’s iconic and (then derelict) Royal Opera House. “I remember a conversation with Abha when she asked me which was the project I would like to work on…and I immediately answered: the Royal Opera House building. This was somewhere in 2008…” reminisces the 38-year-old. “It was a

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

dream come true when we got this project and I was asked to lead it.” The first phase entailed extensive structural repairs, while the second involved reinstating its historic character with the current trends in theatre design. The project offered all that is asked of a conservation architect: a historian, a material expert, a furniture designer, a lighting designer, a product designer, “and more so, a doctor, who needs to diagnose the issues and make the building live longer,” exults Garg.

PHOTOGRAPHS: DEEPSHIKHA JAIN (PROJECT); SEBASTIAN ZACHARIAH (PORTRAIT)

Gen 2018

MANMEET ARORA

FOUNDER/CREATIVE HEAD, LEFT OF CENTRE, MUMBAI

or as long as she can remember, Manmeet Arora was drawn to aesthetics in every form. Later, this led to architecture and interior design, which allowed this natural fascination to play out in a professional manner. Though she got her grounding in the field with Rachna Sansad’s Academy of Architecture, Arora credits two of India’s leading design icons for educating her in the true sense – Talati & Panthaky Associated Designers and Rajiv Saini + Associates. While these stalwarts and several others have influenced and shaped her thinking, Geoffrey Bawa and Zaha Hadid top the ‘inspiring icon’ list. Bawa, because “the way he integrates the structure with nature and surrounding culture is timeless,” and Hadid for being “the queen of the curve, the first woman to be awarded the most prestigious architecture award.” When it comes to the philosophy that drives Left of Centre, established in 2014, its founder likes to keep it simple but significant. “We aim to add aesthetics, inspiration and comfort to functional spaces. Working within the limitations and specifications of a given project, we aspire to deliver a final product that enhances the experience of the space. The goal is to maximise the output within the given limits – area, budget or environment – and provide clients with a product which is uniquely appropriate and timeless,” says the architect. The attention to customisation is evident in Arora’s choice of significant project – a threestorey, 15,000sq-ft townhouse with distinct design

aesthetics tailored for the family occupying it. “The ground floor is designed in a minimal modern style for entertaining guests and large family gatherings. Similar minimal and straight-lined designs are seen on the first floor, too, with a few European accents. The second floor is adorned with Indo-fusion designs and a modern home-office,” reveals the 35-year-old architect. Not one to limit herself to any particular style or culture, she loves “to take inspiration from myriad forms and fuse them while keeping the essence of the space intact.” However, one traditional technique that she is particularly fond of, is inlay, which is rendered in her projects with different materials: wood, veneer, tile, metal, concrete… And what about her definition of good design? Her response is succinct yet eloquent: “Timeless!”

The true amalgamation of [innovation and ingenuity] must deliver a design that cannot be the same as any other”

PROJECT Three-Storey Townhouse, Chennai.

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

Gen 2018 Ingenuity is integral to design… We need to keep finding better solutions to create sensitive environments for the everevolving world”

PROJECT Salban Homestay, Madhya Pradesh.

MEGHANA KULKARNI & POOJA CHAPHALKAR PRINCIPAL ARCHITECTS, M+P ARCHITECTS, PUNE

t was their love for design, craft, art and physics that pushed Meghana Kulkarni and Pooja Chaphalkar towards architecture. Having architect parents cemented this fascination for Chaphalkar, while it was an untraversed destination for Kulkarni that drew her to its path regardless. They met at Pune University where they pursued their B.Arch. degree; and – indicative of their current design ethos – they also got a post-graduate diploma in Natural Resource Management and Ecological Restoration from Ecological Society, Pune. Chaphalkar went on to work with Opolis (Mumbai) and Biome Environmental Solutions (Bengaluru); and Kulkarni at the Auroville Earth Institute, and Narendra Dengle and Associates (Pune). It doesn’t come as a surprise that their inspiration pool comprises “master Indian architects, artists and craftspersons.” Their observation is that design addresses the environment it evolves in and “our traditional builders and craftsmen and women were ones who were most sensitive to their environment.” What does this mean practically for our 33-year-old contemporary architects? “Sometimes, traditional concepts aren’t seen in the final project. But simply relying on the knowledge of traditional builders can make a lot of difference. Simple things like local textures, colours and materials can add a lot to individual designs,” say the duo, who believe that ingenuity is integral to design. Each project is treated with a fresh perspective in terms of design and technology at M + P Architecture – the umbrella under which the duo

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

has been collaborating since 2013. Not tied down by location, they pursue projects all over the country,and find local construction technologies and skills to incorporate in their work. “Good design is when you address all the concerns of the clients, constraints of the site, technology, budget and resources available to you, and create comfortable and healthy spaces for everyone,” believe the young architects. One of their most significant projects till date is the Salban Homestay designed for a wildlife consultant, and located in a seven-acre site in the buffer zone of Kanha National Park, Madhya Pradesh. “Generally, a boundary creates a notion where forest is beyond, which can be ‘viewed’. In this project, there was a conscious effort to continue being a part of the forest by creating minimum disturbance to the surrounding ecosystem. The house provides shelter from the elements, while the verandah provides a muchrequired buffer from the harsh seasons which this area experiences,” explain the architects who hold thoughtful design and planning, along with attention to detail, as equally important in any project.

Gen 2018

NIMISHA HAKKIM

PRINCIPAL ARCHITECT, DESIGN ART & CULTURE, CALICUT

rchitecture is a creative and artful way to make an impact on society, while also being a medium for self expression, believes Nimisha Hakkim. “Taking up architecture as a career seemed to be the best way to utilise my creative talents in a productive manner,” says the architecture graduate from College of Engineering, Thiruvanathapuram, who also went on to study Urban Design at School of Planning and Architecture, New Delhi. “A good design is a relative concept,” says the 32-year-old. “Designing for humans is bound to be a complex medley of decisions, as humans are complex beings. To me, a good design is not just what looks good. It also needs to perform, convert, astonish and fulfill its purpose. It can be innovative or it might just get the job done. A good design cannot be measured by a finite way – multiple perspectives are needed.” Design icons Charles Correa and BV Doshi have inspired her and help her create spaces that speak to the inhabitants – an endeavour she focuses on at Design Art & Culture (DAC). This Calicut-based studio is an extension of her husband Brijesh Shaijal’s BS Architect that he set up in 2005, located in Manjeri, Kerala. Besides working on residential, commercial and hospitality projects, as principal architect, Hakkim also oversees urban design and public projects at DAC. Close to Hakkim’s heart is the Hidden House, a riverfront residence at Azhinjillam, Calicut, as it was a challenging site with a client brief that desired a balance between simplicity and

A good design cannot be measured by a finite way – multiple perspectives are needed”

luxury. “We were provided with a naturally endowed site on the banks of the Chaliyar River, and we fashioned a residence for the client with due respect to the site – retaining all its natural endowments while providing comfort and shelter to its inhabitants and adding a very sophisticated sense of aesthetics to the property,” she shares. DAC believes in the traditional concept of art and often dips into the treasure troves of Indian culture while brainstorming for their projects. For Hakkim, innovation in design essentially means being able to experiment and take risks during the design process, with the hope of coming up with sustainable solutions to architectural problems.

PROJECT The Hidden House, Calicut.

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

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Gen 2018 With a human-centric approach, we started to stress that design is an everyday thing and not a luxury anymore”

PROJECT Rush Madras, Chennai.

NISHANTI PANNEER CHELVAM

FOUNDER, DOT ARCHITECTURE AND DESIGN STUDIO, CHENNAI

rafting memories, adventure and emotions,” – that is how Nishanti Panneer Chelvam views her professional endeavour. It makes perfect sense that she has an almost poetic inclination towards architecture, given that it was the only field she could connect to in her student years. However, it became more tangible while she was learning the basics at School of Architecture and Planning (SAP), Chennai. “My trip to college was an average of three hours a day in the city bus, which made me ponder upon the city, its pleasure and pain points,” she reminisces. Seeing how design influences day-today existence, she hoped to contribute to the skyline of the city with sensible design. Inspiring her on this journey are design heroes – Geoffrey Bawa and Bjarke Ingels. The 27-year-old considers them both as contextual designers, and appreciates Bawa’s more rooted and conventional design sense, at the same time is wowed by Ingels’ experimental take on design that defies convention. Her own understanding of innovation in design is centred on re-interpretation, and “giving something better than yesterday with the help of art and science, for the constantly changing needs of the world.” This design approach unfolds everyday at Dot Architecture and Design Studio that Chelvam co-founded in 2013 with Selvam Sundaramurthy, a mechanical engineer with a business background. “As an architect, I was a dreamer; as an engineer, he was a doer. The initial frictions between our

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

philosophies led to a deeper understanding of the other side,” discloses the architect. As a result, the studio started reaping benefits of both the worlds and began delivering working designs in shorter time spans. Rush Madras – an indoor sports centre with a yoga studio and a food kiosk – proved to be a fitting challenge for them. It needed the ambience of an open playground, but the privacy of an indoor stadium. The solution was a translucent façade skin engineered to bring in the outdoors inside during the daytime, while illuminating the surroundings in the evening. “With a human-centric approach, we stress that design is an everyday thing and not a luxury anymore,” explains Chelvam. “We focus on value engineering, utilising conceptually curated designs to create commercially viable environments.”

PHOTOGRAPH COURTESY: KUNAL BHATIA

Gen 2018

NISHITA KAMDAR

PRINCIPAL, STUDIO NISHITA KAMDAR, MUMBAI

rchitects don’t just create houses, they create homes, memories, emotions, and help build clients a lifestyle. It was this urge to improve the quality of lifestyles that inspired me to take up architecture,” says Nishita Kamdar, the 30-year-old founder of Studio Nishita Kamdar. Her education, both formal and practical, is excellent. The winner of the prestigious Charles Correa Gold Medal for Design Dissertation (2013) for her thesis 'The Eyes of The Skin: A Recreational Centre for the Blind' completed her B.Arch from KRVIA, Mumbai, and interned with MO-OF (Mumbai) and Rast Architekten (Switzerland), before working as a junior architect at Mumbai’s Architecture Brio and LAB Architects. The multi-disciplinary design practice Kamdar, established in 2014, loves to use materials and design in its purest form, letting them do the talking. In fact, her very first project, The Open House — which, incidentally, also bagged Kamdar IIID’s Best Young Designer of the Year (2016) — helped her create a niche for herself, as someone who respected space, materials and moments. “We believe in the simplicity of design to create beautiful complex spaces which appeal to its social and physical context... Architecture should indeed not only look beautiful, but also feel beautiful and appeal to the other senses of the human being,” says the architect who finds abstract art with its clean lines, bold use of colours, colour blocking and rigid geometric shapes inspiring. Other inspirations include Frank Lloyd Wright for his compositions,

BIG Architects for their craziness, Charles Correa for his simplicity, and the human being. “I feel the human being is the biggest inspiration for me, the way he moves, sits, thinks, behaves is intriguing and ever changing. And much of our design is influenced by this study.” While Kamdar’s creations look effortless, there are challenges that she deals with in every project — and we’re not talking of the sort that come with spaces. “The constant struggle to express yourself, explain yourself to your client, to your audience, the need to meticulously articulate your thoughts [on the] drawing board and into reality is a mentality exhausting process…” But the show, as they say, must go on. “Design has this annoying tendency of being better than yesterday. Design doesn’t have a fixed answer ever, and that ensures we are constantly reinventing ourselves,” she signs off.

One of our first moves while starting a project is ‘undoing’ the project more than doing up the space. We truly believe that Less is More”

PROJECT The Open House, Mumbai.

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

PHOTOGRAPHS: THE FISHY PROJECT

Gen 2018 The challenge of being an architect is to take everyone along in the whole process of designing and execution. It’s almost like making others see your dream”

PROJECT Culture Redefined, Navsari.

POOJA SHAH & NEIL PAREKH

CO-FOUNDERS AND PRINCIPAL ARCHITECTS, CO.DE, SURAT

love for architecture and similar design philosophies were the bonds that Pooja Shah and Neil Parekh cemented with marriage and a professional partnership, when they set up Co.De (The Company of Design) in 2015. They were college mates in Surat’s SCET, from whence they traversed different paths – she to work with Samira Rathod Associates to imbibe their focus on detailing and learn the process of going from ‘part to whole’ and, later, for post-graduation in retail space design from ELISAVA, Barcelona; he to understand architecture and design in the real world under Rahul Gore and Sonal Sancheti of Opolis Architects and then to pursue a Master’s degree at the Institute of Advanced Architecture of Catalonia, Barcelona. Co.de was established with the idea that the principals wouldn’t limit themselves to just one discipline, that they would create a work environment where people from different fields could come together to experiment, innovate and create better designs. Culture Redefined, the Coffee Culture outlet at Navsari, say the duo, is one such project that allowed them to treat design as a tool for creating a particular atmosphere rather than establish a certain type of image. The idea was to create a space reminiscent of the Parsi community (“joyous, playful, quirky”) in an abstract manner and to deploy elements to evoke varying responses in the user. “Logics of geometry and understanding the behaviour of material has been a core to our work,”

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

says 31-year-old Parekh while elaborating on the technology and techniques they apply most in their work. “Depending on the design, we use computational software like Rhino+Grasshopper, where we apply parameters of geometry and function to achieve results.” The idea of engendering something intangible (emotions) from a tangible object (design) enthuses the duo. But, as Shah (30) points out, the process can be fraught with challenges. “As an architect, the most difficult part is to make sure that the design is executed as visualised. Often, the divergent thinking of a client halfway through a project changes things, and the design goes haywire…” While Parekh emphasises their inclusion of the vernacular idiom — like Warli art and jalis — wherever contextually relevant, Shah highlights their predilection for wabi-sabi centred around the acceptance of transience and imperfection, because “it keeps the window open for [the design] to evolve over a period of time, making it timeless…”

PRERNA AGGARWAL AND BADRINATH KALERU DIRECTORS, STUDIO ARDETE, PANCHKULA

ood designs have ‘life’ in them, say Prerna Aggarwal and Badrinath Kaleru who, interestingly, weren’t too keen on taking up architecture when they cracked the JEE (Joint Entrance Examination) in the first attempt. “Architecture was introduced to us during the counselling session, but it did not leave an impact. However, as we delved deeper into the subject, it seemed to be the only thing we wanted to pursue,” recall the duo. Thus began their formal training in the field at IIT Roorkee, where they did exceptionally well (Kaleru won the Gold medal for his thesis). What followed is a string of (enviable) internship opportunities with the likes of Dominique Perrault, Jean-Michel Wilmotte (Paris), Mario Cucinella Architects (Italy) and Endo Shuhei (Japan). “We realised a gap existed between the global scenario and the architectural language of the nation. We wanted to bridge that gap,” say the 30-something architects who founded Studio Ardete in 2010. A well-designed space, according to them, makes you feel like you belong; it inspires emotions. “The divinity of the Church of Light, the sheer power of the Bruder Klaus Chapel, the pain depicted by the Jewish Museum and the joy of the Guangzhou Opera House are powerful examples of great design,” say the duo who are equally awed by “rebels like Gaudi and Gustav Eiffel, Corbu and Mies, Ando and Zaha.” The challenges in the profession are two-fold, they believe. Mainly, the glorification of branded

products and the lack of appreciation for quality workmanship. “(Branded products) are considered superior to local materials – which might not be the case. We need to move from an import market to an indigenous market,” they feel. As for workmanship, the average client is more impressed by an aggressive pricing without realising the quality that might be compromised in return. Undeterred by these realities, they continue to deliver exceptional projects like Manasara – a 100sq-m retail store that changed not only their own perceptions of design, but also the clients’. Conceptualised as an art gallery, it was selected as a Top Five finalist at WAF (World Architecture Festival) 2015, Singapore. “This project changed our thought process and the way we worked. It laid the foundation for a new language of design.”

Gen 2018 Built spaces need to celebrate human existence and connect with the users on an emotional level”

PROJECT Manasara, Haryana.

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

PRESENTED BY

PHOTOGRAPHS: COURTESY THE ARCHITECT PHOTOGRAPHS: COURTESY THE ARCHITECT

Gen 2018 Architecture is deeply associated with human values and emotions. Good design takes a conscious effort to accommodate the core values of life”

PROJECT The Sideyard House, Ernakulam.

RAKESH KAKKOTH

PRINCIPAL ARCHITECT, STUDIO ACIS, KOCHI

rom a diploma in electronics, Rakesh Kakkoth pursued Architecture at his brother’s insistence. “Formal architecture was uncharted territory for me, and I was intimidated. My initial days as an architecture student at TKM College of Engineering was challenging – but as time passed, I developed a liking towards it. My proficiency in engineering graphics and model-making boosted my confidence,” recalls Kakkoth. A constant process of learning, aided by architectural discussions with fellow students and teachers, as well as reading books exposed Kakkoth to architectural philosophy and concepts. As a student, he was drawn to the works of Charles Correa and, later on, immersed himself in the works of Geofrrey Bawa too. His stint with architect Roy Antony allowed him to develop the boldness to experiment with design. Kakkoth, who set up Studio ACIS in 2011, believes that design is all about discovering something beyond its physical existence. It essentially becomes a personal journey, until the site unfurls its resources. “As I move from one project to another, the knowledge that I have gained from past experience serves as the constraint that shapes the next,” says the 38-year-old. His architectural philosophy is deeply rooted in the age-old concepts of traditional Kerala architecture, which is in response to its climatic and cultural context. According to him, aesthetics is something that evolves over the course of design

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when one achieves the right balance and rhythm. It accompanies the functional solution. “For example, in my practice I have mostly incorporated the pitched roof – which is nothing but an ideal roofing solution to the heavy monsoons of Kerala. The resulting form of the building brings out the true beauty of traditional architecture,” he points out. In an urban context where spatial constraints may deter interaction with nature, he recommends reviving this connection through courtyards and atriums – visible in The Sideyard House project. His path-breaking project, however, is House Replica that seamlessly blends into the context – climatically, and reflects the essence of the client’s tharavadu (ancestral home).

SAKSHI KUMAR & VASANTH PACKIRISAMY FOUNDING PARTNER; PRINCIPAL ARCHITECT, FIRKI, NOIDA

hat inherent desire to “create” led Vasanth Packirisamy to take up DIY and art projects with great enthusiasm as a kid. Design school was definitely on the radar, naturally; however the plan was to pursue automobile design. But a “happy accident” saw him enter into an architecture school instead, and he hasn’t looked back since. For Sakshi Kumar, it was her own creative inclination and the accomplishment of seeing design translate into reality that made architecture a natural choice. Before the two creative minds could join forces, they studied at School of Planning and Architecture, Delhi. Kumar gained her initial experience with Stephane Paumier Architects, Peter Ellis New Cities and Design Cell – with each project reinforcing her interest in landscape design. Packirisamy worked at Team for Engineering, Architecture and Management, under the mentorship of its founding partner Snehanshu Mukherjee. Later, he joined Abaxial Architects, where he was exposed to handling varied scales of projects – from graphic, product and furniture design, to residences and large IT parks. While still at Abaxial, Packirisamy started an illustration studio called Firki in 2014, as a side project where he designed quirky merchandise. In a sudden change of events, architecture projects also came into his purview. Kumar joined in as the founding partner of Firki Studio, specialising in their open space design projects. In the midst of this transition, the essence of the studio

remained. “A subtle breeze sets a firki in motion – transforming its coloured blades, a poetic act that brings out a smile. As the name suggests, we love to add a bit of quirkiness to our projects,” shares Packirisamy, principal architect of the studio. But the 32-year-olds bring more to the table than just fun design. As contemporary architects, they still look to the traditional sensibilities of their design heroes. From Laurie Baker (“it’s a constant reminder that good design is affordable and for the masses”), Geoffrey Bawa (“who erases the boundary between the inside and outside”) to Luis Barragan (“he brings magic to his clean spaces”), they keep going back to the icons for inspiration. In La Palette, a fashion retail store in Delhi, we see how their love for quirkiness and for traditional sensibilities translates into a project. The design presents a glimpse of the untold story behind each and every handcrafted garment on display. “This project appropriately demonstrates that ‘design’ can transform an inexpensive material, such as embroidery hoops, to generate a rich, bold Indian aesthetic and an alluring spatial experience in the world of couture,” explain the duo. Moving forward, they believe that virtual reality will alter our perception of ‘space’ – a challenge the design community needs to prepare for. “We work from home, attend conferences remotely, access complex data beneath a pretty user interface...and so on. We are still designing homes and offices the same old way, only changing the surface treatment and visual app,” highlights Packirisamy.

Gen 2018 At Firki Studio, we believe that optimum utilisation of resources, within the box, to provide out-of-the-box solutions is innovation”

PROJECT La Palette, New Delhi.

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

Gen 2018 Good design… is simple and the end result seems effortless”

PROJECT Hornbill House, Nilgiri.

SHARATH NAYAK

SENIOR ARCHITECT, BIOME ENVIRONMENTAL SOLUTIONS, BENGALURU

rchitecture was an intuitive choice that Sharath Nayak made when he was deciding the course of his life post 12th standard. After all, he did have a fascination for “making and tinkering [with things] since childhood.” Finding himself at Manipal Institute of Architecture, he was surrounded by “teachers who were young and approachable, and a peer group that discussed design most of the time.” Internship with architect Chitra Vishwanath put all his learnings at Manipal in perspective. Thereafter, a brief time spent in Switzerland widened his exposure to the field. “I loved the simple complexity of many of the designs I got to see and study there,” he recalls. He was impressed by Swiss structural engineer Jurg Conzett and his “derivation of aesthetic and space from structures.” The beauty and simplicity of Geoffrey Bawa’s work also resonates with him. He returned to Chitra Vishwanath Architects, but now the 1990-firm was re-organised as Biome Environmental Solutions since 2007. “The intent was to provide ecological solutions... [and] also move from a personality driven firm to one that is driven by ideas,” explains 38-year-old Nayak, who has been with the firm since the transition. His personal design aesthetics is to keep things simple and derive beauty from light and space. “Good design [is] simple and the end result seems effortless,” he explains. Of course, navigating this simplicity means dealing with challenges that require him to don many hats – “of a salesman, a

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

negotiator, a businessman, a manager of work and people, in addition to that of a designer.” Exemplifying his design approach is the Hornbill House, a bungalow designed for a farmstay in the Nilgiri district of Tamil Nadu. Located in the midst of a tea and coffee plantation, the house stands on the plantation’s old drying yard between a rocky waterfall and a forest. The exterior stone walls blend with the surrounding rock face, whereas the inner mud walls provide a feel of warmth and shelter. One look at the built property – and you know Nayak isn’t far off in his definition of good design.

PHOTOGRAPHS: ANAND JAJU & STUDIO XS

Gen 2018

SHIVANI KUMAR & SUCHETH PALAT PRINCIPALS AND FOUNDER PARTNERS, STUDIO XS, BENGALURU

ucheth Palat first tasted design with the construction of his grandparents’ house as a child. Later, architecture became intriguing and attractive as it “seemed to be the intersection of design and the real expression of the world.” His partner Shivani Kumar chose it initially because of its creative potential, and its ability to embody abstract notions of design. “But the time has progressed,” she says, “the impact of design on life from a micro scale to an urban scale is a pure thrill.” Both alumni of Academy of Architecture, Mumbai, their pedigree in formal and practical education is notable. In India, Palat has worked with Dean D’cruz (Mozaic Design Combine) and Venkatramanan Associates, where he reinforced his understanding of the local requirement and context. Internationally, he garnered professional experience at CallisonRTKL (where he tasted the thrill of being a winner of AIA Design Awards) and with design-build firm Beck Group in Dallas, where he strengthened his understanding of what it takes to convert a concept to reality. Kumar’s strong individual work ethic and design talent bagged her the AIA Gold medal, Best Designer, while enrolled for a Master’s programme at Texas A&M University. She cut her professional teeth with global architectural firms like HOK in San Francisco, and leaders in the Indian industry like RSP in Bengaluru, Raj Rewal in Delhi and STUP Consultants in Mumbai. After working with firms of different scales,

and with different experiences around the world, the 39-year-old duo decided to start out of a garage with Studio XS in 2011. The practice is a multifaceted entity – a studio, a lab, a workshop, a theatre, a classroom as well as a gallery – and holds in its name, a telling clue to the enthusiasm with which they approach everything from a small product to an urban design project. Their choice of the most significant project, in fact, is Skopia, a 32sq-ft urban art Installation which creates a great impact with a small footprint. They also mention The Permit Room, which called for the conversion of a three-level glass box into a bar, and made use of their expertise in architecture, interiors and urban design. “The hardest designs are those that look effortless,” conclude the young architects.

Innovation in design has to be integrated into the production of the product – where technology becomes the background and the driver for both”

PROJECT The Permit Room, Bengaluru.

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

PHOTOGRAPHS: MANOJ MASAND

Gen 2018 Good spatial design is more than aesthetics. It’s an emotion that can only be felt when you are within the space in question. Pictures cannot capture it”

PROJECT Smoor Chocolates, Bengaluru.

SHRUTI JAIPURIA

FOUNDER AND CREATIVE DIRECTOR, MAIA DESIGN, BENGALURU

rowing up, Shruti Jaipuria had always been interested in both fine arts and mathematics. Initially, uncertain of what she wanted to do, she headed to USA for a degree in finance from University of Michigan Ann Arbor. But when she realised that a desk job wasn’t up her street, it was back to the drawing board – and to a degree in interiors at Parsons School of Design, New York. “From then on, there was no looking back,” she says. “Design is a field that allows you to exercise both the creative and analytical aspects of your brain. It is a field that is constantly evolving, offers continuous learning and opportunity to explore. Form, colour, texture, construction and innovative techniques have always intrigued me – and, upon discovering design, I knew I had found my fit.” MAIA Design, the interior architecture practice Jaipuria founded in 2011, believes design to be more than aesthetics. “We believe in designing ‘experiences’,” says the 35-year-old design entrepreneur who admires Geoffrey Bawa, Tony Chi, Yabu Pushelberg, Tadao Ando and the firm AvroKO. “From the moment someone walks into our spaces, we hope to have a sensory impact on them.” Eschewing a signature style, MAIA chooses to tailor-make projects for clients; create immersive experiences that are specific to context and brand. “Our work approach demands detailed explorations in material, study of human behaviour, and collaborations with artists, chefs and home owners. What distinguishes us is our

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

ability to understand our clients, and come up with unique design solutions. [Each space] is curated keeping in mind the requirement, context and personality of the person,” says the designer for whom design and innovation are synonymous. “I think it is very important to constantly push boundaries, research and experiment.” While there is no favourite project for Jaipuria – perhaps because all are favourites – she does talk about a premium retail/ café they developed for Smoor Chocolates. Though this assignment entailed the transformation of an old house on one of Bengaluru’s busy streets into a contemporary and sophisticated space, the design had to be robust enough for multiple store formats: kiosks, stand-alone chocolate stores and lounge. “Unique and innovative brand elements were designed [such as] bespoke wall panelling, retail shelf units, custom lighting and wall graphics that can be easily reproduced in future outlets,” says Jaipuria, who dreams of working on a resort or a museum…

PRESENTED BY

PHOTOGRAPHS: DEEPSHIKHA JAIN PHOTOGRAPHS: DEEPSHIKHA JAIN

Gen 2018

SMITA KHANNA & HEMANT PUROHIT DIRECTORS, NOTE-D, MUMBAI

ngenious design solutions to the problems of context and climate have placed Smita Khanna and Hemant Purohit, co-founders of Note-D (Nature of the Experiment Design) at the top of the promising young architects charts. Like most youngsters, 35-year-old Khanna chose her career path for reasons different from why she decided to continue in the same direction. Coming from a long line of accountants on one side of her family and businessmen on the other, she seemed to be headed for the financial sector – until she was in her late teens. While painting came to her intuitively and she understood emotions as physical abstractions of colour and form, she also had an inclination towards the sciences and maths. By the time she was in high school, she realised that “architecture was the logical alternative to studying business.” On the other hand, 36-year-old Purohit has always been drawn to architectural plans and layout maps – if not necessarily to buildings. “I might not have been aware of the terms – but wayfinding, massing or sculpting were interesting topics for me,” he elaborates. After completing his B.Arch from the Chandigarh College of Architecture, he studied at the IAAC Barcelona and then went on to work with Serie Architects, Guallart Architects and Cannon Design. Khanna, whose initiation to this field came later in life, admits that her original decision was changed by her high school and college – United World College (UWC) in Wales and the Architectural Association (AA) in London. Both educational

influences were about re-thinking, re-contextualising and providing the right tools, though the AA was about creating platforms for thinking. “I found myself coming full circle and rediscovering my love for abstraction,” she recounts. Ever since she decided to study Architecture, Khanna worked almost every holiday with design practices. Her first internship was in London, at Arup. She also worked at Serie Architects, where the two partners met. “Hemant and I were colleagues there,” she confirms. “Serie Architects is closely related to the AA (Kapil Gupta studied there, and his partner Chris Lee was a tutor as well).” After her graduation in 2008, Khanna decided to return to Mumbai temporarily. “At this time, a friend of mine, Swati, and I decided to do a personal project together. She had also just graduated and moved back. This was probably, in a way, the birth of Note,” she discloses. While she began experimenting along with her friend way back in 2003, Note-D was established in its current avatar – as an integrated architectural and interiors practice – with Purohit in 2013. The partners choose House in Awas as their defining project. The house derives its logic from Vastu as much as from a newer interpretation of the courtyard – no more the private nucleus of the house, but more like an outdoor room and an entrance foyer. Meanwhile, the extensive glazing never receives direct sunshine. Instead, the house shades the pool for most part of the day, an idea uniquely suited to the hot tropical climate of India.

We like the ability of architecture to be created, consumed and experienced by everyone”

PROJECT House in Awas, Alibaug.

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

Gen 2018 Innovating, improvising and inventing the process for every project is the common thread which helps me stay focused and interested in my work”

PROJECT Infosys Campus, Nagpur.

SWATI GAUTAM

SENIOR ARCHITECT, MORPHOGENESIS, NEW DELHI

ith Swati Gautam, the fascination for this profession has as much to do with its creative aspects as with the fact that it is a scientific exploration of habitable spaces. “Architecture involves studying various fields of human endeavour, including art, history, material science, physics, engineering – anything and everything that can help improve the living environment. It is one of the most diverse subjects one can pursue; the excitement of working on something new every time is the key element providing a balance to my right and left brain,” says the 31-year-old architect, who is inspired by the works of Steven Holl. When she was pursuing her undergraduate studies at Sushant School of Art & Architecture, Gurgaon, Gautam found excellent thesis guides in Abhishek Bij (from Designplus) and Manit Rastogi (founder-partner of Morphogenesis). Soon after, she joined Morphogenesis in 2010 – a place that would be her design home for years to come. Wanting to acquire more knowledge about processes and theory behind great architecture, she took a sabbatical from work and enrolled for her Master’s degree in Theory & Design in Architecture at the University of Nottingham, UK. In a profession where alliance to one particular firm is rare, for Gautam, there was only one place to return to after her Master’s. “I feel like a complete part of Morphogenesis’ ideology of design excellence, and achieving it by being sensitive and ambitious at the same time. The

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

founding partners, Manit and Sonali, have believed in maintaining integrity in design processes, with continuous learning for all in the firm,” shares the ardent admirer of the award-winning practice that was started in 1996. Finding a balance between contextually-rooted architecture and modern technology has been their forte – just the kind of work this iGen likes to immerse herself in. Her design sensibilities and that of the practice are amply visible in their ongoing project for Infosys in Nagpur. Commissioned after winning a design competition, the brief was ‘to create the world’s most sustainable office building’. Gautam, who has been the founder-partners’ right hand for this project, is particularly proud of the parametric solution they have derived for this campus. It is a project to watch out for, as Morphogenesis has taken this opportunity to test if a development of this scale could be net-zero on water, energy and waste, with a future aim to develop a model for sustainable masterplanning for larger sites.

PHOTOGRAPH: NOSHIR GOBHAI

Gen 2018

VINAY SHIPOSKAR

ASSOCIATE ARCHITECT, ARCHITECT HAFEEZ CONTRACTOR, MUMBAI

isiting Nehru Science Centre and Art Gallery (Mumbai) as a kid made quite an impression on young Vinay Shiposkar, who enjoyed drawing, craft and geometry in school. “I was awestruck by the building and the big lawn more than the experiments [that were being showcased]. I guess a career where I could do built forms was always on the cards,” he reminisces. Entry into Academy of Architecture, Mumbai, was his formal induction into the world of architecture and design, followed by a Master’s in Architecture at Georgia Tech in Atlanta USA – which he pursued only after working for a good four years in India. His design aesthetics can be best described as contemporary and progressive, which explains why he admires “the persistence to simplicity and perfection of Steve Jobs, the attention to detail of Jonathan Ive, and the boldness of Zaha Hadid.” His modern leanings, however, are tempered with a love for good old-fashioned sketching. “Drawing is a way of thinking, it’s almost an integral part of the communication process. It’s such a natural way of working out ideas. We draw small details in a building, and the next second we are drawing where it sits in the entire scheme of things... I really can’t imagine being an architect without sketching,” declares the 39-year-old. In 2010, Shiposkar joined Mumbai’s leading architectural firm Architect Hafeez Contractor, a firm that has, since its inception in 1982, been responsible for many landmark developments in

the city – and continues to do so. With a Padma Bhushan awardee as their leader/mentor, “AHC is a firm with young and talented architects who are creative despite the stringent norms, and are able to work out solutions to design problems in a short span of time,” maintains Shiposkar. One of his most significant projects, till date, is Lodha Venezia in South Mumbai, a 60-storey, two-tower complex with a mixed-use programme. “The highlight of the project was the efficiency with which it was planned; further, it’s the first one where we have expressed the structure and made it a part of the aesthetic,” adds the architect. Another project that he is fond of is Lodha Amara, a lush residential property developed in Thane. The amiable relationship between the landscape and the architecture is what captivates your attention immediately in this project. Good design, for Shiposkar, is one “that responds well to the context and explores spatial experiences and aesthetics while fulfilling the client’s needs.”

Innovation is to think and see things differently; to say there is another way to do this”

PROJECT Pavilion for Lodha Amara, Thane.

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

PHOTOGRAPHS: COURTESY LINK STUDIO

Gen 2018 Mixing aspects of climate, culture, program, nature and expression together and still achieving simplicity is… the closest one can get to a perfect design”

PROJECT Dock 45, Hyderabad.

VINDHYA GUDURU & BABA SHASHANK

PRINCIPAL ARCHITECTS AND PARTNERS, SPACEFICTION STUDIO, HYDERABAD

hile Baba Shashank’s love for drawing sketched a path for him that led to architecture, it was Vindhya Guduru’s fascination with colour, textiles and drama – and a state rank in the entrance exam for architecture – that tipped her decision towards this field. Undergraduate years were “easy” for Shashank (“owing to the basic drawing skills in my possession”) and “magical” for Guduru (“[there was] freedom of thinking creatively and expressing through varied mediums”). However, for the former, much of the sensitivity required to create good architecture was imbibed under Mindspace’s Sanjay Mohe. Guduru’s formal training continued with a Master’s degree in Interior Design at Pratt Institute, New York; and a stint, thereafter, at Collage Architecture Studio (Bengaluru) gave her insights into contemporary architecture practices. Nature is the muse for Spacefiction Studio, which the duo established in 2014. “We strongly believe that architecture should be in the background of nature...the awareness of nature should always be strong within the user of that space,” say the 31-year-old principals, who are inspired by Tadao Ando’s appreciation of darkness, Louis Kahn’s celebration of light, Richard Meier’s fantastic white buildings and Luis Barragan’s use of colour. Closer home, Charles Correa, BV Doshi and Mohe are regular fuels of inspiration. “But it is the contemporary young practices that always inspire us to do better on a daily basis,” they add.

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

Contemporary minimalism, juxtaposed with culture and context, forms the studio’s design aesthetic. However, this minimalism, many a time, is the outcome of a complex structural resolution. “We often create delicate spaces, even if it means complicating the structure. This results in a lot of cantilevers, larger spans and integrated steel structures. We are currently exploring the extent to which we can use parametric design – whether it is a set of curves around furniture, or a complete planning scheme…” Dock 45, their most significant project, uses the algorithm-based process to create hypnotically undulating, wave-like forms that add their own energy to the nightclub – which is a completely fabricated steel structure that apes a stack of shipping containers. “Innovation makes progress possible. If everything is done with the laziness of thought, then there will not be any icons to look forward to or to look back on,” believe the duo.

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SPECIAL REPORT JAQUAR DESIGN CONFAB

RETHINKING TRADITION 1

JAQUAR GROUP, IN ASSOCIATION WITH ITP MEDIA, HELD THE DESIGN CONFAB IN AHMEDABAD TO CELEBRATE THE ‘SPIRIT OF DESIGN’ BY SHRISTI NANGALIA

1. The panelists (L-R): Hitesh Modi, Hiten Patel, Jagrut Patel, Dipen Gada, Rahul Dalvi, Mohit Hajela, and Bibhor Srivastava. 2. Gurjit Singh Matharoo sharing integral points of building design in his keynote presentation.

ollowing a successful organisation of the first Design ConFab at Pune, Jaquar Group launched its second edition at Ahmedabad with the theme ‘Rethinking Traditional Architecture with Smart Design’. To take forward the new synergy of design thinking, architects connected with the city were invited to unify their thoughts and build a knowledge base while meeting, sharing and learning from each other. Having conceptualised and implemented successful brand strategies in both project and retail environments, Mohit Hajela, group head, Business Development, Jaquar Group, introduced the concept and ideation of the Design ConFab

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

in his opening address. He then introduced and invited on stage the keynote speaker – Gurjit Singh Matharoo, principal architect, Matharoo Associates. Matharoo believes in the philosophy ‘Do first, think later’ – just what he practises at his firm that he established in 1992. Looking back at some integral pointers in building design that are seen in his firm, Matharoo highlighted them to be frugality; when in doubt, restraint; build structures that act as catalysts; make buildings that move people; bring ‘witness’ [meaning wit] to architecture; and buildings must elate one to higher level of existence. To explain each aspect individually, he shared noteworthy projects from his firm – viz, House with

SPECIAL REPORT JAQUAR DESIGN CONFAB

PANEL MEMBERS Hiren Patel, principal, Hiren Patel Architects Hitesh Modi, principal, Modi Srivastava & Associates Dipen Gada, principal, Dipen Gada & Associates Rahul Dalvi, principal, Dalvi Associates Jagrut Patel, founding principal, Jagrut & Partners Mohit Hajela, group head, Business Development, Jaquar Group Bibhor Srivastava, group publishing director, ITP (moderator) Balls, Dharmshala, ECIS Hospital, Fissured Living, Moving Landscapes, Cattiva - The Mean Woman, and Urban Stitch. Ending on an inspiring and positive note, Matharoo introduced their noble initiative – PITStudio. “For this programme, three architects from the country are chosen every year. They are asked to run a week-long studio exclusively for students, in the location of their choice. With this, the students get to experience a life with the architect and get to learn the methodologies and practices directly.” The three years of PITStudio have been immensely successful, and Matharoo anticipates a similar response in future. Rajesh Mehra, director & promoter, Jaquar Group, felici-

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SPECIAL REPORT JAQUAR DESIGN CONFAB

3. Rajesh Mehra, director & promoter, Jaquar Group (right), felicitating keynote speaker Matharoo. 4. Anik Mehta, zonal head West, Jaquar Group. 5. Mohit Hajela, group head - Business Development, Jaquar Group.

tated Matharoo on behalf of Jaquar Group and ITP Media. Following a video presentation showcasing the beautifully designed global headquarters of the Jaquar Group, Mehra also shared a glimpse of his own journey with the company. “Indian architecture has come a long way from mud houses to simple dwelling units, to delivering affordable homes, to lifestyle homes and, now, creative and Smart homes. Jaquar continuously supports to evolve [with the] latest needs, offering not just new products, but also design and technology to meet the growing demands of customers,” he mentioned. Bibhor Srivastava, group publishing director, ITP Media India, moderated the ensuing panel discussion that dwelled on the topic of the day: Rethinking Traditional Architecture with Smart Design. Srivastava wanted to know if there is a conflict between architect, client and city, and does the business aspect take over the social responsibility of the architect. Dipen Gada shared, “We all are in a race to complete projects. I think we have to take time out of it, and ask ourselves if our practice is sensible in the context of Indian climatology and mass requirement or not. At the same time, once we are convinced, we can definitely try to convince the clients to follow the sensible practices with logical reasoning.” Rahul Dalvi was asked to share his experience and ideas about the importance of design in the light of Smart Cities, the new-age movement and resultant competition. He replied, “We are at a massive transition mode – be it architectural design, product, mechanism or industries, we are running at a rampant pace. Identifying the right path is

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

a personal perception. I would always let my conviction do the part; and I prefer to cater to the masses rather than just a few selective audiences.” When asked how Smart elements can be integrated into the design, Hitesh Modi responded by saying, “Ever since ancient times, we have architectural contexts that can be incorporated into our projects through a contemporary way of thinking. So, for me, transforming that context and designing anything that is relevant to the site is Smart design.” Hajela of Jaquar, being from the manufacturing sector, has been dealing with a cross section of architects and various asset owners. He was asked about his journey in terms of making architects familiar with technology and how it has been translated into Smart designs. “Talking about Jaquar Group, we have been continuously innovating and upgrading our products through Green manufacturing and technology. We have grown with the designer as much as designers have grown with us. It is important for us, the manufacturers, to innovate continuously and for you, the designers, to recommend solutions as per the need.” Taking about architectural practice, Hiren Patel spoke his heart out, saying, “We admire traditional architecture because all traditional designs and buildings were correlated, rather than being individualistic. I believe, we should all be responsible for the work we are producing. We should go on a personal level, spend time with ourselves and bring out something beautiful. Many a times, too much information, that technology makes available to us, is also problematic.” Adding to this thought, Jagrut Patel shared his viewpoint, saying, “Since we are at the junction of transformation, too much information is problematic. Processing information wouldn’t be a difficult job for the coming generations. I believe, technology always tends to make our lives simpler.” Srivastava and the rest of the panelists concluded the discussion with the shared belief that conversations like the Design ConFab must happen more often to build unified solutions that best cater to the community. The panelists were thanked and felicitated individually by Sandeep Shukla, head – Marcom, Jaquar Group and Anik Mehta, zonal head – West, Jaquar Group. Mehta, on behalf of the organisers, expressed the vote of thanks by acknowledging the speakers, panel members, invitees, knowledge partners and the media for being part of the Ahmedabad edition of the Design ConFab. Dinner and conversation followed, ending the insightful and thoughtprovoking evening on a convivial note. A&I

GLOBAL NEWS 1

ART REIGN IN BAHRAIN WITH ARTBAB RINGING IN BD 2,29,000 IN SALES, THERE’S ENOUGH PROOF THAT ART RULES

ith visitor figures climbing 25% and brisk sales that touched BD 2,29,000, Bahrain’s young and prestigious international art fair ArtBAB met with splashy success in its third edition this year. Held under the patronage of Her Royal Highness Princess Sabeeka bint Ibrahim Al Khalifa, it was inaugurated by His Royal Highness the Crown Prince and First Deputy Premier, Prince Salman bin Hamad Al Khalifa. “We are proud that not only were visitor figures so encouragingly high, but we also saw excellent sales,” said Fairs & Program director, Kaneka Subberwal. “This year, ArtBAB 2018 hosted collections from 15 galleries around the world and 13 independent artists from 11 countries. Our ArtBAB Pavilion with its spotlight on Bahraini artists received enormous interest and many Bahraini artists also received enquiries from visiting collectors and galleries, so the chances of seeing Bahraini art on the walls of foreign galleries and collections has grown considerably.” ArtBAB brought some legendary art to Bahrain for visitors to marvel at – including British artist Damien Hirst, whose solid silver skull titled Abacus – The Dream is Dead (2007) was a big draw; American artist Jim Dine, whose painting Dogwood Spring drew many visitors posing for selfies (it cost BD 2,40,650); and Alan Davie’s Queen Emma priced at BD1,46,650. Thai artist Virut Panchabuse’s striking collage portraits attracted collectors – and the complete collection, costing BD 850 for each portrait, was sold by the end of the show. The focus of the ArtBAB initiative, this year, was to take Bahraini art to Europe and Russia. “We are serious when we say Art (of) Bahrain Across Borders,” Subberwal said.

“Bahrain has a rich heritage, but it is equally exciting in its interpretation of the present and future. Today, Bahraini artists are well-versed in the formal training processes of being artists – but they also bring a rare honesty to their work, which we believe will find them a niche in the world.” Among the galleries that exhibited this year are Alon Zakaim Fine Art from the UK; Samara Art Gallery from Gujarat; Tsekh Art Gallery, Ukraine; Galerie Bruno Massa, USA; Italian artist collective Antonello Ghezzi; and many more. Since ArtBAB started three years ago, it has showcased Bahraini artists to the world with the annual flagship exhibition in Bahrain as well as shows in prestigious venues – the V&A in London, the heritage Bikaner House in New Delhi, the India Art Fair in Delhi (again), along with a well-attended celebrity show in Mumbai. This year’s fair also had a special Tribute Pavilion to two Bahraini masters, Rashid Al-Oraifi and Ghassan Muhsin, as well as a pavilion featuring 38 Bahraini artists and six emerging first-time artists. The spotlight on Bahraini artists showcased over 100 works of art. A Special Projects section featured five projects comprising photography, graffiti work, an installation, a peace building project and a collaboration of art by three Indian artists bridging the boundaries between India and Bahrain. ArtBAB built its popular Conversations@ArtBAB around the theme of education this year and included talks by artists, collectors and consultants who shared knowledge on trends and on art itself. There was also the first-ever Kids@ ArtBAB workshop that focused on developing junior artists and guiding art appreciation among teens and children, and a popular merchandising section and bookstore to purchase art books and souvenirs of wearable art, stationery, etc. A&I

1. ArtBAB met with success in its third edition this year. 2. Kaneka Subberwal, Fairs & Program director, ArtBAB.

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

FEATURE LED LIGHTING

SEEING LIGHT

NEXT-GENERATION LED LIGHTING SYSTEMS ARE A GAME-CHANGER THANKS TO THEIR FLEXIBLE DESIGN AND AMAZING EFFICIENCY BY ARUNA RATHOD

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

SMARTER AND BETTER Latest innovations in LEDs like Smart Lighting are making lights more intuitive and interactive. Anirudh Kajaria, business head, Century LED, adds, “The LED lighting market has undergone a robust change in the past few years. Novelties in lighting solutions are emerging every day to give wings to our concepts of contemporary decorating needs.” By 2030, the primary energy supply, at a conservative estimate, will need to grow about four times and electricity supply by five to seven times of today’s consumption. In the

professional sector, the efficient LED is already invincible for its exemplary light output. Jayanth Jain, MD & CEO, GM Modular, states, “With newer introductions, there has been a revolution in the LED technology with regular down lights, panel lights, surface lights, chandelier lights, LED street lights and other residential and industrial applications.” Also, the lower costs become an inevitable advantage over the rest of the light sources, and that further curbs the impact on climate damage and lowers switching costs to LED technology. Gradually, it will supersede all other light sources such as fluorescent and discharge lamps in every sphere. Product designer Vibhor Sogani of Studio Vibhor Sogani feels that, while LEDs have been seeing a lot of changes over the past few years, the interesting thing for him is that the sizes of the modules have reduced. “They have become smarter and better. The outdoor versions have become user-friendly, but the thing that has stood out most for me is the warm-dim LED’s which behave like halogens when you dim them. This really excites me, since nothing else really matches the colour rendition of a halogen.” Worldwide, LED lights are being used increasingly in the automotive industry, particularly in advanced forward lighting where adaptive beam headlights minimise glare while optimising illumination for drivers. These arrays of LEDs are controlled by forward-sensing technology and boost driver safety. A microcontroller dims LEDs for oncoming drivers (or vehicles that are following), while typically keeping the high beam on for other zones on the road. VP Mahendru, chairman & managing director, EON Electric Ltd, says, “EON LED battens have been gradually gaining ground globally in the past year or two. While approved in Europe but in limited use, the industry norms are under finalisation in the USA. Such systems possess tremendous potential to ensure safety of traffic on highways.”

CREATING AN EFFICIENT AMBIENCE Different wavelengths of LED light can cause different reactions that have medical and sociological benefits. Blue light, for example, can make one feel alert; and energetic yellow wavelengths can help one relax and fall asleep. Red wavelengths have therapeutic value for the skin. The benefits are many, and the malleable nature of LED lighting means that we can match the lighting to our requirements. Gupta observes, “Today, all studies prove that LED light balances circadian rhythms. In other words, since it mimics natural light, it promotes a sense of well-being and induces

FEATURE LED LIGHTING

nergy-efficient LED lighting is changing the way people think about lighting. Modern lighting technologies play an active role in accenting spaces or creating a pleasing atmosphere for people to thrive in. The LED industry in India is bullish on its growth prospects owing to the increasing awareness about LED products amongst consumers – be it for homes, offices or public spaces. The major shift in the LED space has been the transformation from a product-based solution to a comprehensive connected lighting solution, paving the way for a fully digital world. In addition to these functionalities, LEDs also have a lower cost of ownership, higher durability, longer life and deliver an enhanced lighting experience as compared to conventional solutions. Sumit Joshi, vice chairman and managing director, Philips Lighting India, states, “LEDs are fast becoming the one-stop solution for all lighting requirements, since they are not only restricted to home decor – but also cater to professional segments like street lighting, retail and industrial lighting.” There was a huge improvement last year in LED manufacturing and sales. Cost-wise, there was a dip in the retail price, backed by lower costs of components and increased volumes – leading to economy of numbers. Technologically, too, there have been significant innovations at the chip level, which have made the products more efficient. “The difference is in thermals and lumens, wherein better quality gives you even lower heat dissipation and increased light output at lower wattages. Some of the other advancements include products like Filament LED lamps that have been designed for décor enhancements and better aesthetics,” states Tushar Gupta, executive director, NTL Lemnis.

1. Vinbhor Sogani’s Cascade light installation takes inspiration from Frank Lloyd Wright’s modernistic masterpiece. 2. For Orion, a crystal-based installation, Sogani drew inspiration from interstellar forms seen in the night sky. 3. Sogani’s Beehive light installation combines stainless steel forms, bakhtar craft and gold-plated bees.

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

FEATURE LED LIGHTING

6 4

4. Century LED Vulcan Highbay has a powerful illumination. 5. Atlantis Flood light by Century LED has a low glare output and lasts longer.

effective working conditions and no depletion of energy. Again, since there is constant light, there is a lower incidence of health issues at the workplace – leading to better productivity. Some other proven benefits include improved concentration, energy, health and well-being.” When companies look at revamping office spaces. optimising work force productivity is stressed on – where lighting plays a key role. Kajaria says, “The lighting in a workplace has a considerable contribution to the office atmosphere. Adequate lighting can increase productivity up to a favourable percentage with a better isolation of problems, making employees more alert and managing their stress levels. Efficient lighting allows employees to concentrate better and can decrease errors by 30-60%.” Most LED lights are BIS (Bureau of Indian Standards) approved, which certifies the product quality and safety. Some of the proven benefits of LEDs are that they are ecologically friendly, decrease occurrence of headache, increase learning performance, increase productivity, and decrease the levels of anxiety and stress.

DEVELOPMENT STRATEGIES 6. The 7-watt Glitter lamp by Century LED can replace a 50W halogen lamp.

While LEDs are offered in a variety of base colours such as red, green, blue and amber, they can also be blended together to produce millions of colour options without

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

including specific filters for each. With more developments in this technology, LEDs will continue to be ideal solutions for interactive signage, signalling, advertising hoardings and decorative illumination of buildings. To attract the market, GM Modular has been coming up with a great line of products. Jain explains, “GM introduced high-quality LED lighting solutions with down lights, surface and panel lights, LED streetlights, flood lights and more for a wide variety of residential and industrial applications. The whole idea was to reduce costs and make LEDs affordable for domestic consumers.” GM developed an LED that lasts about 30 times longer than the regular incandescent lamp. It has higher luminosity with which a 3.5W LED can replace a 40W incandescent lamp. This development helps lessen maintenance and save more than 85% of energy. More value addition is definitely possible in the mechanical category. The movement from glass dome to plastics has already helped lower costs. Photometry element of LEDs and LED PCBs (printed circuit boards) has greatly improved the output emitted by the luminaires, allowing brighter light per watt. As for the electronics components, the more advanced they get, the better quality light output is achievable. “Developing the nano technology will help in reducing the electronic circuit design and making it more compact. This, in turn, will lead to more flexibility in designing the luminaires – and we are working in this direction,” says Gupta. A typical 84W fluorescent lamp or a 36W fluorescent tube can be effectively replaced by 36W LED bulb and 18W LED batten. “In addition to this, 27W and 40W LED bulbs are now available in the same price ranges as CFL bulbs, and with better lumen output. Similarly, a 14W LED bulb can replace a 100W incandescent bulb efficiently,” says Mahendru.

EMOTIONAL CONNECT WITH LIGHTING Architect Luis Barragán gave us the term “emotional architecture” to express art and architecture’s emotional appeal – an aspect made more visible by lighting. High-quality lighting can express certain emotions. Jain believes, “The upcoming trend in the lighting segment has already become invincible for its exemplary light output and low energy consumption. With the freedom to adjust the lighting, the intensity, the colour, the direction, LED lighting has taken a big leap. This gives scope for building connections between lighting design and the user’s comfort level.” People are becoming more conscious of the fact that lighting is actually the fourth dimension of architecture.

FEATURE LED LIGHTING 8

Sogani states that, earlier, lighting just lit up spaces. “With the advent and introduction of an array of lights, professionals are also addressing this particular aspect. There are, of course, different layers of lighting in any project – functional, ambient and emotional. When you address the emotion, you also automatically address the function.” For any kind of visual communication, lighting plays an important part. The emotional connect really comes from a sensory connect and, amongst the senses, vision plays a predominant role. What we see and how we see it becomes dependent on the light associated with the object/artist/ brand/monument in question. Gupta believes, “There has to be ideal contrast ratio between the main product and the surroundings to create an impact on the viewers. Amalgamation of different CCTs (Correlated Colour Temperature), CRIs (Colour Rendering Index) and beam patterns to light up the façade or a monument/architecture can create different emotional connections. Lighting is one the most important ingredients of the visual media.” Quality lighting has the capacity to mould common perceptions of style, spaciousness and serenity of a particular place. The right lighting fixtures can enhance the desired ambience of a space, adding to its utility and beauty. However, lack of efficient lighting can trigger depression. Recent studies show that spending excessive time solely in harsh artificial light can cause nervousness and uneasiness. Regardless of our professions, light affects our lives in many ways. Kajaria states, “Lighting connoisseurs and designers are employed to generate a perfect ambience in every architecture application. A creative space can be optimised using LED dimmers. Studies suggest that emotions are elicited more intensely under bright lights and, contrarily, dimming the lights reduce emotionality in everyday decisions.” Though there are varied factors that can affect our health due to unbalanced lighting, there are ways to connect ourselves better with suitable lighting. Hence, efficient lighting

adds to the value of selective retention – as it connects us emotionally with the other elements of design. With new applications and features, different sensors are becoming the norm with LED lighting, such as motion sensors, IR sensors, photo-sensors, etc. Dimmers and lighting controls that lead to flexibility of usage and customisation according to requirement, are also gaining prominence. Mostly used for mood lighting, Smart Lighting is a better way to save energy and continues to garner much interest. Connected lighting (network connectivity and intelligent lighting) integrated with LED luminaires is likely to become the reality in India with the advent of Smart cities. Innovative LED lighting solutions are driving the market forward with their amazing lifetimes, low energy consumption and quality of light, providing businesses with the opportunity to retrofit or upgrade existing fixtures to LED and improve their bottom line, experience high ROI (return on investment) and lessen the impact that their business has on the environment. A&I

7. The widespread use of LED solutions like those by EON are fast replacing conventional light sources. 8. NTL Lemnis spot light, used as wall washer, gives a positive vibe to a space. 9. Atrium area lit with NTL Lemnis down light and flexible strip.

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

FEATURE LED LIGHTING

INDUSTRY SPEAK

LIGHTING EXPERTS TALK ABOUT WHAT MAKES AN LED ENVIRONMENT-FRIENDLY AND ITS IMPACT IN RURAL AREAS 4

1. Tushar Gupta. 2. Anirudh Kajaria. 3. VP Mahendru. 4. Jayanth Jain. 5. Vibhor Sogani. 6. LEDs and 2,000 mirror finished steel spheres make for a mesmerising light installation by Vibhor Sogani.

Are there enough environment-friendly technologies/options in LED segment? Tushar Gupta: LED lighting by itself is the most environmentally-friendly technology available across the globe. It has no mercury, and emits no ultra-violet rays and no Infrared rays (IR LEDs are also now available for medical benefits). In addition, it is hugely energy saving. So, for the foreseeable future, it will be LEDs and their various formats that will rule as the primary source of electric lights. Anirudh Kajaria: LED light bulbs have seen plenty of growth in recent years with the varied advantages these bulbs possess in comparison to other modes of conventional lighting. With every new generation of technology, there is a huge gain in terms of efficiency and lifespan. Costs have come down considerably, and the technology has delivered more options to consumers. Advanced environment-friendly technologies, used in the LED industry, have helped us in eliminating our carbon footprint drastically, with emissions coming down by over half a billion tons in 2017, as a study suggests. In addition to this, LED lighting is one of the most efficient lighting solutions available in the market. According to the Department of Energy, widespread use of LED technology could result in saving up energy, equal to the output of 44 large electric power plants. There is a second factor to induce environmentally-sound technologies: the formation of waste. LED lights have a much longer lifespan than conventional modes of lighting. Bulbs with longer lifespans do not have to be replaced at a regular pace. This technology reduces the amount of waste created by each household and business. To sum up, LED lighting solutions allow us to bind the amount of energy we consume when lighting up our home or office. They are a sturdier and more efficient option than incandescent and fluorescent bulbs in practically every measurable way. Vibhor Sogani: LEDs are environment-friendly because they consume much less power than fluorescent lights and run

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

PANEL OF EXPERTS Tushar Gupta, executive director, NTL Lemnis Anirudh Kajaria, business head, Century LED VP Mahendru, chairman & managing director, EON Electric Jayanth Jain, MD & CEO, GM Modular Vibhor Sogani, product designer, Vibhor Sogani Studio cooler – for instance, you could pretty much light up an entire house in 100W. Having said that, one has to be smart about it since, typically, with LEDs, if the application is incorrect, there would be a lot of light loss. What is the future of LEDs in rural areas? Gupta: I am of the opinion that we have not even started work in the rural areas. While EESLs (Energy Efficiency Services Limited) work is commendable in the rural sector, wherein LED is reaching even remote villages, a major factor that is important to consider is the availability of electric supply in these areas. In this context, we believe that solar LED lamps can play a major role. Solar LED lighting in all its applications – lanterns, torch and street lights – have immense potential. There is already some activity happening in the field, but it also requires the government’s impetus to go [mass-produced]. Once the pricing becomes more affordable, we feel that the rural consumer will be more amenable to it. Kajaria: Under Government of India’s UJALA (Unnat Jyoti by Affordable LEDs for All) scheme, the country intends to save around 20,000 mW, which will ensure 24×7 access to power in rural areas. Additionally, large-scale and transparent procurement has led to a notable decrease in the cost of LED bulbs. In rural areas, street and household lighting are amongst many essential requirements towards a better livelihood and

FEATURE LED LIGHTING 7

advancement. Installation of LEDs in rural areas is a far more sustainable choice due to its longevity. This evolution is driven by a cumulative number of government initiatives for energy conservation, rising consumer awareness about energy-efficient products, and innovative products offered by the industry that are in sync with the overall trend of digitisation. VP Mahendru: The future of LEDs in the rural areas is as bright as it is in the towns, if not more. Last year, the Honourable Prime Minister launched a Rs.16,000 crore scheme, Saubhagya, offering free power connections to village homes across the nation that are still without access to electricity. Coupled with the UJALA scheme, targets for replacing around 770 million incandescent lamps with LED bulbs is already on the anvil. Clearly, the future of LEDs couldn’t have been brighter in rural areas. Jayanth Jain: India imports more than 70% of its oil and natural gas and relies on coal for more than half of its electricity generation. With economic growth comes demand for more consumption, and this is where LEDs changed the spending scenario in rural areas. The LED technology has brought plenty of new replacement products from the primitive incandescent lighting used in rural areas. LED technology, on the whole, effortlessly replaces the old lighting products. It is going to be an illuminating future here on, given that LEDs are among the most energy-efficient lighting sources, and last longer than other light bulbs. An LED bulb can cut energy consumption by over 80% when compared to conventional light bulbs and can last up to 25% longer. The sustainable technology innovation wave has just begun, and there are gradual improvements in resource productivity that are contributing towards sustainability. Can old sources of lighting be totally replaced with LED technology in retail, industrial and residential applications? Gupta: Today, almost all applications of traditional lighting are replaced by LED lighting. Whether it is retail, industrial or residential, almost all of the range has been replaced by LEDs. In the residential segment, major products are lamps, battens and panels, for which LED replacements are widely available. In the industrial segments, the major products are highbays, well-glass, tube lights and industrial battens, where all have been either retrofitted or replaced by LED products. Similarly

in the retail segment, all major products such as spot lights, track lights, etc, have been replaced by LED products. We at NTL Lemnis have more than 250 products primarily targeted at each of these segments. Kajaria: The prospects of LED lighting industry is purely driven by aspirational needs of the contemporary world. While there is a requirement for a smarter and more connected lifestyle, the rising consciousness towards energy efficiency also paves the way for a great future for LED lighting industry. The evolution of customer preference is (impacting) LED lights. Residential applications of these lighting options, preferably bulbs and battens, come with better lumen quality and extended longevity. There are products which are specially made for retail. Showrooms also use different lighting fixtures like COB (chips on board) and spot lights. High wattage LED bulbs have already been introduced in the market, which replace CFLs in the smaller shops. In addition to this, LED lighting solutions can be used effectively in outsized industrial spaces as even-illumination speeds up production and helps avoid on-the-job mishaps. Technological advances in this sector, along with low-cost maintenance, helps in smooth functioning at work. These LED lighting fixtures can enhance the overall lighting experience coupled with the convenience of longer life and improved aesthetics. Jain: The influence of LED lighting in the contemporary world is endless. The LED technology has brought plenty of new replacement products from the primitive incandescent lighting. LED lighting provides up to 75% energy saving with instant start and without any flicker. They are environmentally friendly, non-toxic, lead and mercury free. This technology, on the whole, effortlessly replaces the old lighting products from industrial and residential applications. One of the most important features of LED is the lumen output – or brightness, in simple terms, that doesn’t decrease or depreciate with LED as opposed to fluorescent technology. Industrial lighting consumes more energy, and this is where LED comes as a saviour. Sogani: LEDs have matured and the brands dealing with them have been working towards what we call ‘technically zero defect’ modules which don’t fail as much, are easily available and the costs more palatable. In my opinion, LED technology has the potential to replace old sources of lighting in various applications and environments. A&I

7. LED lights, such as Workstation LED lighting by NTL Lemnis, are consistently replacing its old alternatives.

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

EVENT ROCA

ROCA THINK TURF SERIES – BHUBANESHWAR EDITION

Panel members (L-R): Sumantra Misra, professor, Piloo Mody College of Architecture; SS Ray, principal architect, Vastukar Design Studio; Shashi Prabhu, founding partner, Shashi Prabhu & Associates; Sangram Mohanty, principal architect, Notion; and Akshay Beuria, principal architect, Designers Forum.

The panel members along with the Roca team.

Fraternity members networking at the forum.

The audience at the forum.

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

Mayuri Saikia from Roca felicitating the speakers.

Mayuri Saikia, head, Marketing, RBBPL India, talking about Roca’s portfolio and its initiatives.

Shashi Prabhu sharing his thoughts.

EVENT ROCA

ROCA THINK TURF SERIES – RANCHI EDITION

Panel members (L-R): Rajiv Chadda, principal architect, Chadda and Associates; Chitrita and Mayukh Vinarve, partners, Design Team; Arun Kumar, principal architect, The Creators; and Anupam Deb, principal architect, Yantra Architects.

The audience at the forum.

Subimal Mukherjee,GM Sales (East), RBBPL.

Delegates registering for the event.

Audience member interacting with the panel.

Keynote speaker of the evening – Amit Arora, partner, Group DCA.

Delegates networking with the keynote speaker at the forum.

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

PHOTOGRAPHS: COURTESY TAMAYOUZ EXCELLENCE AWARD & HISHAM MUNIR

INTERVIEW HISHAM MUNIR

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

INTERVIEW HISHAM MUNIR

DESIGN DOYEN

IRAQI ACADEMIC AND ARCHITECT HISHAM MUNIR RETROSPECTS ON A LIFETIME OF LANDMARK PROJECTS BY RIMA ALSAMMARAE

orn to an influential family in February of 1930 in Khudhar Al Yas, Baghdad, Iraqi architect and academic Hisham Munir has long been considered a leader of modernist architecture in Iraq. With more than 100 buildings developed during a 41-year career – cut short by the constantly changing political environment in Iraq that began to culminate in the late 1990s – Munir contributed to the development of his home country through both the built environment and academia. “One day, when my brother and I were swimming next to our house, we found two bricks and, on them, we noticed strange signs or symbols. We took the bricks to my father, who told us that they were likely brought from Babylon some time ago, as people used to bring brick from there to finish their houses,” said Munir, as he recalled his first spark of interest in architecture. “The director of the archaeological museum, at that time, confirmed the story. But 30 years later, when I was asked to work on a monument, I contacted people in the archaeology department again. I mentioned the bricks, but someone from the department told me that I had the wrong story. He said the real story was that there was an old Babylonian village and they had started to build a bridge – but they couldn’t finish it,” recounted the architect. Inspired by his surroundings to become an architect, as well as Islamic architecture, in particular its inherent response to and consideration of climate control, Munir often looked to the past for inspiration and to the present for technological solutions. Graduating from the University of Texas in 1953 and the University of South California in 1956, his early engagement with mid-century American architects and methodology greatly influenced his architectural approach and his future collaborations – both of which reflected the period’s advantageous environment for Iraqi architects. Iraq was going through a period of creative prosperity, despite the frequent changes in leadership. As the country moved from kingdom to regime, renowned international architects were commissioned for large projects. Le Corbusier built the Baghdad Gymnasium, while Frank Lloyd Wright masterplanned a district of Baghdad. And though he rejected the invitation due to his political beliefs, Oscar Niemeyer was asked to be part of a planning board in the 1950s, arranged by King Faisal II. Iraqi architects, too, were returning from their studies abroad and becoming power houses in their own right – this included Munir, as well as his contemporaries like Rifat Chadirji and Qahtan Al-Madfa’i. After returning to Iraq in 1957, Munir would go on to establish Iraq’s first architecture department at the University of Baghdad with fellow Iraqi architects Mohamed Makiya and Abdullah Ihsan Kamel in 1959.

“At the time, I thought Abdullah was the best. The quality and design of his work… He studied in the UK like Makiya, but he continued at Harvard where he studied city planning,” said Munir. “When we formed the department, he was already teaching in the civic engineering department about relational architecture. And when I was doing my post-graduate degree, I was invited to be an assistant teacher – so I had some experience. I was the more academic one, I think, of the three of us.” Before he was assigned to develop the architecture department, Munir had established his company in Baghdad in 1957. Called Hisham Munir and Associates, it grew rapidly and won many of the design competitions it entered. Munir’s early projects include the Mosul General Hospital, the Iraqi Engineers’ Union Headquarters and the Baghdad Chamber of Commerce. His other notable projects are the Agricultural Complex, the Iraqi Reinsurance Company in Baghdad, the Sheraton Hotels in Baghdad and Basra, and the Al-Sabah Complex in Kuwait. Having collaborated with North American Greats including Walter Gropius and his initiative The Architects Collaborative (TAC), Canadian architect Arthur Erickson, and a slew of British, Brazilian and other international firms, Munir often worked as a local associate, contributing to the design

1. Hisham Munir. 2. The Baghdad Chamber of Commerce.

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INTERVIEW HISHAM MUNIR

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and overseeing projects by large, often renowned, firms. Such work included the Baghdad Medical City and Complex Development Master Plan with Whiting Rogers, Butler and Burgun, and the Baghdad and Mosul Universities with TAC. Munir first met Gropius during his studies at the University of Texas and, following his move back to Iraq, the two would soon become frequent collaborators. Perhaps, they were even friends – with Gropius an apparent admirer of Middle Eastern rugs, Munir and his wife once gifted the American architect with a kilim, which Gropius later hung in his bedroom. “TAC was doing the greatest work at that time,” said Munir. “I even sent staff to oversee its projects in Kuwait and Saudi Arabia, because Gropius was always very worried about the quality of work done there. He considered the quality of the local prevailing practice to be almost primitive compared to the new high technology that was used elsewhere.” Munir’s firm was recognised as a leading consultancy office in its own right — his seamless blend of Islamic architecture and modern technology was largely revered. He applied architectural and design solutions that made sense for Iraq and for the time. And inside each of his buildings were one-ofa-kind art pieces, created by Iraqi artists such as Dia Azzawi and Ismail Fatah Al Turk. “I always say that architecture is the tempo of time and place,” Munir said. “You cannot

INTERVIEW HISHAM MUNIR 5

separate any proper work from the time that it was made in. New material is not created as an extra, it is created out of need. Each time and period brings with it new thoughts and new approaches. “This is the unfortunate part of dictators or governments, though – they erase things of the previous era. These buildings are landmarks of time, and they should be kept so people know the history of their cities. I greatly disagreed when they destroyed the Monument to the Unknown Soldier.” By the 1990s, the political environment in Iraq caused great public distress, and there was an exodus of students, artists and academics. TAC was no longer getting work due to the economic sanctions, and Munir found it harder to continue running his office. By 1998, Munir closed his company – a difficult decision, no doubt – and he and his family left for Abu Dhabi for a short while before relocating to Arlington, Virginia in the USA, where they have been ever since. A frequent guest lecturer at Columbia, MIT and Harvard, Munir has spent the last few decades writing and speaking. Currently working on his memoir, he hopes to share his stories with a wider public one day. Most recently, too, he was the recipient of Tamayouz Excellence Award’s Lifetime Achievement Award. “The 2017 Lifetime Achievement Award is presented to the architect and academic Hisham Munir in appreciation of his contributions to the development of Iraqi architecture,”

said Wendy Pullan upon presenting Munir with the award. “[He is] one of the pioneering practitioners and mentors of generations of Iraqi architects who contributed to building their country and to establishing the Department of Architecture at Baghdad University, the first architectural department in Iraq.” Looking back, Munir said he would likely change quite a lot. “There’s new technology now,” he said. “I would make different forms.” Regardless, many of his buildings remain, despite the lack of maintenance over the years. “Even the Reinsurance building,” he pointed out. “It was burned, but it’s still standing.” A&I

3. The Directorate General of Police headquarters building. 4. Iraqi Reinsurance Company complex. 5. Architectural drawings of the Iraqi Reinsurance Company complex. 6. An archive photo of Munir on site in Iraq.

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MANU SCRIPT

1. Morning Light At Banaras (40x80 inches). 2. The book cover. 3. Manu Parekh, the artist. 4. Flowers From Heaven XV. 5. Morning Light At Benaras (60x72 inches). 6. Man Made Blindness.

ast month, Art & Soul Gallery, Mumbai, proudly presented the retrospective, Manu Parekh, 60 Years of Selected Works with over 150 works at the National Gallery of Modern Art (NGMA), Mumbai, with an accompanying book of the same title in collaboration with the Ministry of Culture, Government of India. Iconic architect Dr.Balkrishna V Doshi inaugurated the exhibition and artist Sudhir Patwardhan released the book, Manu Parekh, 60 Years of Selected Works, which examines the breadth of Parekh’s career – from the 1960s to the present. Over 250 of his works are included, representing important aspects of his oeuvre. We see his exploration of ritual in the late 1970s, the legendary paintings inspired by the Bhagalpur blindings and his enduring fascination with the holy city of Banaras, which he has explored in great depth over many decades. Through its exploration of the rich body of Parekh’s work, this book provides unique insights into one of India’s most important painters. The book also includes a late-career highlight – a monumental work of ‘heads’, completed in 2017, that is based on Leonardo da Vinci’s The Last Supper. “This exhibition is the first comprehensive survey of artworks spanning nearly six decades of a long, creative career that demonstrates the depth and diversity of Parekh’s practice. For this exhibition, the artist presents key series entitled Early Works, Rituals & Abstract, Animals, Still Life, Heads and Banaras Landscape. This show also includes a collection of drawings that illustrate his creative process. Parekh is an important modernist known for his remarkable work related to the city of Varanasi (Banaras) that reflects upon his knowledge of the landscape, mapping

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significant sites of personal and social importance,” said Adwaita Gadanayak, director general, NGMA. One of India’s most inventive painters, Parekh, through his early work, explored the relationship between man and nature – which, according to him, was an energetic link that had to be celebrated. Since then, contradictions have formed the basis of his artistic practice – no matter the subject or genre of his works. Polemics have always intrigued him; the energy of the organic form and the inherent sexuality within these forms are intangible elements in his works. His paintings provoke viewers to take notice of the world around them through the emotion, pain and anguish expressed in the subjects of his paintings. His colours and forms exude a volatile energy that can barely be contained within the confines of the canvas, and become an extension of his personality. “To gauge the breadth and depth of Manubhai’s oeuvre is unfathomable. His journey has been long and deeply enriched and influenced by his diverse experiences amidst craftspeople in rural India, and these are now woven on to his canvases... We also present his sketchbooks, which are fascinating narratives of his day-to-day life and weave a story of their own – no less fascinating than a dialogue with this mesmerising personality. We hope that through this large exhibit of 150 works at the NGMA, Mumbai, Parekh’s art will be seen contextually in the unique space it occupies in the cultural landscape of contemporary Indian art and painters,” expressed Tarana Khubchandani, director, Art & Soul Gallery, Mumbai. A&I By Maria Louis Note: Manu Parekh, 60 Years of Selected Works will continue at the NGMA Mumbai until April 15.

PHOTOGRAPHS: COURTESY THE ARTIST, ART & SOUL GALLERY AND NGMA, MUMBAI.

THE BIG PICTURE MANU PAREKH